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Showing posts with label Viz. Show all posts

Showing posts with label Viz. Show all posts

Otakon 2011: VIZ Media Industry Panel in Pictures

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After a short delay from the preceding Tiger & Bunny panel, Amy Martin, the person in charge of VIZ Media’s social media accounts, started off the panel by cheerfully announcing VIZ’s 25th anniversary as well as a new website with which to celebrate the milestone. In addition to various other social media aspects, Martin proceeded to announce available and forthcoming manga, novel, and anime titles. The slideshow above is 99% of what was revealed. After the break, there’s a text breakdown of everything that appears in the pictures along with info on a couple slides that were not pictured.

  • 25th Anniversary
    www.viz.com/25years
    Promotions on iTunes end August 23, 2011
  • October premiere of Naruto Shippuden – Bonds movie
  • VIZ Manga app is now available for iPad™, iPhone™, iPod™ touch.
  • www.vizmanga.com
    “Now you can finally read your favorite manga on your computer...legally!”
    Buy once and transport across platforms/devices
    First chapter is always free
    Simultaneous print and digital releases
  • Future Releases (Manga)
    Oishinbo
    Naruto to see quicker release schedule (volumes 36-45)
    Ai Ore (volume 2) – August 2011
    The Story of Saiunkoku (volume 4) – August 2011
  • New Fiction
    ICO: Castle in the Mist (paperback), by Miyuki Miyabe – August 2011
    Book of Heroes (new edition, paperback), by Miyuki Miyabe – August 2011
    Ten Billion Days and One Hundred Billion Nights (hardcover), by Ryu Miysuse – November 15, 2011
  • 2-in-1:
    Tenjho Tenge “Full Contact” edition (18+) – Available now
  • 3-in-1 Editions (Omnibus) Kekkashi
    Fullmetal Alchemist
    Bleach
    Naruto
  • Art Books
    The Art of Vampire Night – September 6, 2011
    D. Grey Man – Features interview with creator
    One Piece: Color Walk 2 – November 1, 2011
  • VIZ Kids Box Sets
    Pokemon Diamond and Pearl Adventure! (volumes 1-8), October 28, 2011 – Comes with poster
    Legend of Zelda (volumes 1-10), October 25, 2011 – comes with poster
  • VIZ Media Box Set
    Fullmetal Alchemist (volumes 1-27) – November 1, 2011 – Comes with light novel and poster
  • Specialty Books
    Naruto: The Official Character Data Book – January 2012
    Studio Ghibli’s Arriety – January 2012: The Art of Arriety, Arriety Film Comics (volumes 1-2), Arriety Picture Book
    Bleach MASKED: Official Character Book 2 – March 2012
  • New for Shojo Beat
    A Devil and Her Love Song – February 2012
    Dawn of the Arcana – December 2011
    The Earl and the Fairy – March 2012
    Hana Kimi (3-in-1), March 2012
    Skip Beat
  • Available Now
    Meet Mameshiba!
    Mameshiba On the Loose!
  • Special Format
    Mameshiba (Heart) Winter – November 2011
    Pokemon Magnetic Playbook – November 2011
  • Newest Pokemon Movie
    Zoroark: Master of Illusions – Video and manga – DVD: September 20, 2011
  • Coming Soon
    Fluffy, Fluffy Cinnamonroll – January 2012
    Voltron Force – Old crew trains new crew – Spring 2012
  • New for VIZ Kids (April 2012)
    Mr. Men Little Miss
    Little Miss Sunshine: It’s Always Sunny in Dillydale
  • Key Summer Releases (DVD)
    Vampire Night Guilty (volume 3)
    Kekkashi Set 2 – August 23, 2011
    Hero 108
    Professor Layton and the Eternal Diva (November 8, 2011)
  • Continued Simulcasts
    Tiger & Bunny
    Blue Exorcist
    Nura: Rise of the Yokai Clan
    Blue Dragon (uncut), If numbers are good enough, this may see a physical release.

Click here for more of our Otakon 2011 coverage

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Review: What a Wonderful World, vol. 1 (Manga)

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What a Wonderful World, by Inio Asano

Medium: Manga (2 volumes)
Author: Inio Asano
Genre: Drama, Slice of Life
Publishers: Shogakukan, Inc. (JPN), Viz Media (Viz Signature imprint) (NA/UK)
Release Dates: May 19, 2003 (JP), Oct. 20, 2009 (US/UK)
Age Rating: “Older Teen” (16+)

Because I love starting reviews with some kind of admission, I want to say here that I have been putting off reading this manga for a long time. Since May, in fact. (Ed. Note: The review was written in August.) It’s not because I was rushed off my feet with other manga, but simply because I was afraid to crack it open for fear of it being too powerful for my weak psyche. Author Inio Asano also wrote Solanin, an amazing manga that I have a very hard time reading simply because it is emotionally powerful and I have to put the book down every 30 pages or so for fear of collapsing into a sobbing wreck.

Yes, I’m a wuss. Deal with it.

What a Wonderful World, or World as I shall shorten it from here on out for the sake of brevity, is thankfully not as emotionally harrowing as Asano's other works in part due to it's fragmented structure. The manga is split into individual vignettes, each focusing on a single character and giving you a brief moment in their life before moving on to someone else.

Each story is wonderfully crafted, effortlessly introducing you to the new main character so you connect with them instantly each time, often with just a single panel. One such story shows you a girl staring listlessly at the split ends in her hair, and suddenly you are right there with her for the duration for her tale.

From there on you are hooked, each panel containing just the right amount of (or lack of) art, speech and action to keep you fully engrossed. Like having a door opened to find a tiny snowman with cigarettes for arms, with nothing else to clutter the page in between. The easy flow of the storytelling on the page is remarkable, as you’ll find your eyes being drawn to the right place each time by the layout of both the panels and the items contained within. This helps the art pull off some amazing shifts in perspective to get you right into things without noticing how much the viewpoint has shifted.

All this helps you enjoy the stories on offer effortlessly, and break down any barriers between you and the drama playing out on the page.

The main theme the manga explores is that of thwarted dreams or expectations, and how the colorful cast of characters deals with them, or fails to do so entirely. The storylines contain just the right amount of grit and texture to give them depth without needing a cumbersome back-story to the issues that are presented, and at the same time they give you something meaty to chew on. The characters feel like actual people who have lived rather than blank slates who only begin to live when they are drawn. It’s very refreshing in general to read something that is not just about dreams coming true but instead about opportunities lost, or times when things have slipped away. It also manages to avoid feeling grim for the sake of it, maintaining a very welcome air of absurdity whether in the form of death taking the likeness of a crow, or a turtle climbing out of its shell to escape it's owner. Everything presented as part of the human characters feels instantly relatable and, if it hits close to home, rather personal. Well, except the whole thing with the turtle. I would probably need some form of therapy if that happened to me.

Not all is sunshine and rainbows, however. Reading a whole volume in one sitting, even with its amazing pacing, can get very wearing due to the poignancy of emotion that is on display. There is only so much biting realism I can take before it begins to cause my soul to ache and thoughts to turn to happier things, and for this reason I would recommend spacing out your reading of World. Another problem is that the stories can begin to feel predictable as you are immersed by the atmosphere of the manga. After a few pages of a new story you can guess how events will play out in a vague sense. This sucks a lot of the magic out of the stories and so is best avoided by putting the book down for another day.

There is also some confusion surrounding the overarching plotline, or perhaps lack of one. Multiple times even in this first volume you will see characters recur, but in their new appearance the situation will have changed and so any previous experiences with the character have to be thrown out in favor of the new story being told. When this first happens it is very disorienting, and I found myself exclaiming "Heyyyy, wait a second! Wasn't she supposed to be in a band now?" before I realized what was happening.

So would I recommend it? Sure. World is a solid and very enjoyable manga to read, for me because it feels like a more manageable version of the Inio Asuno I know from reading Solanin. It is also the first manga Asano published (Note: according to Wikipedia and other research) so it is useful to see the author’s development from here into his later works.

World is a welcome shot of reality packaged just right to prevent it from hurting if things strike too close to home. You'll come out of reading it feeling a little wiser, if perhaps wearier.

[Recommended]



This review is based on a retail copy purchased by the reviewer.

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MMF: One Piece – A Love Story in Two Acts

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The wonderfully charming cast of Eiichiro Oda's One Piece

This month, the Manga Moveable Feast (or MMF) focuses on Eiichiro Oda's smash-hit shōnen manga series One Piece, and since I own 13 volumes of the wacky pirate action-adventure, I decided to contribute to the project. However, I've got a rather odd admission to make: I don't read One Piece anymore. In fact, I haven't read even a single new page of the manga since the spring of 2008.

Make no mistake, though, One Piece is actually one of my favorite manga of all time. Nearly three years ago, I simply stopped reading the books, and I have not reneged on my decision since then. In part because of this decision, and in part because of the series' instrumental role in introducing me to manga, One Piece has retained a very unique place in my heart.

Boy Meets Manga

My introduction to One Piece hardly has any of the nostalgic glory of old-time anime fans' origin stories, as it starts sometime in 2003 or so (right in the heart of the mid-2000s manga boom). One of my middle school teachers passed out a Scholastic book catalog, and in it, glaring at me with all his silly intensity, was Yugi Moto from Yu-Gi-Oh! It was an issue of Viz's Shonen Jump, on sale in my school's catalog!

A (poorly scanned) page from the Don Krieg Arc of One Piece

Naturally, after my experience with these cool Japanese cartoons on Cartoon Network's Toonami block (a frequent stepping stone for mid-'90s anime fans), I was excited to get my hands on the mysterious black-and-white comic book versions of the stories. Though I was hardly a fan of Yu-Gi-Oh! as a series, I was instantly hooked by two manga running in the magazine: Naruto and One Piece. They particularly grabbed me because I had never seen anime versions of them, unlike most of the titles in Shonen Jump.

Shortly after my first time reading One Piece (somewhere in the middle of Volume 2's Buggy Arc), I scrambled to pick up as much manga as I could get my hands on. I picked up the first two volumes of the terrible .Hack//Legend of the Twilight and received One Piece Volume 2 for my birthday. And with that, I was officially a fan of rubber-man Monkey D. Luffy and his crew of oddball pirates.

As a child of the Dragon Ball Z generation, I really felt a connection to Oda's Toriyama-inspired characters, stories, artwork, and sense of humor. Everything in One Piece, from the fights to the characters' dreams, is exaggerated, filled with a passion unparalleled by the actions of real people. For a wide-eyed middle school kid, new to the vast world of anime and manga lurking under the Toonami-glazed surface, Oda's powerfully kinetic yet inherently accessible work was just the kind of thing to propel me into full-fledged fandom.

And propel me it did! 2004, the year that marked my post-One Piece anime/manga obsession, also marked the creation of an overly ambitious little anime fan site called Anime Paradise, which would later become the Ani-Gamers you see today.

Boy Leaves Manga

Monkey D. Luffy, the hot-headed (and rather stupid) protagonist of One Piece

It's pretty clear at this point that One Piece is one of the defining works of my personal manga fandom, but why did I stop reading it after all the passion I had invested into it? It's very simple, actually.

At AnimeNEXT 2008, I pushed my way to the nearest manga vendor and started rifling through the books on the table. As I had done for the past few years, I picked up the latest volume of One Piece (14 in this case) and got ready to buy it. But then it hit me. Looking at the volumes on the table, I took note of the books that I would then have to buy after Volume 14. I thought it over in my head — "One Piece isn't even finished yet in Japan, let alone in the US. Heck, I don't even know when this Baroque Works Arc is going to end. It could be ten more volumes for all I know!"

So, on that day, I made the fateful decision, on behalf of my wallet, to stop buying One Piece. Of course, since I am strongly opposed to manga piracy (har har), reading it online is out of the question, so that means I effectively decided to stop reading the series, period. Since then, Viz Media's American run of One Piece has reached 55 volumes, and it still hasn't ended in Japan. After re-reading the volumes I bought years ago, I really miss the Straw Hat Pirates and all their crazy adventures, but the prospect of restarting my collection is a daunting one.

Indeed, that's the ultimate tragedy of the paying fan of any long-running, ongoing manga series; continued dedication to your favorite story requires an inordinate amount of money and shelf space. Nevertheless, the boundless motivation of Luffy and his comrades serves as a reminder of the importance of doing what you love, regardless of the obstacles in front of you. Who knows? Maybe one day I'll finally follow Oda's wisdom, pick up One Piece Volume 14, and start this old journey up once again.



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Review: Viz Media iPad App

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Viz's new iPad app

Medium: Digital Manga Application
Publisher: Viz Media
Release Date: Nov. 2, 2010 (North America)
App Store Link

The first thing that popped into my head when I heard of the Viz app was, honestly, "aw, man, another discrete app? I already have half a screen of various comic reading apps!" Thankfully, the app more than makes up for this minor complaint, as I will outline in this review. The reason for this appears to be that Viz wants to tie the user up with a vizmedia.com account rather than putting its inventory on one of the other comic book marketplaces — presumably in order to collect market data and directly monitor usage.

Signing up for such an account is the first thing you have to do in order to view any of the manga, adding yet another login and password to your life. Thankfully the process is very swift, asking a minimum of questions and requiring only an e-mail activation to complete.

The layout of the app itself follows the normal mold for iPad comic apps that has now been established by comiXology, with a grand total of three viewable tabs, one each for the store, your library of content, and the settings. The app feels greatly streamlined with very few settings available to the user, although it must be noted that I did not find myself wanting for anything and found the app easy to navigate.

The library itself is also very streamlined, with six titles available, each with one to two volumes available at present. These titles are Viz's biggest, such as One Piece, Dragon Ball and Naruto. Each series also has the first chapter available to preview for free, which is a welcome feature. The title-browsing interface is very simplistic and I hope that this is developed further as more titles are added — while the interface works fine for six series it could quickly become cluttered and difficult to navigate as more are added.

As a gift, the first volume of Death Note is available to download for free to users who sign up for new accounts (at the time of writing). Downloading is as simple as pressing the appropriate link and letting the data come to you — however sadly this is marked with a few problems. First of all, there is no downloads menu — the only indication that anything is happening is a sluggish blue bar pasted at the bottom of the volume cover which you can sit and watch creep across the screen. You cannot view a volume that is being downloaded, something that is easily possible on other (sadly less scrupulous) manga viewers. You are still free to navigate around the app, but the experience is noticeably slower and there is a lack of anything else to actually look at while you wait. Exiting the app causes the download to reset, which is irritating but is perhaps more due to the fact that iPads are still running iOS3.2-OS4.2 and multitasking will not be available until some time in November according to Apple. Re-entering the app automatically restarts the download, which is a nice touch, but as downloads don't show up in your library until they are finished and there is no downloads pane, it’s a rather long-winded process to determine how your download is doing. For my part, I went and played with my cats while the download was ongoing.

One thing I want to quickly praise here is the error messages. This sounds like an odd thing to mention, but each time I ran into an error with the app (not often), the message presented was clear, direct, and to the point. When I bought and downloaded Volume 1 of Bleach to test the purchasing system there was an error with the download. The message that appeared reassured me that all was well, nothing was lost, and I only had to restart the app. This extra effort is greatly appreciated, as when errors of this sort occur it can be bewildering as to where your money and content have gone.

So, enough of all of this infrastructure stuff — what about the actual comic-reading part of the app?

First of all, the image quality looks fine. Even when zoomed in the pages look clear and legible with no artifacts in sight. Holding the iPad in landscape mode creates a two-page spread that mimics a physical manga volume, while holding it portrait gives you a view of a larger single page. Both work well and are comfortable to read — the biggest compliment I can give is that I happily read the entire first volume of Death Note and Bleach with no major issues.

One nice thing that made me laugh is that the generic "you are reading the wrong way!" advisory message you find on the last page of manga volumes pops up when you try and turn the first page as if you would a western book. These touches show Viz has been thoughtful when constructing the app.

There are still small niggles with the presentation, however — reading landscape introduces a small time lag in-between page turns as the app renders the next two pages ahead of you, and skipping to a distant portion of the volume causes the app to tick over for a noticeable amount of time before displaying the desired pages. However, It should be noted that this behavior was only apparent when I stress tested the application.

Another small complaint with the manga viewing, at least with Bleach, is the massive size of the spine margins present on the pages — in either landscape or portrait view they take up a not-insignificant portion of the screen and once you see them you can't help noticing that they are there. Cropping these would really benefit the reading experience.

Prolonged reading was comfortable on the eyes, but sadly not on the arms — the iPad is still just a little too heavy to be fully comfortable as a reading device, but this is a fault of the hardware and not Viz.

A quick note here on the price: US $5 a volume at present. This feels, to me at least, a very fair price to charge with the caveat that I expect purchases to carry over onto other digital platforms as they become available. I see no reason why not as your purchases are tied to the Vizmedia.com account you have to create when you start using the app.

All in all, the app does what it says on the proverbial tin, in an approachable and streamlined manner. I have no real complaints that would prevent my continuing to use the app, other than a frank request that they port it to other territories ASAP — if this was available natively in the UK I would gladly use it to finally buy and read One Piece. The series is just too big at present to buy in physical format due to the sheer bulk of the books.

I hope Viz continues to improve the app; adding more and a greater variety titles would be a great start, but adding in community interaction such as forums, reviews and such would really boost interactivity and provide something to do while waiting for downloads to complete. For now, though, it’s a great start.

[Highly Recommended]



Note: This review is of the first publicly available version of the Viz Media iPad app, and thus the app itself is liable to change via updates and patches. Please also note that this app is only available at present within the US and Canada — being in the UK I had to obtain the app via gray market means which, while relatively easy, should only be attempted if you are fully aware of the possible drawbacks of such an approach.

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Review: Battle Angel Alita, vol. 1-2 (Manga)

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Battle Angel Alita, volume 1 cover

Medium: Manga (9 volumes, 2 reviewed)
Author: Yukito Kishiro
Genre: Action, Science Fiction
Publishers: Business JumpShueisha (JPN), Viz Media (NA/UK)
Release Dates: Dec. 1990 - Apr. 1995 (JPN), Dec. 2003 - Apr. 2005 (NA/UK) [Dates indicate initial print run of this edition, currently being re-printed]
Age Rating: Older Teen (15+)

I feel I need to coin a new, admittedly dumb, phrase to describe my reaction to Battle Angel Alita: a guilty displeasure. I told you it was dumb.

Ido Daisuke is a doctor/mechanic, and a damn good one at that. As far as I can tell, the source of his power is his colossal chin, which is magnificent in its magnitude. One day he finds half of a robotic female torso on a massive cyborg junkpile and decides to rebuild her. As her brain is still intact and this is the cybernetic future where flesh is a novelty, the process is a roaring success. The girl, christened Alita, has amnesia, which is understandable when your recent state was that of a head and a shoulder. Alita then sets out to discover herself and to forge a path in the bleak future with only her natural abilities and pronounced pout that never leaves her face. Sounds pretty cool, right? I thought so too.

There are plenty of reasons why I should love Alita, such as the backdrop. The series is set in a far-flung dystopian future, where a giant floating city called Tiphares houses the privileged while everyone else lives upon the blasted wasteland that Earth has become. The story is set in the junkyard directly below Tiphares, which is a literal garbage site for everything tossed away by the city overhead. The author manages to avoid going over the top with how grim and dark it is, creating a plausibly bleak future world.

The art plays a large part in the world-building — Kishiro puts painstaking detail into every character and part of the backdrop, bringing a richness to the world and making it all appear as a unified whole. Given the diversity in the buildings, people, and every small item strewn about in the panels, this is no small feat, and is quite simply arresting in its magnitude. You can get a real feel for the city just from a quick look at the rotting signs, the dirty streets, and the contents of every overflowing trashcan.

The main reason I dislike reading Alita, though, is the cast, in particular the titular Alita and her dumb pout. All the main characters in the series have an invisible mantle that sets them apart, making them feel like tourists or guest stars. Their motivations and actions overshadow the rest of the cast and the setting itself, relegating them to being inconsequential extras. Ido is a good example of a character with this special quality, as in addition to being an expert doctor and cyber-surgeon he is an awesome bounty hunter to boot. All these details weigh the character down and take away any interest you may have had as he is so limitless in his abilities. Not only that, but he uses a rocket-powered sledgehammer as his weapon of choice, which is a damn sweet weapon but makes you wonder why no-one else has thought of the same idea. I know for a fact that I would have rocket roller skates and pimp rocket tonfa in the rocket-infested cyborg future.

Alita is even more infuriating when it comes to shenanigans like switching motivations and changing her reactions to other characters at the drop of a hat. There is a very short side storyline where the doctor toys with the idea of marrying Alita, but this idea is thrown out the window in a very confusing conversation where character intentions do a 180 on both sides. So the good doctor chucks a wedding dress into a sewer in frustration, leaving me wondering where the hell he dug up a wedding dress in the blasted wasteland.

This gets even nuttier with the appearance of the first main antagonist, who loves eating brains with his gigantic tongue. Okay, that's cool; I can get behind a slavering cyborg endorphin junkie. Sadly it doesn't take very long for the plot mantle to land on this person as well — Alita takes his body out in a cool but disjointed fight which costs her most of her cyborg body, displaying moves that the wounded doctor magically identifies out of nowhere as a robotic martial art, "Panzer Kunst," of which there are supposedly no users. Until now!

Makakau, the antagonist, escapes from the fight scene with a sudden and rather contrived stroke of luck, quoting Nietzsche as he gets away. This is something you don't expect from someone reduced to a head-and-change, and takes you out of the drama entirely.

Alita then receives a crazy body that was intended for military purposes that the good doctor had lying around conveniently. This — combined with Alita's super fighting style — smacks of the author trying really hard to make you care about the character, but giving her too many bizarre power-ups in the process.

As the series continues events become more and more disjointed to the point that I was forcing myself to continue as I simply could not bring myself to care about the characters one jot. Multiple individuals whom I trust recommended the series to me, and so even though I didn't enjoy the first volume, I picked up the second in order to give Alita a fair shake. I can easily see how someone would have a different reaction to myself and utterly fall in love with the characters, the setting, and the outlandish storyline and read it over and over again. Sadly, even after repeated attempts to read the series, my negative reaction still remains. I would honestly suggest borrowing a copy of the first volume to see if it grabs you. If it does, then please feel free to leave a comment below outlining how I am crazy for not liking Battle Angel Alita.

[Bad]



This review is based on a set of Viz graphic novels purchased by the reviewer.

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Review: 20th Century Boys vol.1-6 (Manga)

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The first volume of Viz Signature's release of 20th Century Boys

Medium: Manga (24 volumes)
Author: Naoki Urasawa
Genre: Drama, Thriller
Publishers: Big Comic Spirits – Shogakukan (JPN), Viz Media (NA/UK)
Release Dates: 2000 - 2007 (JPN), Feb 2009 - present (US/UK)
Age Rating: "Older teen" (15+)

Reading 20th Century Boys kindles an unexpected reaction within me: rage. This is not legitimate rage, like you would feel if you were reading something so bad that its existence was an insult, but a kind of rage that comes about when you really enjoy something but then it does one small thing that really, really winds you up. Maybe this is how parents feel when their child does something monumentally dumb, like using cake as make-up.

It's probably better that I explain the reasons I like 20th Century Boys first, because I do enjoy the series. Much like Urasawa's other works published in the West the series is a first-rate thriller that is unrelenting in its tension. Everything that appears on the page feels it was put there for a damn good reason and each individual element has had painstaking thought put into its creation and use in the story. The characters are every bit as complex and fallible as real people — they can be selfish, ignorant or just plain scared in a way that you can easily relate to and which seamlessly draws you into the world of the story.

The plot itself is about a group of kids who grow up in the late 1960s and go through all the usual school stuff — cultural events, bullies, making a secret clubhouse, and creating an ominous club symbol. It is also, at the same time, about the same kids who have grown up to become rather disappointing adults in the late 20th century, a time of much trepidation due to the growing prominence of a cult sporting the very same symbol from the 60s as its logo. The story jumps between these and other epochs at will, bringing a whole new dimension to the story with its use of different concurrent timelines.

The art in the series is flat-out wonderful — in the settings, in the characters, and every interaction that occurs there is a visible level of care and attention. Simple things such as one person patting another on the shoulder have a level of detail and thought that makes it a joy to read. A well known tale is that when Viz licensed 20th Century Boys and Monster together Urasawa requested for Monster, the older work, to be fully released 20th Century Boys was released as the level of development in the art would make Monster appear the poorer series for the direct comparison. While you could easily chalk this up to artistic pretension it turns out to be true — the level of detail lavished on Boys makes the already well-drawn Monster look almost sterile with its comparative lack of finesse. Most of all, it has to be the Urasawa's use of light and shadow that captures the imagination — using the two to lay out a scene, to depict characters, to hide or illuminate elements in the scene and to help draw the eye across the page and manage the flow of the story.

All this works marvelously, and kept me gleefully glued to the page while reading. The storyline rewards frequent re-reading — each new volume brings its own new answers that help place previous things into a proper context. This can also work the other way around — you can unwittingly read an important answer and hold on to it for volumes before finally finding the question and all becomes clear. You feel like an active participant in the mystery, where instead of just sitting back and waiting for the ending you are rewarded for looking for answers yourself.

For me, and also for others I have talked to about this series, there is a make-or-break point in this manga that comes quite early in its extensive 24-volume run. In volume 5, the plot prepares for a huge event that includes almost all of the principal members of the cast that you have met thus far. The tension is running high, and things feel suitably apocalyptic. Something you have been teased about and which has been hinted at for the balance of the manga so far has come to take its place on center stage. Something massive is about to be revealed, and at this point I would honestly have been satisfied with the reveal no matter what it turned out to be. The time felt right, you are holding onto the comic for dear life, you turn the page and then … nothing.

At this point, instead of revealing anything, the storyline undergoes a massive jump, moving to a fresh new setting and then proceeding to set up new mysteries and new characters as if the series was starting afresh. While some readers may like this switch, I certainly did not. I read the remainder of the fifth and the newest sixth volume with a feeling of deflation — the previous tension and awe with which I held the plot had leaked out of me.

I can fully understand the thinking behind keeping the details hidden — showing only hints or after-effects of the monster at work is much more effective than just pulling out a plastic model with fake gore dripping off of it, after all.

Sadly, I now feel that unless a similar climactic situation is built up that the reveal that would have been will not have the same impact. This also makes me question the structure of the plotline — does this “non-reveal” forecast a similar pattern for other events and revelations to come in the series?

Despite my doubts, I fully intend to continue reading the series to find out what happens, and given the way the series plays with timelines, what happened. The stellar quality of the title as a whole means I would be doing myself a disservice if I were not to continue reading, and I would be doing you readers a disservice by not endorsing it as an enthralling work of fiction with wonderful characters.

Important note: While this holds true for a lot of series, do not read 20th Century Boys wikipedia page if you are at all interested in the series. I used it for some quick fact-checking for this review and as a result have now been spoilt in regards to some major plot elements.

[Highly Recommended]



This review is based on a set of Viz Signature graphic novels purchased by the reviewer.

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Review: Adolf (Manga)

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The cover of the Cadence Books release of Osamu Tezuka's Adolf

Medium: Manga (5 volumes)
Genres: Drama, Historical
Author: Osamu Tezuka
Publishers: Bungei Shunju (JPN), Cadence Books/Viz Media (NA/UK)
Release Dates: Jan. 6, 1982 – May 30, 1985 (JPN), 1997 (NA/UK)
Age Rating: Unknown

Due to Japan’s strict policies against fictionalizing the events of WWII, Osamu Tezuka had to wait nearly forty years after the war before setting a story in that era that did not rely heavily on metaphor and robots. Released in the mid-1980s, Adolf is a complex story about three young men all sharing the same name: Two of their tales span the entire war as a young German Jew and a young German Aryan who grow up as friends, then become enemies as the war develops. The third Adolf is easy enough to guess in a story about WWII.

The massive tale begins at the Olympics in Berlin, where reporter Sohei Togi searches for his missing brother only to uncover a murder conspiracy. While his journey spans across both Germany and Japan, Adolf Hitler’s influence spreads as the Hitler Youth rises like an approaching drum line. His investigations discover a pinnacle secret about Hitler upon which the decade-long story pivots. This makes him the target of many assassination attempts until he can slip away into secrecy.

Meanwhile, as one race rises to superiority, Adolf Kaufmann uses his diluted Aryan background as grounds to feel superior to previous childhood friend Adolf Kamil. In the fifth volume, their parallel return to their hometown is a dark blessing at best, especially once Kaufmann discovers his mother has remarried to Japanese reporter ... Sohei Togi!

Having spent last month reading Tezuka’s Buddha and Phoenix, the stark, serious nature of this story came as a surprise. There are very few moments of comedic relief, and almost no chibi exaggerations from Tezuka’s earlier works. Even the drawing style has very detailed character design and backgrounds that emphasize the brutal nature of the environment. It is also necessary to note that Tezuka did not use any of his cast of stock characters (Ed: the "Star System") when composing this piece: every character in Adolf is designed and used solely for Adolf. When metaphor is used, however, it is vivid and striking. The most memorable moments for me in this five-volume epic are the depictions of rape: Tezuka streaks the feminine form in heavy shadows that contort into barbaric teeth and animal fangs to deliver his point across. As with most of his works, this is a testament to humanism and the flawed raison d’etre of nationality. Tezuka is unrelenting in his portrayal of pettiness driven by race and man’s need to rise higher than his peers.

Adolf’s message and story have no place remaining in obscurity for all but the fans who find the graphic novels translated by Cadence Books (a former division of Viz Media). Tezuka’s lack of Jewish perspective is compensated by his intimate knowledge of Japan’s unsettling cultural reset at the war’s end. He is able to translate that fear and instability flawlessly in the Adolf’s western Germany community. In a poignant moment, both Adolfs and their cultural groups are huddled in darkness in a single bomb shelter. The irony and the misery are captured by Tezuka’s honed sense of lighting and composition. You feel pressed against the sweating shoulder of your enemy while, above, the town you both deserve is being blown to fiery debris by America.

Graphic novels like Adolf offer so much political and historical context, it is a shame that the current generation will lose it amid their Hetalia hug pillows.

Read Adolf. Plaster its images above your bed. Organize the youth of your communities and march in the streets until Tezuka’s banner becomes the only banner this nation reads ... uh-oh ...

(Ani-Gamers does not condone the use of Osama Tezuka’s works as propaganda or prejudice against Axis Powers Hetalia nor its creator. We would just encourage you to read more Tezuka if given the opportunity.)

[Recommended]



This review is based on Cadence Books graphic novels purchased by the reviewer.

Check out more articles about Osamu Tezuka in our March 2010 Tezuka Theme Month!

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Review: Phoenix, vol.1 – Dawn (Manga)

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Dawn, the first volume in Tezuka's lifework, Phoenix Medium: Manga (12 volumes)
Genre: Adventure, Fantasy
Author: Osamu Tezuka
Publishers: Various (JPN), Viz Media (NA/UK)
Release Dates: 1967 – 1988 (JPN), Mar 2003 (NA/UK)
Age Rating: Rating Unknown

As legend has it, the phoenix is an immortal bird reborn in fire, ever watching over man and making jest of our race against death. Legend also mentions that Osama Tezuka passed away before he was able to complete the epic bearing the same name. Even with its tremendous first volume, the Kami no Manga's (Ed: “god of manga”) ambitious epic weaves a story with as much humor and pathos as classical Greek drama with the flair we expect from the master storyteller.

Volume one of Phoenix is aptly named “Dawn.” It tells the story of man’s struggle against the harsh world of the third century B.C. through the fall of a nation and the rise of hope in humanity. The title character, the phoenix herself, is seen only a handful of times, though her presence is always felt and her influence on human desire is enough to change the world. She is hunted for the belief that drinking her blood will bestow immortality and becomes a Holy Grail that inspires maddening passion. Like many of his historically set works, Tezuka takes a lot of creative license to explore rumor through his cast of stock characters. Many of the human characters are reincarnated repeatedly to emphasize the theme of longevity and the repetitious nature of humanity. Mankind’s ultimate blight of futility is its struggle and campaign to possess the phoenix for reasons both noble and selfish.

The final goal of every character, which demonstrates Tezuka’s brilliance at working from a theme, is to ensure a legacy: a reputation, a clan, or one’s place in history. The mystic queen Himiko seeks to battle off the leg-humping dog of aging. The warrior-slave Nagi seeks the power to become his own man. His captor, the mighty general Saruta, trains Nagi to become his heir and son, a minute, personal legacy compared to the bloody Manifest Destiny of the villainous conqueror Ninigi.

According to my research, the other eleven volumes of Phoenix roam between the extreme future and the ancient past, each regressing until they reach their pinnacle story during the “present” of the mid-1980’s. That is the intrinsic genius of Tezuka: to craft a story of human legacy that reaches beyond imagination, only to climactically conclude while staring you dead in the face, questioning the cost and worth of our own legacy.

From a technical direction, “Dawn” is nearly flawless. Tezuka’s framing may appear flat and cartoony to Western readers, but his panel pacing is uncanny. Three panels may take you inside a volcano, straight into a hurricane, or deeper into Saruta’s eyes as tears well inside them. There is a wonderful balance between large and small panels, between close-ups and cinematic landscapes. Larger events, such as the massacre of Nagi’s village by Saruta’s people, and then later Saruta’s national battle against Ninigi’s army, are given additional depth by the personal stake of the characters. Few manga writers truly understand the important balance of plot and character the way Tezuka did. For him they dance and flow as smoothly as his action lines.

I wouldn’t be Uncle Yo if I didn’t mention the small touches of humor that round out the story so well. Tezuka is famous for putting himself into his works as a supporting character or as an incidental gag. He appears twice in volume one, enjoying a soak in a volcanic lake, and waiting in line for a public restroom. During a training scene in which Nagi masters the bow and arrow, a pack of wolves charge him in every style known to man: from Kabuki to Disney-style. My favorite satirical moment comes in the treatment of the selfish Queen Himiko, whose orders are given in the same costume and language of Adolf Hitler, then Mussolini, then Napoleon. Even humorous parody can be used to demonstrate Phoenix’s theme of man’s repetitious behavior. A tyrant, in any time or by any name, is still a tyrant.

In the end, the firebird is as elusive and free as the wind that carries her, and her enduring presence is the greater metaphor for man’s quest for legacy. And as a fitting conclusion, the story comes full circle with a secret tribe of man (founded by one the spy and renegade character Em Dee,) sends its eldest son to climb beyond the fertile womb of their enclosed mountain valley and into the blinding light of the sun. It is a marvelous shock as mankind is given another chance at rebirth, to carry forward, to persevere against hardships. For fans of that first episode of Gurren Lagann, you’ll find a striking parallel in composition and theme, for at the story’s end the adventure only begins anew, and the ballad of the phoenix rises for another glorious reprise.

It’s Osama Tezuka. He is that good. Only better.

[Highly Recommended]



This review is based on a Viz Media graphic novel purchased by the reviewer.

Check out more articles about Osamu Tezuka in our March 2010 Tezuka Theme Month!

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Review: Vampire Knight, Vol.1 (Manga)

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Medium: Manga (11+ volumes)
Genre: Fantasy/Drama
Author: Matsuri Hino
Original Run Jan 2005 – Ongoing (LaLa–JPN)
Released: Sept 2008 – Ongoing (Viz Media–NA/UK)
Age Rating: "Older Teen" (15+)

In the interest of full disclosure, I have to admit that this review came about in a strange fashion. I was on a popular online bookstore website (amazon.co.uk) and I thought “Hmm, I wonder what is popular right now?” I brought up the bestseller list, expecting to see a sea of Naruto volumes. Instead, around 4 out of the 10 top spots belonged to this series, with the latest volume taking the top spot. I had not previously heard of this series, and wondered what all the interest could be about, so I bought the first volume sight unseen.

To be perfectly honest, I was not expecting much of this title, given the recent trend of poor quality vampire-based media, and my hopes were not raised after reading the rather bland blurb on the back of the volume. In short, there are two sets of students at Cross boarding school — a set of normal humans (who all appear to be female barring one or two exceptions, strange that) and a set of vampires who have a separate dorm and come out for lessons at night. The main character, Yuki, who already knows of the existence of the creatures from being nearly killed by one when she was younger, helps to protect both the vampires and the normal students as part of a disciplinary committee. The humans must be kept in the dark in regards to the existence of vampires, as well as be shielded from any vampire who gets hungry for hemoglobin.

The plot is fine as it is and works well to set up the world — the one complaint I have is that in every single chapter the manga spends time reminding you of this established world, which gets tiresome very quickly. The pace can be inconsistent, with a lot of possible plot threads slowly brought to light while the main character goes through a series of massive, unexpected events. This jarring change of pace just as you are getting to know the character deadens any impact the event would have normally had.

The characters highlighted in this first volume are well realized, with one notable exception being the main character, Yuki. While Yuki is portrayed as being highly knowledgeable, she comes off as irritatingly dense and oblivious at times, frequently failing to gauge the gravity of a situation and putting herself in grave peril as a result. This is not helped by the fact that the entire cast absolutely adores her, wanting desperately to drink her blood/hug her/both at the same time and leaving you to wonder what exactly they see in the cute little airhead. While I desperately wanted to like Yuki, I found myself wishing that one of the male characters was the main protagonist, as he seemed to have his head on straight even if he was a seething pile of angst. I can only suppose that Yuki was designed in this fashion to be the reader's viewpoint on the events in the manga — something that is not fully successful due to her frequent dumb moments. Many more characters are hanging around in the shadows to be properly revealed later, a move I liked, as it allowed me to get acquainted with the core characters without being burnt out on introductions.

The art in Vampire Knight is well drawn, focusing primarily on the characters and their painstakingly designed school uniforms. The volume even has a set of design instructions for potential cosplayers (Looking at this, it would cost you a fortune in rose-shaped buttons.), showcasing the huge amount of thought put into the designs. The level of detail becomes almost pornographic at one point, when you have a main male character with a stream of blood on his neck and torn shirt — something for the ladies, I guess? The characters, in particular the vampires, share a similar character design style and I was a little worried about being unable to tell them apart when the majority of the cast was introduced in a single panel, but thankfully they contain enough individual detail and personality that this is not a problem.

There are some issues with the art — sometimes the character proportions or perspective are jarringly off, which has the potential to pull you out of the story. A larger annoyance is that the character's eyes remain the same in each panel. For example, Yuki has wide-open eyes and they stay that way with little change, almost as if they had been copied and pasted into each panel. The whole cast is a victim of this off-putting phenomenon, which and robs facial expressions of emotion and makes the characters harder to differentiate.

All in all, I was rather pleasantly surprised by Vampire Knight and found myself enjoying the read, especially during its lighter moments. While I would not be opposed to picking up the following volumes to see how things develop, I am rather hesitant due to the frustratingly clueless behavior of the main character. Maybe it’s just me, but if your earliest memory was being almost murdered by a slavering and gore-drenched vampire, you might display a bit more hesitation around the creatures than Yuki displays.

I would certainly say to have a look at the first volume to see if it grabs you — especially if you are a fan of impossibly pretty, aloof vampire boys, although this is not a necessity.



This review is based on a Shojo Beat release from Viz Media purchased by the reviewer.



fair.

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Review: Solanin (Manga)

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Solanin, by Inio Asano (pictured: Meiko) Medium: Manga (1 volume/432 pages)
Genres: Drama, Slice-of-Life
Author: Inio Asano
Original Run: 2005 – 2006 (Weekly Young Sunday)
Release Date: October 21, 2008 (Viz Signature–N. America))
Rated: Older Teen

If there is one word you don't expect from a review of a "seinen" (men's) manga, it is "beautiful," but such a word only begins to describe Inio Asano's Solanin, a one-volume manga series that breaks down conventions with graceful, effortless ease. Through the stark, cinematic power of manga, he creates characters that leap from the page with every pang of joy and sadness.

Meiko Inoue has recently graduated from college, but in her eyes, life is going nowhere fast. Her guitar-playing boyfriend, Taneda, is crashing at her Tokyo apartment while he works away at his part-time graphic design job and she endures the banality of office life. Still swept up in their youthful dreams, Meiko and Taneda find themselves increasingly dissatisfied and are left wondering where their adult lives could possibly take them.

Solanin maintains a tight cast of supporting characters who enhance the depiction of Meiko and Taneda's relationship, including their cool-headed friend "Rip," their big, awkward buddy Kato, and his girlfriend Ai. Their interactions are quite often funny, but in a completely natural (and rarely laugh-out-loud hilarious) way that shatters the fake "slice-of-life" depictions of series such as Azumanga Daioh. The comic often feels like a window into someone else's life, with which you are able to watch all of the brief moments of happiness that they share with their friends and family.

And cue the drama! Where Solanin really picks up is in its dramatic segments, featuring close-up shots of the characters' faces and showcasing Asano's impeccable sense of composition. His use of wide, thin panels and full-page shots shows an innate knowledge of how to pull emotion out of the simplest of scenes. For example, in one of the earliest chapters, Meiko comes home to find a balloon tied to the balcony of her apartment. She reaches for the thread that attaches it to the railing, but the balloon unravels and flies away into the sky. This comes right at the end of the chapter, and serves as a powerful piece of symbolism for Meiko's decision to quit her job.

The drama just keeps ramping up from there through a series of big reveals, though in the grand scheme of things, they are nothing on the level of the epic revelations often portrayed in manga. Still, events like Meiko quitting her job or Taneda restarting his college band are huge events for these young people, who are desperately struggling to find anything in their adult lives that they can believe in.

The major twist comes somewhere in the middle of the novel, and it admittedly strikes with very little warning. Its effect on the plot from there on out is immense, but there isn’t much in the way of emotional build-up to the scene. (Which, while jarring, is likely what Asano is going for with it — life is rarely predictable.)

Outside of its incredibly down-to-earth plot, Solanin also doesn't skirt on the visuals. The backgrounds are detailed — though not particularly distinctive — views of the sprawling city of Tokyo, and Asano's character designs are almost all very attractive. The most especially appealing of the bunch are Meiko and Taneda, a fact that helps readers to feel for this couple and the challenges they face.

Solanin is a breath of fresh air from the melodrama of many manga series. It combines honest, slice-of-life comedy with human drama, moderated by a sense of how real people react to their daily struggles. Never too ridden with pathos, Solanin walks the very line that most people do throughout their lives, playing the balancing act between the sorrows and the joys of life. It is a beautiful achievement of the graphic novel medium, and a testament to the power that true slice-of-life manga can have on a reader, if executed correctly.



This review is based on a Viz Media graphic novel purchased by the reviewer.



excellent.

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Review: Excel Saga vol. 1-20 (Manga)

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Excel Saga, vol.1 Medium: Manga
Author: Rikdo Koshi
Genre: Comedy
Volumes Released: 20 (US/UK) 23 (JPN)
Serialized in: Young King OURs (Shonen Gahosha)
Version Reviewed: Viz Media UK version ("Action" imprint for volumes 1-14)
Release Dates: Aug 2003 - present (US/UK), 1997 - present (JPN)
Age Rating: "Older teen" (15+)

First, a very brief disclaimer and admission, if you will indulge me: Excel Saga was my first manga series, which I started to read years ago after being shown some of the TV anime by a good friend. I was instantly hooked and hurriedly bought all of the available volumes to the detriment of my meager funds. It is also responsible for the only tiny anime figurine I will probably ever purchase.

The titular character, Excel, is a member of ACROSS, an organization dedicated to taking over the world, starting with the conquest of a moderately-sized city. One step at a time, y'know. The manga focuses on the organization, its opponents, and the innocent bystanders who are locked in a bizarre and rapidly escalating struggle for supremacy. The plot is rarely taken seriously, treated instead as a springboard for jokes and crazy sequences which keep the events portrayed fresh, as well as making the reader sit up and take notice when something serious does happen amongst the unrelenting humor.

The plot constantly raises questions, but provides few answers, dropping various hints and details all the time. It is entirely up to the reader to try and put these elements together and fathom the deeper intrigues of the plot, helping to draw you into the frankly absurd action. The sheer amount of incompletely or simply unanswered questions can lead to a constant state of cliffhanger that, while a great source of tension in the series, is also frankly exhausting. This is especially evident in later volumes wherein, although you can make educated guesses, there are no definitive answers to some rather large questions.

The reason this aspect never becomes a true deal-breaker is that the focus on comedy is never forgotten — throwaway lines, crazy events, and a plethora of background gags are packed into each page and make it an honest joy to read. The localization is impeccable, including a full afterword from the editors — who clearly love the title — that also provides interesting background material to enrich the reading experience.

The art in Excel Saga is exceptional, especially in the sheer amount of painstaking detail that has clearly been invested into each and every panel, both the well-crafted settings and the characters who prance around inside them. The level of depth on display really helps to draw you in; not just simple backgrounds, but entire drawn scenes and panoramas set the stage. In addition, the sheer diversity of the art for the characters ensures each actor is a real individual, some of whom are drawn in different art styles entirely for their humorous potential. The art shows flair in other ways as well, playing around with ways of displaying speech, layout and perspective to keep the whole thing fresh.

All this served to draw me in completely, with one small caveat that is probably only the concern of wet drips like me: the level of fanservice creeps up as the series continues, although it is still rather tame and thankfully focused on realistic adult characters.

The characters are a weird bunch and only get stranger as the series goes on, simply because they go through so much crazy junk. By the time you get to the latest volume, some of the more influential players now have a back-story so convoluted it would make a daytime soap opera character say “Damn, that's messed up!” Sadly, some of this development comes in the form of the classic standby amnesia, although this is well handled, to the series’ benefit.

A lot of the characters are based on cleverly subverted tropes, for example: the energetic, hard-working, but not especially bright girl, the sickly girl, and the lolita robot, among others. Even with this, all characters are fully fleshed-out, with both straight-faced and comical aspects, so they not only feel like a real part of the series but remain enjoyable to follow.

There are many characters active in the storyline at any one time and any possible confusion that could arise is neatly sidestepped by the act of focusing on one particular group or perspective at a time, thus saving your poor brain-meats from melting. This also creates a deeper appreciation of each of the characters and their personal input into the storyline; they all get their special time in the spotlight. This is especially true of the more conniving or enigmatic characters who rarely reveal their true thoughts when others are about, ratcheting up the tension in the series.

The only anime figure I own

The series is amazing to re-visit, and a surprising number of jokes and situations remain fresh even after the second or third reading. I kept finding small jokes or hits I had not seen the previous time though, and rediscovering events that I had completely forgotten about. Even on my personal fourth reading I found brand new details.

There are complaints to make about Excel Saga, and they are not small ones, to be honest. After 20 volumes, the plotline shows no sign of resolving itself any time soon — in addition there are (at the time of this writing) 23 volumes total released in Japan and none of these show signs of wrapping up the storyline either. The pacing, despite never feeling slow while reading, certainly is — it takes a rather long time to get through a volume and while this provides good value it can also wear you out — especially when the plot refuses to answer some of the more burning questions. One particular time, I was reading while cooking dinner (had to fit it in somewhere) and after seeing a hidden hint that pointed to a later plot occurrence, I said something along the lines of “Oh, damn!” I then ran out to pull another volume or two off of the shelf to check my hunch, leaving my dinner to burn.

Despite the rather daunting length, the entertainment and comedy value of the series is sky-high and engrossing to a fault. Re-reading this series has caused me to lose sleep due to being utterly enraptured, as well as the aforementioned pasta bake that I left to burn.

Thanks, Excel Saga!



excellent.

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Review: Claymore vol.1-15 (Manga)

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Claymore volume 15 cover Medium: Manga
Number of Volumes: 15 (as of 12/12/2009)
Volumes Reviewed: 15
Genres: Action, Fantasy
Author: Norihiro Yagi
Licensed? Yes (Viz Media)
Version Reviewed: Viz Shonen Jump Advanced GN release
Released: 2001- (JPN), 2006- (UK/US)
Age Rating: "Older teen" (15+)

The basic plot concept behind Claymore is nothing shocking – but it is done well. Humankind is under attack by monsters, so some of the humans partake of the monsters' flesh to become a hybrid that then has the power to defeat the monsters. You may remember this premise from elsewhere and would be forgiven for not thinking it entirely original. However this simplicity is a major strength of the series as it allows the storyline to revel in all of the different possibilities, developing over time with many extensions and permutations rather than skipping off to find something entirely different whenever a plot point has run its course.

The art in Claymore succeeds on many fronts that enhance the title as a whole, and make it refreshing to read. While the setting itself is from generic European feudal county number 24½, the quality of the drawn backgrounds is impressive, and the unified architectural style makes the places feel like more than just potential battlegrounds for the characters to mess up.

In addition to the backgrounds, the characters, clothing, and monsters all have their own established style – taken together the world feels like a completed whole. This is especially true of the main characters themselves, who despite all having the same basic template (taciturn albino lady with a sword) come across as real individuals that you can tell apart at a glance due to their unique characteristics. In addition, almost all of the monsters presented in the series are outstandingly different from one another while retaining a few set artistic rules that you can see carried between them. You can easily imagine all these things co-existing in the same world, which helps maintain suspension of disbelief, leaving you to happily truck through the manga without any niggling worries about consistency.

The art during action scenes has a fluid simplicity to it, allowing you to follow the attacks easily and understand what exactly is happening and to whom. This sounds like a rather obvious thing, but it would be so easy to fail at this key element and, in doing so, make the combat sequences an unclear mess. The clarity of the art also helps in showing damage to the characters and the surroundings, upping the tension even further. As a result you can happily skip your eyes from panel to panel and easily follow along with the action, making the whole thing much more tense and, to be honest, badass.

Even better is that my favorite aspect of art in fighting manga, the crazy face, is in full effect in this title. Some of the battle sequences have an average of up to two and a half mad grins per page! Sure, the combat is amazing, exhilarating, and consistently well drawn, but you only feel invested in these fights because of the characters involved. Unsurprisingly, half-monster hybrid warriors are rarely a happy bunch and get exposed to quite a lot of tragedy, through which you come to know them and what motivates them. The individual actions and pieces of dialogue are well written and flesh out the characters nicely so you get to know them.

Not only the characters themselves, but their interrelationships have a feeling of weight that grounds the various actors as individuals. Even a character who only appears for half a volume has impact and those who survive them are affected by the loss.

Of particular note are a pair of characters who are introduced rather early on, Helen and Deneve. The "odd couple" of the series, they have wonderful interaction between themselves and others every time they appear in the storyline and are a particular highlight of the cast.

The primary reason I enjoy this manga is the brisk pace with which it conducts itself; conversations last as long as your attention span, fights never feel as if they are dragging on, and you are not left wondering for long what happened to missing characters. This is especially apparent whenever there is a flashback or side story, which is executed without discontinuity in the flow of the story.

However, there is one important issue that I, and any paying reader, will have with the manga that should not be overlooked. Due to the streamlined art, plot, and pacing a volume of Claymore does not take very long to read, and takes markedly less time than other manga. Re-reading the currently released volumes was much quicker than I imagined it would be – while it was immensely enjoyable, it hurt to realize that each book I absorbed in about twenty five minutes had cost me seven British pounds. A similar worry was outlined by Erin Finnegan in her Shelf Life column, which contains a review of the Claymore anime series.

For a concrete example, the recently released 15th volume contained an amazing fight scene, a colossal plot bomb, the re-introduction of a key character, another plot bomb, and an additional fight scene. Sounds exhausting, doesn't it? The whole lot, which I read in the comfort of my bed on a Saturday morning, took the grand total of half an hour. Even worse, the next volume is not due out until June 2010, a long time to wait for another 30 minutes of awesome action.

Despite this financial worry, I would still certainly encourage you to take a look at the series to see if its wonderful display of exuberant, violent action takes your fancy.



good.

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Review: TokyoScope - The Japanese Cult Film Companion

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TokyoScope: The Japanese Cult Film Companion Medium: Book of Essays/Reviews
Author: Patrick Macias (foreword by Kinji Fukasaku, afterword by Takashi Miike)
Illustrator: Happy Ujihashi
Publisher: Viz Media (Cadence Books imprint)
Version Reviewed: Retail paperback, library copy
Release Date: November 2001

There was a time when anime was a cult phenomenon in the United States. A time when the only way to find episodes of your favorite giant robot show was to seek out either the obscure fansubbing group releasing a low-quality tape of it or the production company that just happened to license a strange show and release it in your local video store. Anime has now moved further into the mainstream, but for fans of Japanese pop culture, the cartoons are only the tip of the iceberg. Beneath the surface of the water is the other 90% of that iceberg, and there lies world of Japanese cult films. Patrick Macias' TokyoScope seeks to bring that world to the surface in a way that few have ever done before.

The book reads like a very fannish, often tongue-in-cheek exploration of every single facet of Japanese cult films, from their production to their promotion and theatrical showings. Japanese history is referenced in detail right next to scans of real posters from '70s triple-feature showings and silly, manic illustrations from Japanese artist Happy Ujihashi. Macias pulls no punches, with short one-page reviews of films of all calibers, ranging from monster movies to yakuza (mobster) flicks to softcore pornos (a.k.a. "pink films"). At the end of each genre-themed chapter, there is a series of extra articles, including interviews, scanned promotional materials, and/or profiles of actors, directors and such.

Macias' knack for storytelling carries the reader through the different chapters, connecting all of them through an omnipresent description of the Shinjuku Showakan theater, a defunct (as of 2002) movie theater originally built in 1932 that specialized in cult films, and was for a time even funded by yazuka, who often visited to watch the latest films about their fictional gangster counterparts. (For more on the Showakan, read August Ragone's writeup of the theater's final show.)

TokyoScope is the kind of book that holds far more information than one person could possibly absorb in one reading, a fact that serves as a reminder of just how much of a wealth of knowledge Patrick Macias is when it comes to Japanese pop culture. However, despite the wide range of genres and films, the focus of the book often circles back to a few major names, including directors Kinju Fukasaku (Fight Without Honor Or Humanity, Battle Royale), Ishiro Honda (Godzilla), and Takashi Miike (Dead Or Alive, Ichi The Killer) and actors Sonny Chiba, Bunta Sugawara, and Tetsuro Tamba. While all of the names might not sink in, even a quick first read of TokyoScope is a fantastic start for any new fan looking to get into the dark and dirty world of Japanese exploitation cinema. It might not add much for longtime fans of the films, but it certainly offers some insight into movies that they might have overlooked.

The book itself is a good size, with large pages and a light weight that makes it perfect for carrying around on the train or bus. Unfortunately it is published in black and white, which significantly ruins the value of having so many wonderful pictures of Japanese films both new and old.

We've now reached a point where anime has become a very noticeable presence in Western culture, so for many the light of animation has eclipsed Japanese live action cinema. In reality, however, there has never been a better time to seek out these films. As fans of Japanese culture seek out more entertainment to sate their apetite, they should reach out not only to the brightly lit halls of Akira Kurosawa, but also to the dimly lit Showakan theater, where the soft underbelly of Japanese cinema once lived. As an inviting gateway into this all-but-forgotten facet of Japanese cultural heritage, TokyoScope is unrivaled.



great.

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NYAF09: Viz Media panel report

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Inu Yasha: The Final Act, premiering on ShonenSunday.com/Anime mere hours after its October 3rd Japanese release

Viz Media usually holds their industry panels in the lazy Sunday morning block of conventions, and NYAF 2009 was no exception. At the con to talk about Viz's new licenses were Candice Uyloan and Lex Scheuble (pictures not available due to some trouble with my camera), who went over all of the facets of Viz's anime, manga, and novel lines.

New licenses were of course the big talk of the panel, so here's what Viz has got going for them in the anime and manga spheres:

  • Inu Yasha: The Final Act (simulcast on ShonenSunday.com/Anime): October 3, 2009
  • Monster (premiering on SyFy channel): October 12, 2009
  • Rin-ne by Rumiko Takahashi (simultaneous Japan-U.S. GN release): October 20, 2009
  • Gente by Natsumi Ono (sequel to Ristorante Paradiso): June 2010
  • Library Wars by Kiiro Yumi: June 2010
  • Vampire Knight Fan Book: September 2010
  • Grand Guignol Orchestra by Kaori Yuki: October 2010
  • Nice to Meet You, Kamisama by Julietta Suzuki: November 2010

In terms of the current lineup, Candice and Lex were very happy to mention that Naruto Shippuden will be airing this fall on Disney XD, though they haven't gotten any word on how much (if at all) Disney will be censoring the program for American television audiences. The new 30-volumes-in-6-months release strategy for One Piece also got some mention prompting questions from the audience about the possible expansion of such speedy releases to other triple-A shonen titles such as Bleach or Inu Yasha. According to Scheuble, "We don't know, but we can take that back to our team and see." Pretty much, don't count on it, since Viz's production team is already working very hard to bring two series (Naruto and One Piece) to the U.S. at an accelerated rate.

Signature IKKI (SigIkki), featuring online versions of underground seinen manga from the Japanese magazine of the same name

SigIkki.com, Viz's new website featuring Viz Signature titles from underground seinen magazine IKKI, also received some time at the panel, alongside news that the service will be getting two new titles: Bob and His Funky Crew (Bob to Yukaina Nakamatachi) by Puncho Kondoh and What's the Answer? (Kotae Wa Mittsu) by Tondabayashi.

Last but not least is Viz's relatively young Haikasoru line of translated Japanese novels, to which they added four new titles:

  • The Book of Heroes (Eiyū no Sho) by Miyuki Miyabe: January 2010
  • Loups-Garous by Natsuhiko Kyogoku: January 2010)
  • Slum Online by Hiroshi Sakurazaka: March 2010
  • The Next Continent by Issui Ogawa: May 2010

[Thanks to the Anime News Network for clarification on some of the news that I missed.]

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Viz announces simultaneous release for new Takahashi manga, Rin-ne

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PUT ALT HERE

At the New York Comic Con this past February, North American manga distributor Viz announced their license of "Rumiko Takahashi's new manga." At that time, the manga was not even titled, but was sure to find widespread popularity thanks to the preeminent status of its bestselling female author (creator of Inu Yasha and Ranma 1/2). Now, Viz has announced that the series, titled Kyokai no Rinne (or just Rin-ne), will see a simultaneous release in Japan and America when it hits Japanese shelves on the pages of Weekly Shonen Sunday magazine on April 22.

Here in the States, fans will be able to catch the first chapter of Takahashi's newest boy-meets-girl-hilarity-ensues manga on the new English-language home of Takahashi's works: TheRumicWorld.com. This strategy mirrors Viz's recent attempts to cut off the popularity of Naruto fansubbers by streaming the hit anime on the ad-supported Naruto.com. That strategy was seen by some as a noble yet flawed attempt to popularize streaming, simulcast anime, but it did indeed help to pave the way for FUNimation's similar release strategy for Fullmetal Alchemist: Brotherhood.

But Rin-ne's simultaneous release is not only significant because of its parallels to simulcasted anime. It also represents the first time (as far as I recall) that a manga publisher here in the United States has actively sought to translate a title before it has been released in Japan. This joint creation-translation method could be a new paradigm for an industry that fears a decline similar to the one seen in the anime industry in 2008. Let's just hope that their translators can keep up with that insane week-by-week manga schedule!

[via ICv2]

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NYCC09: Takahashi manga joins nearly a dozen new Viz licenses

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Mark Chang and Candice Uyloan

I know that I'm reporting on the Viz Media panel a little late, but hopefully this isn't already old news for everybody. At the New York Comic Con, the biggest announcement from Viz was that they have already licensed the newest manga series from bestselling creator Rumiko Takahashi (Urusei Yatsura, Ranma 1/2, Inu Yasha). Takahashi has not even announced what her story will be about, but Viz (which publishes most of Takahashi's work) has already secured a deal to bring the manga out in 2009, most likely putting it within mere months of the Japanese release! Scanlators will have a hard time competing with graphic novel releases sitting in American bookstores soon after they're available in Japan. Now what I want to see is both anime and manga companies adopt strategies like this, in which the license for a show is decided before it releases. It'll significantly speed up the localization process, putting fan translators in an untenable position.

On that front, Viz also announced a quickened release schedule for the Naruto graphic novels. They will release "eleven new Naruto manga in three months," according to Director of Marketing Mark Chang. That means a manga a week, which is sure to be hell on translators (and teenagers' wallets) as both struggle to keep up with the pace of Masashi Kishimoto's furiously-updated series.

Additionally, Ultimo, the manga created by the team of Stan Lee (Spider-Man, X-Men, The Fantastic Four) and Hiroyuki Takei (Shaman King), will be coming to the North American Shonen Jump, with a tentative launch date of July 2009.

Finally, I've listed all of Viz's new manga licenses after the break.

  • YuGiOh! R by Akina Ito - Oct. 2009
  • Boys Over Flowers: Jewelry Box by Yoko Kamio - Oct. 2009 (It's actually just another volume of the manga, but they're releasing it as a sort of sequel/epilogue)
  • The Gentlemen's Alliance Cross Artbook by Arina Tanemura - Nov. 2009
  • Beast Master by Kyousuke Motomi - Nov. 2009
  • Butterflies, Flowers by Yuki Yoshihara - Dec. 2009 (an M-rated josei title)
  • Jormungand by Koitaro Takahashi - Nov. 2009
  • What a Wonderful World! by Inio Asano - Oct. 2009
  • GoGo Monster by Taiyo Matsumoto - Nov. 2009 (from the creator of Tekkon Kinkreet)
  • All My Darling Daughters by Fumi Yoshinaga - Jan. 2010
  • not simple by Natsume Ono - Jan. 2010
  • Natsume Yuujinchou by Yuki Midorikawa - Jan. 2010

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