From the stack: Chi’s Sweet Home

We adopted a dog not too long ago. Her previous owner had passed away, and she was being fostered by a kind family in a neighboring town. She’s about two years old and small, apparently some kind of hybrid of Chihuahua and Dachshund, and yes, she looks as odd as that combination suggests. (We’ve unofficially labeled the hybrid “Gummi Weasel,” but we have yet to hear back from the AKC.)

She’s adorable and quirky and we love her very much. Of course, introducing an animal into a new house never goes flawlessly, at least in my experience, but we’re doing our best to convince her that our home is her home and that we’ll always have her best interests at heart, while reassuring our preexisting brood that they’re loved every bit as much as they were before this little alien moved in.

During this gradual and pleasurable process, I’m reminded of the many things Kanata Konami gets exactly right in creating Chi’s Sweet Home (Vertical). I say “reminded,” because I’m sure we relearned all this the last time we welcomed a new animal, but I guess it’s a much milder version of what some people say about childbirth: you forget the negatives, and you just remember the outcome.

The beauty of Chi’s Sweet Home isn’t in its narrative sweep but in the way that Konami captures specific beats in the process of being a pet owner. Yes, there are plenty of kittenish antics from the titular feline, but the spine of the series is her human family adapting to their shared responsibility for this furry little creature. They shift things around in their household to make sure Chi is both safer and less prone to mischief. They take her to the veterinarian. They figure out what kind of food she likes. They trim her nails. They make choices and sacrifices that responsible people make when they add an animal to their family.

If the book was simply about a cute kitten doing cute things, I don’t believe it would be nearly as successful as it is. Powerful a force as cuteness is, care-giving isn’t all romping with plush toys and blissful naps. It’s sometimes messy, sometimes expensive, and sometimes inconvenient. The cuteness is the reward, as is the affection and the gradually strengthening bond between pet and owner. (This is one of the reasons that I think Chi’s Sweet Home would be a great comic for a kid, since the work end of the equation isn’t neglected.)

Over at Comics Alliance, David Brothers gives a persuasive summary of the book’s strong points, noting that Konami has a good grasp of feline behavior. This is absolutely true, and she doesn’t over-anthropomorphize Chi’s antics. She doesn’t need to, because she finds all of these telling moments in the warmly everyday relationship between humans and pet.

Brothers also notes Konami’s willingness to fold sadness into the narrative, which is also entirely correct. I knew it was dramatically successful when I originally read the sequences Brothers describes. But I know it’s accurate from watching our new dog have moments when she seems to remember that our house hasn’t always been her house, that she’s had other, meaningful people in her life, and that something inside her amounts to unfinished business. And if you ignore those moments or reject them, you miss the fullness of the experience that Konami is describing. I never thought I’d use the phrase “mono no aware” to describe a manga about a kitten, but I guess that’s what you get when it’s a seinen manga about a kitten.

So, as we continue to welcome our new little citizen to the household, I’ll certainly keep up with Chi’s immersion in her new home. And I’ll probably have a Gummi Weasel on my lap as I do so.

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

Upcoming 2/9/2011

It’s a huge week for Viz via Diamond, though some books have already shipped through other venues. (See my pick of last week and my pick of this week, and bask in the bafflement!) If you buy your manga shopping via Diamond-dependent comic shops, you have many, many choices, at least according to the ComicList.

Had Viz not sent me a review copy of the second volume of The Story of Saiunkoku, adapted from Sai Yukino’s light novels by Kairi Yura, I probably would have camped out at the local bookstore and repeatedly mispronounced the title as I asked if it had arrived yet. Such was the force of my reaction to the first volume. But does the second hold up? Yes, it certainly does. While not the same kind of revelation, I still ran to my computer to make sure there are more volumes to come. (There are.)

This was a concern, since the first two volumes form what must be an adaptation of Yukino’s first novel in the series. Having established the leads, seemingly feckless emperor Ryuki and his frugal, forceful tutor, Shurei, Yura and Yukino put them in danger in the form of palace intrigue. To be entirely honest, the details of the scheme are much less interesting than Ryuki and Shurei’s individual and collective responses to it. But their shifting but well-balanced relationship is still a complete treat, and the prospect of reading about their next encounter is pure, happy anticipation.

If you like stories about smart, feisty girls sparring with deeper-than-they-seem boys, this series can be injected directly into a vein for that sweet, sweet rush of shôjo romance between the very different but equally matched.

In other Viz news, there’s the seventh volume of the always welcome Kimi ni Todoke: From Me to You, written and illustrated by Karuho Shiina. This one promises lots of holiday activity, which is always fun.

There’s also the less welcome but still potentially intriguing second volume of Genkaku Picasso, written and illustrated by Usumaru Furuya. I wasn’t especially impressed with the first volume, but I find Furuya kind of fascinating, so I’ll probably succumb at some point.

What looks good to you?

Canada is just plain cooler

The Toronto Comics Art Festival has scored a coup:

The Toronto Comic Arts Festival (TCAF) is excited to announce that internationally renowned manga creator Natsume Ono will make her first-ever North American public appearance as a Featured Guest at TCAF 2011. Hailing from Japan, Ono is one of the most exciting and unique women working in the medium today, and she will appear on panels and sign books in support of her English language works at Toronto Reference Library, May 7 and 8, 2011. Ono appears with the support of her English-language publisher VIZ Media.

Since I can’t resist praising Ono whenever her name comes up, I will happily repeat another paragraph from the press release:

“Ono’s fantastic work fits squarely into the ‘art comix’ idiom that’s at the core of the Festival,” enthuses Festival Director Christopher Butcher. “It’s the type of work we try to encourage. She’s a true auteur, working in a variety of styles and on different subjects, and her work is sure to find favour with fans of our other Featured Guests including Chris Ware, Jillian Tamaki, Mawil, and Adrian Tomine.”

You may recognize Mr. Butcher from his awesome blog or his work as manager of The Beguiling.

The cruelties of the calendar generally mean I can’t travel during the Festival, but I’m sure Ono’s appearances will be packed. I would certainly be elbowing people out of the way to get floor space, believe me. This is because I uniformly adore Ono’s work, going so far as to theoretically adore work that has yet to be published in English.

Other people who are excited by this news include Brigid (Robot 6) Alverson, Deb (About.Com) Aoki, and Heidi (The Beat) MacDonald. Erica (Okazu) Friedman and I were yammering on Twitter the other day about her concept of a “fifth genre” of manga that extends beyond, fuses, or ignores traditional demographic categories, and I only half jokingly suggested that you can identify a fifth-genre anthology by its serialization of work by Natsume Ono. Sure, she hasn’t had work run in Comic Beam, to my knowledge, but she’s all over IKKI, Manga Erotics F and Morning Two.

Chatty types

Here are a couple of links to recent conversations on comics in which I’ve been a participant:

First, Kate (The Manga Critic) Dacey and I talked over Nicolas de Crécy’s Salvatore, recently released by NBM.

Second, genial host Ed (Manga Worth Reading) Sizemore held a Manga Out Loud podcast on Felipe Smith’s edgy Peepo Choo (Vertical), and invited Erica (Okazu) Friedman, Melinda (Manga Bookshelf) Beasi and me to join in.

From the stack: Set to Sea

After the announcement of one of my favorite annual award programs, the Great Graphic Novels for Teens, I decided it might be fun to look at all of the books in the top ten this year. Since the list is always interesting and varied, it’s less of a homework assignment than a usefully structured pleasure.

I wish I could claim some metaphorical design in my first choice, but it was made at random. There’s nothing random about Drew Weing’s Set to Sea, though, which publisher Fantagraphics describes as “part rollicking adventure, part maritime ballad told in visual rhyme.” If that last part sounds a little pretentious, don’t worry. Fantagraphics’ solicitations always sound a little pretentious, even when they’re absolutely true.

Weing’s story does have the shapeliness of a poem, and it has the careful structure of a three-act play. It follows a would-be poet as he becomes an unwilling participant in the kind of seafaring adventures he tries to set to verse. In spite of his imposing size, he’s a tentative sort, and the brutality of life at sea takes a while to penetrate. When it does, he still maintains his artist’s viewpoint, and Weing neatly persuades us that art of any sort is better with some life experience to inform it.

That may seem to be a little ironic, given that Set to Sea is Weing’s debut graphic novel. He’s an experienced creator of webcomics, though, and that’s where this book was born. Consequently, each page is a single panel, but each of those panels is so attractively detailed and evocative that the storytelling structure never feels rigid. Instead, it comes across as economical and precise while still filled with event and emotion. It’s a quick read, but it’s very satisfying, and it just invites you to revisit the story again.

You could read it online, obviously, but the physical package is very handsome and worth the investment. In dimension, it’s like a diary or sketchbook that a traveler would carry, appropriately enough. Kevin (Robot 6) Melrose listed its cover as one of the best of 2010, and he’s quite right. The book itself wound up on a number of Best of 2010 lists, including Andrew Salmond’s and Martin Steenton’s at Forbidden Planet International, Brigid Alverson’s at Robot 6, and the Vulture blog of New York Magazine, and Glen Weldon of NPR’s Monkey See counted it among his most memorable comics and graphic novels of the year.

Set to Sea offers a wonderful beginning to this little project of mine. It’s artistically successful on every front, but Weing’s substantial craftsmanship never overwhelms the simple, heartfelt story he’s telling.

Other reviews in this intermittent series:

You can nominate titles for the next Great Graphic Novel for Teen List, and you can take a look at the current batch of contenders.

 

Onwards and upwards with Vertical

There’s some fabulous news from Vertical via Anime News Network. They’ve announced three new licenses, two of which are some of the most eagerly awaited of them all. (Coincidentally, both of those are license requests.)

First up is Osamu Tezuka’s Princess Knight, originally published in Kodansha’s Shôjo Club and to be released in two volumes here. Kodansha published bilingual editions ages ago, though they’re long out of print and very expensive. Viz published a sample chapter in its defunct Shojo Beat magazine, which raised hopes that a license might be imminent, but it took Tezuka specialists Vertical to make it happen. It was published in French by Soleil. (Update: It’s been suggested to me that Vertical is most likely to publish Tezuka’s second take on the series, which ran in Kodansha’s Nakayoshi roughly a decade after the original.) (Update 2: But they aren’t, and are, in fact, going with the original version. I’m delighted either way.)

Next is Drops of God, or Kami no Shizuku, written by Tadashi Agi (the pseudonym for wine-loving siblings Yuko and Shin Kibayashi) and illustrated by Shu Okimoto and serialized in Kodansha’s Weekly Morning. I don’t think there’s ever been a Japanese comic that’s received as much ink in English-language media, in spite of the fact that it had yet to be published in English. There was some indication in April of 2010 that the book’s licensing was imminent. It’s being published in French by Glénat.

Last up is No Longer Human, Usumaru Furuya’s adaptation of Osamu Dazai’s novel of the same name. It’s currently running in Shinchosha’s Comic Bunch. It’s about a troubled man who hides his true nature from the people around him.

Aside from a perfectly understandable level of excitement about these titles for their own merits, it’s nice to see that Kodansha is still working with other publishers to release titles that help express the breadth of their catalog, and it’s great that they chose Vertical, a company with a strong track record of publishing both classic and unique contemporary titles.

A look at the Shogakukan winners

Anime News Network lists the winners of the 56th Shogakukan Manga Awards. Only one of the slate is available in English, Fumi Yoshinaga’s Ôoku: The Inner Chambers (Viz), which won in the Girls’ Category and has also previously shared the Osamu Tezuka Cultural Prize with Yoshihiro Tatsumi’s A Drifting Life (Drawn & Quarteroy), won the Tiptree Award, and made the top 10 in 2010’s Great Graphic Novels for Teens list.

Natsumi Matsumoto’s Yumeiro Pâtissière won in the Children’s Category. It’s about an enthusiastic young baker who enters an elite pastry school in spite of her clumsiness. She meets cute boys and is helped by a magical spirit named Vanilla. You can’t make a good dessert without a little Vanilla. It’s running in Shueisha’s Ribon. Viz has published Matsumoto’s St. Dragon Girl.

Takeshi Sasaki’s King Golf won in the Boys’ Category. It’s about a delinquent whose life changes when he takes up golf. I’m now picturing its chances for commercial success in the United States, which conjures images of middle-aged white men discussing the latest volume over highballs at the country club. Yeah. It’s being serialized in Shogakukan’s Shonen Sunday.

The General Category is split between two titles, the first being Shohei Manabe’s Ushijima the Loan Shark. Unsurprisingly, it’s a manga about the seedy criminal underbelly of loan sharks, the black market, and other unsavory activities, and I’d guess that it’s somewhat episodic in nature. It’s running in Shogakukan’s Big Comic Spirits. Tokyopop published some of Manabe’s Smuggler and all of Dead End, though it lost the licenses when Kodansha reclaimed their properties.

It tied with Chûya Koyama’s Uchû Kyôdai, which was nominated for a Manga Taisho Award last year. It looks very promising.

But which of the unlicensed titles look good to you?

License Request Day: Akuma to Dolce

I’ll confess that I wasn’t familiar with the work of Julietta Suzuki before the announcement of the current Manga Moveable Feast. My mixed history with aspirational robotic fiction didn’t make Karakuri Odette an insta-buy, and my standoffishness towards reedy boys with more than one set of ears, while not yet the stuff of legend, is at least strong enough to make me look askance at Kamisama Kiss (Viz). But I do like what I’ve read of Karakuri Odette, and reliable sources have reassured me that Kamisama Kiss is a pleasant diversion.

As is the way of things (with me, at least), I’m disproportionately excited about a Suzuki series that has yet to be licensed. This is because Erica (Okazu) Friedman mentioned that her wife is very fond of Suzuki’s Akuma to Dolce. I’ve never had the pleasure of meeting Erica’s wife, but I’ve divined the fact that our tastes in shôjo are eerily similar. (Never underestimate the bond formed by a shared love for V.B. Rose.)  Add to this the fact that I really like comics about people who bake, and my anticipation becomes more pronounced.

It’s apparently about a girl with an aptitude for both magic and cooking. She inadvertently summons a powerful demon who, conveniently enough, will do just about anything for a sweet treat. From there, I would imagine that standard but charming, slightly idiosyncratic shôjo antics ensue. And this is sometimes all I require from a series.

Akuma to Dolce is currently running in Hakusensha’s The Hana to Yume, which is not to be confused with Hana to Yume, the magazine home to all of her major works to date. There are two volumes available thus far.

Speaking of yet-to-be-licensed manga about people who make dessert, Alexander (Manga Widget) Hoffman conducts a thorough investigation of Setona Mizushiro’s Un Chocolatier de l’Amour Perdu, which was recently nominated for a Manga Taisho Award.

Upcoming 1/19/2011

One of the common complaints about shônen manga centers on the set pieces, particularly lengthy battle sequences where the hero demonstrates his resolve for the better part of a volume. This can be a fair criticism, especially when these long story beats don’t really reveal anything new about characters or advance the plot. I mention this objection because the second book of Mitsuru Adachi’s Cross Game (Viz) has shipped, and, while most of the two volumes collected there are about a single baseball game, it’s the opposite of a long and pointless set piece.

Adachi did the hard work of assembling a totally winning cast in the first volume. He’s also a wonderfully economical creator. By that, I don’t mean that he moves with unnecessary speed; what I’m saying is that he makes best use of his pages. So while a single baseball game can take a volume and a half, that single game is packed with humor, evolving relationships, growth, and, I say this as someone who could not be forced to watch an actual baseball game, excitement. The volume reads like the wind, but it’s fully satisfying, and the pacing is terrifically quirky.

For bonus points, Adachi takes pains to expand on the character of Aoba. She was already likable as the most clear-eyed skeptic when it comes to series protagonist Ko Kitamura. This time, she gets to demonstrate her considerable smarts, providing running commentary on the game while grudgingly realizing that her opinion of Ko may have to evolve. She’s no less formidable for that attitude adjustment, which is great.

It’s just a terrific comic. Adachi does every single thing right in creating a splendid, accessible entertainment that displays both sturdy craftsmanship and singular style.

So that’s a little more on my pick of last week, and here’s my pick of this week. It’s a slow one.

Browsing through this year’s Taisho nominees

Thanks to Sean (A Case Suitable for Treatment) Gaffney for tweeting the news that the nominees for the 2011 Manga Taisho Awards have been announced. (Here’s Wikipedia’s entry on the awards with lists of nominees and winners from previous years.) Khursten (Otaku Champloo) Santos has already taken a look at the nominees, but I’m totally obsessed with this awards program, so I can’t resist mentioning them here at possibly ridiculous length.

I Am a Hero, written and illustrated by Kengo Hanazawa, seinen, serialized in Shogakukan’s Big Comic Spirits, also nominated last year. It’s about a mangaka whose working and personal lives are disrupted by a possibly delusional, sinister conspiracy.

A Bride’s Story, written and illustrated by Kaoru Mori, seinen, serialized in Enterbrain’s Fellows!, due for publication in English from Yen Press. Mori is already much loved by English-language manga readers for Emma and Shirley (both from CMX). A Bride’s Story “tells the tale of a beautiful young bride in nineteenth-century Asia,” as she prepares for an arranged marriage with a much-younger man.

Omo ni Naitemasu, written and illustrated by Akiko Higashimura, seinen, serialized in Kodansha’s Morning. It’s a comedy about the mistress and muse of an artist. Higashimura seems to be something of a favorite with the Taisho panel, having been nominated for Kuragehime (from Kodansha’s Kiss) last year, Mama ha Tenparist (from Shueisha’s Chorus) in 2009, and Himawari (from Kodansha’s Morning) in 2008. She hasn’t won a Taisho yet, but it seems like it’s only a matter of time.

Kokkoku, written and illustrated by Seita Horio, seinen, serialized in Kodansha’s Morning Two. I can’t find much information, other than that it’s an action-mystery story. It also seems to be Horio’s debut ongoing.

Sayonara mo Iwazu ni, written and illustrated by Kentarô Ueno, seinen, serialized in Enterbrain’s Comic Beam. Again, I’m somewhat at a loss, but the title loosely translates to something like “Silent Goodbye.” “Without Even Saying Goodbye.” (Thanks, Travis!)

Saru, written and illustrated by Daisuke Igarashi, seinen, serialized in Shogakukan’s IKKI. It’s about a supernatural war between the physical and mental sides of an ancient and powerful being of some sort, so it sounds like it’s very much in Igarashi’s wheelhouse. You may be familiar with Igarashi from his wonderful Children of the Sea, which Viz is serializing on its SigIKKI site.

March Comes in Like a Lion, written and illustrated by Chica Umino, seinen, serialized in Hakusensha’s Young Animal, also nominated in 2009. It’s a slice-of-life story about a gifted but antisocial shogi player. You may be familiar with Umino from her wonderful Honey and Clover (Viz).

Un chocolatier de l’amour perdu, written and illustrated by Setona Mizushiro, josei, serialized in Shogakukan’s Flowers and Rinka, published in French as Heartbroken Chocolatier by Kazé. It’s about a lovelorn candy maker with a possibly unfaithful girlfriend. You may be familiar with Mizushiro from X-Day (Tokyopop), After School Nightmare (Go! Comi), or from previous license requests.

Shingeki no Kyojin, written and illustrated by Hajime Isayama, shônen, serialized in Kodansha’s Bessatsu Shônen. It’s about the fight of a human race fighting back against the violent giants who have been terrorizing them for centuries.

Drifters, written and illustrated by Kouta Hirano, seinen, serialized in Shônen Ganosha’s Young King OURs. It’s an historical fantasy about a samurai who’s transported to a mysterious world. You may recognize Hirano from Hellsing (Dark Horse).

Don’t Cry Girl, written and illustrated by Tomoko Yamashita, shôjo, serialized in Libre Shuppan’s Kurofune Zero. I can’t find much information on the series, but you may recognize Yamashita from Black-Winged Love and Dining Bar Akira (Netcomics).

Hana no Zubora-Meshi, written by Masayuki Kuzumi, illustrated by Etsuko Mizusawa, published by Akita Shoten. I have no idea what it’s about, but the cover is cute, and it’s in the josei category.

Mashiro no Oto, written and illustrated by Marimo Ragawa, shônen, serialized in Kodansha’s Monthly Shônen Magazine. It’s about an aimless young man who finds purpose in playing the Shamisen, a traditional Japanese string instrument. You may recognize Ragawa from Baby & Me (Viz) or from N.Y.N.Y., a seminal but as-yet-unlicensed boys’ love title.

So, what are your thoughts? Any of the above titles look particularly enticing to you? Do you have any more details on any of the above? There are some terrific, established creators in the mix, along with some promising-looking newcomers.

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Un chocolatier de l’amour perdu, written and illustrated by Setona Mizushiro, josei, serialized in Shogakukan’s Flowers and Rinka, published in French as Heartbroken Chocolatier by Kazé. It’s about a lovelorn candy maker with a possibly unfaithful girlfriend. You may be familiar with Mizushiro from X-Day (Tokyopop), After School Nightmare (Go! Comi), or from previous license requests.