The Manga Curmudgeon

Spending too much on comics, then talking too much about them

You are here: Home / Archives for Viz

Sunday on the web with Viz

by

shosuncoverI’m guessing that the recent flurry of press releases from Viz is some kind of pre-San Diego warm-up routine to prevent cramping during panels. The one that’s really caught my eye is the announcement of another imprint, Shonen Sunday. The full release is below, but here’s the nut paragraph:

“[Viz] has announced the launch of a brand new imprint, SHONEN SUNDAY. Featuring the works of some of the top shonen manga creators in the world today, the Shonen Sunday magazine in Japan provides the content for this imprint. The magazine recently celebrated its 50th anniversary since its first issue arrived on newsstands in March of 1959.”

Here’s the Wikipedia entry on the parent magazine from Shogakukan, and here’s the magazine’s Japanese web site. It joins Viz’s Shonen Jump imprint, which features manga from Shueisha, which co-owns Viz with Shogakukan and probably wanted its own brand. It also allows Viz to brand some of its homeless shônen titles.

With the demise of Viz’s Shojo Beat magazine, speculation and wishful thinking have turned once again towards the possibility of Viz creating an online presence or anthology featuring manga for girls. I think that would be great, and while Viz still as the Shojo Beat imprint, the prospect motivated me to throw together a quick poll.

Edited: Posted too early, as I meant to add links to the listed magazines: Ribon (official), Margaret (official), Cookie (official), Betsucomi (official), Ciao (official). If you have another choice, please note it in the comments, and I’ll add related links.

Edited again to add other anthologies of choice, without regard to whether or not they’re published by either of Viz’s co-owners: Hana to Yume from Hakusensha (official), LaLa from Hakusensha (official), Princess from Akita Shoten (official), flowers from Shogakukan…

And, as promised, here’s the release:

VIZ MEDIA’S NEWEST IMPRINT, SHONEN SUNDAY, WILL RELEASE THE FIRST MANGA TO EVER BE PUBLISHED SIMULTANEOUSLY IN JAPAN AND NORTH AMERICA

A New Imprint and Web Site Launch Rumiko Takahashi’s Newest Series RIN-NE Gets Its First Volume

San Francisco, CA, July 8, 2009– VIZ Media, LLC (VIZ Media), one of the entertainment industry’s most innovative and comprehensive publishing, animation and licensing companies, has announced the launch of a brand new imprint, SHONEN SUNDAY. Featuring the works of some of the top shonen manga creators in the world today, the Shonen Sunday magazine in Japan provides the content for this imprint. The magazine recently celebrated its 50th anniversary since its first issue arrived on newsstands in March of 1959.

The first series to launch from the first volume under this new imprint will be RIN-NE by Rumiko Takahashi, the first manga novel ever to be published simultaneously in Japan and North America, which will arrive on store shelves on October 20, 2009. Chapters of RIN-NE have been serialized online for free at www.TheRumicWorld.com on the same weekly schedule as it appeared in Japan’s Shonen Sunday magazine since May of this year. The Rumic World web site is the official North American destination for all Rumiko Takahashi-related news.

VIZ Media will be announcing new Shonen Sunday series for 2010 at its Manga and Anime panel at the 2009 San Diego Comic-Con International on Friday, July 24th from 3:00-4:30 in Room 32AB. Other VIZ Media series that will move under the Shonen Sunday banner include INUYASHA, KEKKAISHI, CASE CLOSED, HAYATE THE COMBAT BUTLER, and YAKITATE!! JAPAN. Going forward, DVD products from the select series will also feature the Shonen Sunday imprint.

The imprint’s web site (www.ShonenSunday.com) will be updated regularly with exclusive content such as previews, trailers, news, and interviews and will go live on July 22, 2009.

RIN-NE by Rumiko Takahashi · VOL. 1 · October 20, 2009 · Rated T+ (For Older Teens) · $9.99 US/$12.99 CAN

As a child Sakura Mamiya mysteriously disappeared in the woods behind her grandma’s home. She returned whole and healthy, but since then she has had the power to see ghosts. Now a teenager, she just wishes the ghosts would leave her alone! At school, the desk next to Sakura’s has been empty since the start of the school year, then one day her always-absent classmate shows up, and he’s far more than what he seems!

RIN-NE is the first new manga from Takahashi since her epic INUYASHA (published domestically by VIZ Media) ended in 2008 in Japan. Shogakukan’s popular WEEKLY SHONEN SUNDAY manga magazine has featured Takahashi’s work since the early 1980’s. With over 170 million copies sold in Japan alone, Takahashi’s substantial catalog of work continues to be loved by legions of devoted readers.

The spotlight on Rumiko Takahashi’s career began in 1978 when she won an honorable mention in Shogakukan’s annual New Comic Artist Contest for Those Selfish Aliens. Later that same year, her boy-meets-alien comedy series, Urusei Yatsura, was serialized in Weekly Shonen Sunday. This phenomenally successful manga series was adapted into anime format and spawned a TV series and half a dozen theatrical-release movies, all incredibly popular in their own right. Takahashi followed up the success of her debut series with one blockbuster hit after another—Maison Ikkoku ran from 1980 to 1987, Ranma ½ from 1987 to 1996, and Inuyasha from 1996 to 2008. Other notable works include Mermaid Saga, Rumic Theater, and One-Pound Gospel. Takahashi won the prestigious Shogakukan Manga Award twice in her career, once for Urusei Yatsura in 1981 and the second time for Inuyasha in 2002. A majority of the Takahashi canon has been adapted into other media such as anime, live-action TV series, and film. Takahashi’s manga, as well as the other formats her work has been adapted into, have continued to delight generations of fans around the world. Distinguished by her wonderfully endearing characters, Takahashi’s work adeptly incorporates a wide variety of elements such as comedy, romance, fantasy, and martial arts. While her series are difficult to pin down into one simple genre, the signature style she has created has come to be known as the “Rumic World.” Rumiko Takahashi is an artist who truly represents the very best from the world of manga.

Upcoming 7/8/2009

by

fb23I’ll begin my look at this week’s ComicList with a request. If you’ve never actually read a volume of Natsuki Takaya’s Fruits Basket (Tokyopop), which concludes with its 23rd volume, I beg you to refrain from writing about the mega-hit in condescending, reductive terms. It’s not a cutesy romantic fantasy about people who turn into animals, or at least it hasn’t been since maybe its second or third volume. It’s actually a crushingly effective drama about breaking a generational cycle of emotional abuse and neglect, and it’s one of a very small handful of comics that has ever made me cry. It’s also a rare example of an extremely popular comic also being an absolutely brilliant comic, so in deference to the people who are going to miss new volumes rather terribly, please don’t call it “fluffy” or something equally inane.

catparadise1With that off my chest, I can look to the future, which includes a new series from Yuji Iwahara, Cat Paradise (Yen Press). CMX published Iwahara’s three-volume Chikyu Misaki, which still ranks for me as one of the most underappreciated manga ever to be published in English. It’s a terrific blend of fantasy and mystery with wonderful characters and unusual, eye-catching illustrations. Iwahara’s King of Thorn (Tokyopop), was less successful for me, though I found it to be a very competent survival drama. Of course, it was coming out at roughly the same time as Minetaro Mochizuki’s utterly genius survival drama, Dragon Head (Tokyopop), so it was bound to suffer in comparison. Anyway, Cat Paradise seems to be about students and their pets fighting against demonic forces or something like that, but describing Iwahara’s comics never really does them justice, and his work is always worth a look.

kp10I suspect the impact of its conclusion will be washed away in a sea of Fruits Basket tears, but I’ll also miss Kitchen Princess (Del Rey), written by Miyuki Kobayashi and illustrated by Natsumi Ando. It’s a cooking manga, which is enough to put it on my “read automatically” list, but it also became an increasingly effective melodrama as the series progressed. And there are recipes in the back. Try the Madeleine recipe. On the shônen front, Del Rey also offers a new volume of Hiro Mashima’s very entertaining Fairy Tail.

It’s also Viz’s week to remind me that I really need to hunker down and catch up with some series that I like very much: Hideaki Sorachi’s Gin Tama, Kazune Kawahara’s High School Debut, Ai Yazawa’s Nana, and Yuki Obata’s We Were There. In my defense, Viz keeps publishing great new manga, particularly in its Signature line, so it’s becoming increasingly impractical to keep up with ongoing series.

Previews review July 2009

by

There’s quite a bit of interesting material in the July 2009 edition of Diamond’s Previews catalog. Whether it actually makes it to comic shops is always a question worth considering, but the theoretical abundance is certainly alluring.

First up is Reversible: A Dojinshi Collection by various artists, published by Digital Manga. I’ve never heard of any of the creators involved (“Kometa Yonekura, Shiori Ikezawa, Haruki Fujimoto, Goroh, and many more!”), but the prospect of a book full of fan-created yaoi is too intriguing to pass up. (Page 241)

Masayuki Ishikaway’s eagerly awaited, Tezuka Prize winning Moyasimon arrives courtesy of Del Rey. “You might think that life at an agricultural university in Japan isn’t exactly exciting. But Todayasu, a student, sees the world differently – he has the unique ability to see, and communicate with, bacteria and micro-organisms, which appear to him as super-cute little creatures.” I was sold on this before it was even licensed. (Page 244)

ayaIf you haven’t treated yourself to the first two volumes of Marguerite Abouet and Clément Oubrerie’s earthy, charming soap opera set in the Ivory Coast of the 1970s, then you should catch up, since the third, Aya: The Secrets Come Out, arrives via Drawn & Quarterly. “It’s a world of shifting values, where issues like arranged marriage and gay love have Aya and her friends yearning to break out of the confines of their community, while the ties of friendship and support draw them back into its familiarity.” (Page 246)

Every month is better with some Jiro Taniguchi in it, and Fanfare/Ponent Mon provides. In this case, it’s the second volume of The Summit of the Gods, illustrated by Taniguchi and written by Yumemakura Baku. The ascent up Mt. Everest continues, and I’m guessing Taniguchi draws the holy hell out of it. (Page 252)

Oni Press is wise enough to devote a two-page spread to Lola: A Ghost Story, written by J. Torres, because you get to see some really lovely sample pages illustrated by Elbert Or. It’s about a boy named Jesse, who “sees dead people, monsters, demons, and lots of other things that no one else can see,” and must take up his grandmother’s mantle as protector of a small town. The mere promise of “pigs possessed by the devil” is reason enough for me to jot it down on the order form. (Page 278 and 279)

alecTop Shelf drops a massive omnibus, available in soft- and hardcover versions, of Eddie Campbells Alec comics, called The Years Have Pants (A Life-Size Omnibus). It “collects the previous Alec books, as well as a generous helping of rare and never-before-seen material, including an all-new 35-page book, The Years Have Pants. The softcover is $35, and the hardcover is $49.95, each coming in at 640 pages. (Page 296)

wawwI saw this on Twitter yesterday, and there it is in the catalog. Viz releases two volumes of Inio (Solanin) Asano’s What a Wonderful World! “With this series of intersecting vignettes, Inio Asano explores the ways in which modern life can be ridiculous and sublime, terrible and precious, wasted and celebrated.”

stitchesI automatically become nervous when buzz about a book reaches a certain pitch, so I’m glad I read a comp copy of David Small’s Stitches (W.W. Norton) before that buzz became too frenzied. It really, really, really is an extraordinary book. Small fearlessly renders childhood horrors with restraint and dignity, re-creating “a life story that might have been imagined by Kafka.” That isn’t hyperbole, and the advance interest in the book is entirely deserved, as will be the raves after it’s released. Seriously, it’s the kind of book that will end up on Best Books of 2009 lists in addition to a whole lot of Best Comics of 2009 lists. (Page 311)

yotsuba6Last, but certainly not least, Yen Press brings boundless joy to the world (at least the world occupied by people with good taste) by releasing the sixth volume of Kiyohiko Azuma’s hilarious, completely endearing Yotsuba&! Yen also releases brushed-up versions of the first five volumes, previously published by ADV. “Yotsuba recycles! She gets a bike, learns about sticky notes, and drinks some super-yummy milk which she then decides she has to share with everyone!” Bless you, bless you , bless you, Yen Press. (Page 312)

PR: Children of the Sea approaching

by

I try not to run too many press releases, but I’ve been enjoying this book online, and I really hope it does well:

VIZ MEDIA RELEASES DAISUKE IGARASHI’S SURREAL AQUATIC MANGA CHILDREN OF THE SEA

San Francisco, CA, June 22, 2009 – VIZ Media, LLC (VIZ Media), one of the entertainment industry’s most innovative and comprehensive publishing, animation and licensing companies, announced the release of Daisuke Igarashi’s surreal and riveting manga series, CHILDREN OF THE SEA, releasing July 21st in North America. The manga is rated ‘T+’ for Older Teens and will carry an estimated MSRP of $14.99 U.S. / $17.50 CAN.

vizikkiWhen Ruka was younger, she saw a ghost in the water at the aquarium where her dad works. Now she feels drawn toward the aquarium and the two mysterious boys she meets there, Umi and Sora. They were raised by dugongs and hear the same strange calls from the sea as she does. Ruka’s dad and the other adults who work at the aquarium are only distantly aware of what the children are experiencing as they get caught up in the mystery of the worldwide disappearance of the oceans’ fish.

Daisuke Igarashi is an award-winning manga creator who began his career in 1993. His series Majo received the Excellence Prize at the 2004 Japan Media Arts Festival and was nominated for the Fauve d’Or Best Comic Book Prize at the 2007 Festival International de la Bande Dessinée d’Angoulême. Little Forest was nominated for the 2006 Osamu Tezuka Cultural Prize. His current series Children of the Sea is the winner of the 38th Japan Cartoonist Award and runs in IKKI magazine.

CHILDREN OF THE SEA is the first title to be published under IKKI from VIZ Media, a sub-imprint of the VIZ Signature imprint. In addition to now offering the print version of Volume 1, VIZ Media and IKKI magazine in Japan have collaborated on an online destination (www.sigikki.com) to present free chapters of some of that magazine’s most-loved stories to English readers – beginning with CHILDREN OF THE SEA. The website also features an interview with the creator.

IKKI, a monthly magazine published in Japan has established itself as the home of some of the most innovative, bold, and compelling series in the world of contemporary manga. Since its launch in 2003 IKKI has built a catalog of titles notable for its diversity. From action to comedy to drama, from slice-of-life stories to surrealist fantasies, the one common thing these works share is an uncommon emphasis on creative quality and on pushing the boundaries of the norm.

“We are very excited to team with IKKI magazine to launch this new imprint with the debut of CHILDREN OF THE SEA,” says Gonzalo Ferreyra, Vice President Sales & Marketing, VIZ Media. “The story presents realistic, emotionally honest characters and also has a strong ecological message of preserving the wildlife in the planet’s oceans. Readers won’t want miss to how Ruka and her two new waterborne friends discover the reason behind the worldwide disappearance of fish. With this new imprint and related web site, we look forward to introducing many more critically acclaimed manga titles to readers across North America.”

For more information on IKKI please visit www.sigikki.com.

Birthday book: Ultra Maniac

by

um1The Comics Reporter notes that today is Wataru Yoshizumi’s birthday. Yoshizumi is the creator of one of my sentimental favorite shôjo manga, Ultra Maniac, which I’ve always thought was under-appreciated.

It was one of the earliest releases in Viz’s Shojo Beat line, though it was never serialized in the magazine. It’s only five volumes long and seems too short to me, not because its plot elements weren’t satisfyingly resolved but because I would have enjoyed spending more time with the characters.

The most striking thing about Ultra Maniac is the Yoshizumi maintains focus on the friendship between her female leads, cool and composed Ayu and way-out-there Nina. Ayu’s hopes of coming off as a poised junior-high princess are put in serious jeopardy when she earns the undying friendship and loyalty of Nina, a witch of disastrously limited skill. Nina’s so hopeless that she’s been transferred from her home universe to the regular world. That doesn’t stop her from using her magic to try and help Ayu. Needless to say, the road to teen shame is paved with good intentions.

In a welcome twist, Ayu genuinely appreciates those good intentions and genuinely likes Nina as much as Nina likes her. There are boys in the mix, but romantic entanglements never take priority over the girls’ bond; they never devolve into competitors, no matter how circumstances might tempt them in that direction. Better still, their mutual support never seems saccharine or flat. Magical mishaps aside, Yoshizumi sticks to very grounded storytelling.

Yoshizumi earns bonus points for very polished, pretty illustrations and for some endearing snark in her intermittent author notes. They basically amount to amused confusion as to how her comic ended up being adapted into an anime that bore so little resemblance to her story. I should note that the title has no relevance to the story whatsoever, seeming like it came from some random manga title generator, but that’s not uncommon, and it’s hardly problematic.

Tokyopop published another Yoshizumi series, Marmalade Boy, though it seems to be out of print. I might need to undertake one of those painful and frustrating projects and track down used copies of the series, as I was too stupid to pick it up when it was actually in print.

Upcoming 6/17/2009

by

Before delving too deeply into this week’s ComicList, I wanted to mention how great the manga and graphic novel selection is at the Barnes & Noble in Easton Town Center near Columbus. They had shelf copies of Mijeong (NBM), full runs of series I don’t normally see at a chain bookstore, and all of the staples. Seriously, though, an NBM book at a mall store will force me to add that mall store to all future central Ohio itineraries. Oh, and there’s a Graeter’s Ice Cream stand mere steps away. In a perfect world, it would be a Jeni’s Splendid Ice Creams stand, but I like Graeter’s well enough.

But what about specialty comic shops, you ask? What bounty awaits on Wednesday?

bride3Well, for starters, there’s the third volume of Mi-Kyung Yun’s Bride of the Water God (Dark Horse), which is so pretty that you can actually see volumes from space.

Del Rey offers the third volume of Papillon, which started as a psychologically nuanced sibling-rivalry drama, then turned into one of the more ridiculous Lifetime movies in the second volume. There is no possible way to speculate what might happen this time around, but I’ll just throw out the terms “sudden eating disorder” and “wildebeest stampede” to try and cover the bases.

Speaking again of NBM, Rick Geary is looking through the dirty laundry of another era again with a new Treasury of 20th Century Murder, Famous Players, which examines the death of silent-film director William Desmond Taylor.

And speaking of books with “20th Century” in the title, Viz offers the third volume of Naoki Urasawa’s excellent 20th Century Boys. (I already bought it at the aforementioned B&N.) I know we aren’t even halfway through the year, but let’s face it: with the two Urasawa books, Detroit Metal City, the soon-to-arrive Children of the Sea, and the due-this-fall Ôoku: The Inner Chamber, we might just have to hand 2009 to Viz, you know?

Previews review

by

After a couple of months of overwhelmingly appealing product in Diamond’s June 2009 Previews catalog, the industry seems to take a bit of a breather. Here’s what caught my eye, mostly new volumes of entertaining, ongoing series.

taleThere are some debuts. I quite liked the first volume of Natsuna Kawase’s The Lapis Lazuli Crown (CMX), so I’ll certainly take a chance on the second volume (page 121) and the first volume of another Kawase series, A Tale of an Unknown Country Girl (also CMX, page 120), about a princess who goes undercover to see if her arranged fiancé is a total asshat.

Many people viewed Brandon Graham’s King City to be one of the great casualties of whichever Tokyopop meltdown put its future in peril. Those folks will be happy to see pages 138 and 139, which reveal that Image and Tokyopop will be presenting a floppy version of Graham’s comic. I find Image’s web site impossible to navigate, so I’ll just link to this Newsarama interview with Graham.

Two of Del Rey’s solicitations on page 237 catch my eye: the fifth volume of Ryotaro Iwanaga’s underrated postwar adventure, Pumpkin Scissors, and the third volume of Sayonara, Zetsubo-Sensei, a dark satire of school comedies that’s more heavily annotated than just about any book not edited by Carl Horn. Sayonara also has some of the tiniest print in the history of translated comics from Japan, and some fairly impenetrable humor, but enough of the jokes work for me to make it worth the eye strain.

Fanfare/Ponent Mon presents the second volume of Jiro Taniguchi’s A Distant Neighborhood (page 245). You scrambled for the order form right after I typed the publisher’s name, didn’t you? DIDN’T YOU?

adI’ve enjoyed Josh Neufeld’s travel comics, though he tends to go places I would never personally consider for a vacation. My idea of roughing it is hotels with limited room service. But his A.D.: New Orleans after the Deluge (Pantheon, page 273) promises to be one of the books of the year.

I thought IDW or someone had the CSI comic-book franchise. It isn’t exclusive apparently, as Tokyopop launches the two-part CSI: Interns, written by Sekou Hamilton and illustrated by Steven Cummings (page 283).

Viz Udon gets its sci-fi on with the return of Kia Asamiya’s Silent Möbius in an unflipped, all-new translation with restored color story pages (page 285). Trivia note: Asamiya was first introduced to many English-reading comics fans through the dubious distinction of illustrating some of the worst issues of Uncanny X-Men ever written.

If I’m going to be completely honest, I’m more intrigued by the Viz’s debut of Hiroyuki Asada’s Tegami Bachi (page 288), which I’ve seen described as being about postal workers called “Letter Bees” carrying the hearts of correspondents to their loved ones. I admit that most of my interest comes from the probably mistaken mental image of sacks full of human hearts and the shocked reactions of their recipients.

In the “new volume” category, Viz offers Oishinbo: Vegetables (written by Tetsu Kariya and illustrated by Akira Hanasaki), the fourth volume of Pluto: Urasawa x Tezuka, and the second volume of Kiminori Wakasugi’s Detroit Metal City, which is sick and wrong and I think I’m in love with it (all listed on page 292).

Upcoming 6/10/2009

by

This week’s ComicList is on the lean side, but there are a couple of items that are worth scrutinizing.

colorofwaterOne is Kim Dong Hwa’s The Color of Water (First Second), the second part of his trilogy that began with The Color of Earth. I’ve read both in the form or preview copies provided by the publisher, but I’ve been a bit stymied when I’ve tried to sit down and actually write about them. They’re great-looking books; I very much admire the visual style. But I find the content a little off-putting, though I’m not sure I have the right to voice these particular objections.

The Color books compose a period piece that traces the sexual comic of age of a young girl in rural Korea. It’s an experience and a transition that the creator clearly reveres, but for me, it was an uncomfortable kind of reverence. It’s reverence with a degree of distance that seems to flatten and simplify the experience being rendered; the path from girl to woman is dewy and magical, uncomplicated and pristine, or at least that’s the impression the books left. I feel like it crosses the line between celebratory and condescending.

The crew at Good Comics for Kids participated in an illuminating roundtable on the first book, and I was relieved to see my concerns articulated in the discussion. There are also persuasive arguments in the book’s favor, but I’m still unconvinced that its merits overcome its underlying tone.

dmcI’m fairly sure my reaction to the week’s other big release, Kiminori Wakasugi’s Detroit Metal City (Viz), will be much less complicated. I will either be overcome with guilty love, or I’ll be grossed out. I’m reassured by Kate (The Manga Critic) Dacey’s assessment, though:

“I’d be the first to admit that DMC walks a fine line between clever and stupid with its raunchy lyrics and outrageous concert scenes, but it never wears out its welcome thanks to a great cast of characters.”

We’ll see.

Weekend reading

by

Aside from the strong third volume of Naoki Urasawa’s Pluto (Viz), my weekend’s reading ran towards the inoffensively pleasant.

balladBallad of a Shinigami (CMX), adapted by Asuka Izumi from stories by K-Ske Hasegawa, falls into the venerable category of stories about agents (human or supernatural) that help the spirits of the deceased cross over to what comes next. Momo, the titular shinigami, doesn’t quite fit in with her peers. She’s sparkly white, and she bends the rules when a human sparks her sympathy or curiosity. Neither of these qualities makes her especially interesting as an entity in her own right, but the stories are amiable, reasonably moving, and don’t wear out their welcome. Izumi’s art is very pretty, which is a bonus.

yokaidocThe most interesting thing about the first volume of Yuki Sato’s Yokai Doctor is the chance to read the same story twice. Half of the book is filled with Sato’s try-out pieces, followed by the launch of the series proper. The series is about Kotoko, the granddaughter of an exorcist who has turned her family legacy into a comedy act for her classmates. She can actually see yokai, troublesome imps of varying sizes and threat levels, but she can’t really do anything to banish them. Mysterious and nerdy classmate Yuko arrives and reveals himself to be a “yokai doctor,” whose ministrations tend to make the imps cease and desist their mischief. The try-outs are fast and frisky, viewing the weirdness from Kotoko’s perspective. The “real” chapters are more Kuro-centric, and the desire to round the characters out pushes things in an unexpectedly maudlin direction. Kotoko hates yokai; Kuro is linked to them in ways beyond his mystical, medical ministrations; can the two ever be true friends? I didn’t end up caring much, to be honest, and I found myself missing the fast-and-shallow approach of the try-out version. There’s probably a metric ton of comics about an average girl and a weird boy dealing with the supernatural, some of it very good indeed, and this one’s just okay. (Comments based on a complimentary copy provided by the publisher.)

otomen2I’m always happy to see shôjo titles show up on bestseller lists, but I’m often puzzled by which ones earn that distinction. Both volumes of Aya Kanno’s Otomen (Viz) have shown some impressive initial sales, but I continue to be disappointed with its watery execution of a great idea. It’s about Asuka, an outwardly manly high-school student who keeps his adoration for all things cute deeply in the closet. He’s got a crush on a tomboy named Ryo, and their ever-stalled romance is obsessively observed by Juta, their male classmate who cranks out shôjo manga on the side. I could be wrong, but it feels like there’s a heavy editorial-demographic curfew on the series; it can flirt with interesting, transgressive ideas about gender roles, but it isn’t allowed to actually date them. None of the thematic or plot elements go nearly far enough for my taste; the best bits of the series are when Asuka actually indulges in his secret hobbies – knitting, piping whipped cream, generally turning the world around him into a cuter place. If the series consisted nothing but those moments, I’d love it, but someone stubbornly insisted it have a story.