The Manga Curmudgeon

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

From the stack: JOURNEY INTO MOHAWK COUNTRY

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There are times when a terrific idea for a graphic novel doesn’t result in a terrific comic. I think Journey into Mohawk Country (First Second Books) is one of those instances, though the book has a lot going for it.

George O’Connor has illustrated a journal written by Harmen Meyndertsz Van den Bogaert, a Dutch trader setting off from Fort Orange (now Albany, N.Y.) into Iroquois territory. Van den Bogaert and his two companions are on something of a goodwill mission, hoping to expand fur trade with the Iroquois and gather information on French expansion into the region.

I love the concept behind the book – translating a primary historical source into a contemporary visual format. Obviously it’s not the only current project to take this approach, and it certainly isn’t the one with the highest profile. But it is an intriguing addition to the roster of ways graphic novel creators are re-conceiving non-fiction content.

I’m a big fan of books in this category. I love the energy and goofy wit of the Action Philosophers books (Evil Twin). The morbid precision of Rick Geary’s Treasury of Victorian Murder series is always good, shivery company. Ande Parks and Chris Samnee were audacious with Capote in Kansas, their graphic novelization of the creation of a non-fiction novel. And Jim Ottaviani assembled a who’s who of creators for Dignifying Science to tell the stories of groundbreaking women scientists.

But with Journey into Mohawk Country, my interest in the concept outweighs my interest in the content. Van de Bogaert did not seem to be writing for posterity, providing instead a somewhat dry recounting of the events of his travels. Pieces like this – letters, legers, maps, journals – contribute to the tapestry of history, but the interest for me is their context, or what they say about a point in time.

O’Connor resists the urge to contextualize Van de Bogaert’s experiences, which is both admirable and problematic. He’s respecting his source material, contributing only slight embroideries to Van de Bogaert’s account in the form of little grace notes of feeling. But that respect also leaves the narrative shapeless. It’s odd to be levying criticisms at a writer who never intended for his words to be purposed in this particular way, but that’s the conundrum of the book.

I like O’Connor’s illustrations, which are generally lively and expressive. They’re not so exaggerated or stylized that they contradict the source material, nor are they so static that they seem like illustrations accompanying a text. They create a solid sense of place, and O’Connor doesn’t entirely resist the urge to indulge in some visual flights of fancy. (I did find myself distracted by one bit character design, though it could just be me. I think the illustrated Van de Bogaert bears an uncanny resemblance to Zonker Harris.)

Colors by Hilary Sycamore serve the book well. She captures the wintry palette of the countryside and the fireside glow of the Mohawk communities. It runs towards the monochromatic at times, but that might reflect the reluctance to embroider on the reality being portrayed. As with all First Second books, Journey into Mohawk Country is beautifully designed.

In the final analysis, I’m of two minds about the book. The narrative doesn’t really engage me, but I want to see more books in this vein based on more gripping source material. As an individual graphic novel, I think Journey into Mohawk Country has tremendous potential value as an educational tool. Not only does it provide a specific and personal window into a period of history, it’s an exciting example of imaginative ways to communicate history.

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

Pets project

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While looking through the Flipped archives, I’m starting to worry that I’m leaning too heavily on my personal pet titles. Actually, Dave Carter’s wonderful Undiscovered Gems contest planted that seed, which was then watered by Jarred of MangaCast who pointed out not one but two cooking mangas that had completely escaped my notice.

As a result, I’m hoping to expand my horizons a bit, with your help. Is there a manga title you’re really enjoying now that doesn’t seem to have a seat at the cool kids’ table? That never seems to get reviewed or name-checked in the general discourse? (I’d like to stick with things that are currently and widely in print. As much as I love finding obscure manga, it can be frustrating to see someone talk about a book and have to search high and low for it.)

I can’t guarantee I’ll love it as much as you do, but I promise to give it a shot. Just post the book in the comments section or send me an e-mail at DavidPWelsh at yahoo dot com, and I’ll do my best to work it into the rotation.

Catching up

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MangaBlog’s Brigid pulls out all of the CMX highlights from the ICv2 interview with Paul Levitz. I agree with her that neglecting to recognize the contributions of director of manga Asako Suzuki (and CMX honcho Jim Chadwick) was a mistake, because they’ve both done a lot to turn the ship. First and foremost, we know who they are and what they do. Second, they seem to be repositioning CMX from being DC’s manga arm to a publisher with a reputation and a philosophy independent of its parent company. And I think that’s a good thing.

I also agree with remarks from Ed (MangaCast) Chavez in the comments section, particularly this one:

“They will have a tough of mad otaku to overcome. And I feel that announcements made in 2005 (the obscure shojo faze, which is something I feel every manga publisher that wants to be considered serious goes through) made it hard to take seriously for a while. But with some fun quirky releases (Omukae desu., Yubisaki Infinity) and some titles that really push the envelope … they are not sticking to the conservative play book anymore.”

It’s an interesting view of CMX’s rehabilitation process in that it portrays their efforts as almost remedial – doing now what they probably should have done from the start. I’ve really been taken with a lot of CMX’s recent and upcoming releases, and it seems smart to try and rebuild a reputation based on title quality and a willingness to step a little bit out of conventional categories.

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I also really enjoyed Kai-Ming Cha’s interview with Makoto (Yellow) Tateno in the latest Publishers Weekly Comics Week (formatting/copy editing problems aside). I passed on Yellow, but now I’m thinking I’ll have to go back and give it a look.

“Actually, I had been reading a lot of boys’ love and seeing a lot of seme and uke things going on. I like the pairing of Starsky and Hutch—the officer type of story. I wanted to write something like that, something different.”

There are also interesting bits on how she juggles concurrent work in yaoi and shôjo, and what seems like good advice for would-be manga-ka:

“Draw a lot. My advice is that even if you’re not that good, even if you’re copying the artwork of others, just keep going. Eventually you’ll find your own style.”

I seem to remember that notion – even just copying work you admire builds up your muscles as an illustrator — coming up a lot in the interviews in Manga: Masters of the Art.

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This announcement from Cold Cut is interesting to me mostly because news about non-Diamond distribution outlets usually focuses on bankruptcy rumors. I keep meaning to ask the owner of the local shop if he uses anyone but Diamond. I’m pretty sure he does, but maybe I’ll print this out before I go shopping today.

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Also at The Engine, Tom Spurgeon asked for feedback on his Comics Reporter site. He indicates in this post that he’s looking to expand his manga coverage, which is exciting.

Prevention

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Comics blogging used to seem so simple – read comics, write about them, and, with any luck, interesting discussion will ensue. But recent experience has taught me that there are whole layers of impregnable doctrine that render me utterly unqualified to comment on comics not specifically targeted towards my demographic. Well, at least I shouldn’t talk about them through any kind of personal lens that reflects my life or tastes or experience, because then I’m being a cultural imperialist.

So maybe I’ll just confine myself to talking about those comics that are targeted at the late-thirty-something gay man.

Does anyone else hear crickets chirping?

Anyway, with this more enlightened guiding principle in mind, let’s take a look at what this week’s comics hold for me.

I think I could probably get away with Action Philosophers: The People’s Choice (Evil Twin). It’s not specifically targeted to my demographic, but there’s nothing to indicate that I’m excluded either, so we’re off to a promising start.

After reading Lyle’s thoughts on the preview, I’d been kind of interested in Beauty Pop (Viz – Shojo Beat), but I’m neither girl nor tween. In spite of Brigid’s reassurance that her daughters don’t rise up in a rage every time I write anything about Ultra Maniac, I just don’t think I should take the risk.

I’ve really been enjoying Death Note (Viz – Shonen Jump Advanced), but the barrier is right there in the brand. While the “advanced” creates a bit of leeway, It’s been decades since I could be categorized as “shonen” without the accompaniment of derisive laughter.

I think I can get away with Phoenix (Viz – Editor’s Choice), but I’m still catching up on that one, so the current volume will have to wait.

If only First Second, Fanfare/Ponent Mon or Oni had some books coming out this week. Sure, :01 and Oni publish some books for young readers, and I’d have to steer clear of those, but F/PM would be safe as houses for me. (And with all the money I’m saving, I wouldn’t even be bothered by their higher price point!)

Drawn & Quarterly thoughtfully provided that Mr. Jean book, and there’s a companion piece out there. I’ll need to be careful not to try and appropriate the lead character’s heterosexuality for my own purposes, though. And I should probably steer clear of Moomin, which just breaks my heart. I could always improve my French and track down some of the autobiographical comics by Fabrice Neaud.

Alternately, I could read whatever I please, but do so in secret, like a male Japanese teen sneaking looks at his sister’s copy of Bessatsu Margaret when nobody else is around.

Or I could just follow Brigid’s advice to “Read what you like, write what you want, no need to apologize. Life is too short.”

Things I learned over the weekend

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I didn’t think they’d pull it off, but the city has managed to close at least one lane of every major traffic artery, just in time for the fall semester to start. Impressive! Motorists now have the choice of either sitting in traffic for a minimum of ten minutes or driving at least ten miles out of their way, depending on which they find less irritating.

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Weeds is kind of entertaining, mostly for Mary Louise Parker. Her weird, arrhythmic delivery works well with this material, and that isn’t always the case. Kevin Nealon’s acting style seems all wrong for it, though. And when did Elizabeth Perkins turn into Cathy Moriarty?

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There’s no recipe in the Betty Crocker cookbook that doesn’t benefit from doubling or tripling the amount of seasoning they suggest you add. Honestly, when did a quarter of a teaspoon of nutmeg ever do anyone any good?

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The second volume of Shout Out Loud (Blu) is even better than the first. I love the variety of character interactions and relationships, and I think the fandom elements add a nice backdrop. Satosumi Takaguchi does a nice job handling a comparatively large cast.

Wait… I’m already a volume behind?

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For a fairly straightforward (though excellent) shôjo title, the set-up for Penguin Revolution (CMX) is tough to summarize succinctly. Watch me fail miserably in this week’s Flipped!

Fantagraphics shopping experiences?

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A reader e-mailed me with a question:

Anyway. I wondered if you could help me by publishing a request for information through, say, PreCur?


Happily!

The problem is this: I’m a relatively recent convert to classic American comic strips, including Hal Foster’s PRINCE VALIANT. Fantagraphics republished them all some years back in beautiful outsize editions, but earlier volumes of same are getting rather hard to find. Fantagraphics online shop, however, does have quite a few still in stock, so I began feverishly entering credit-card and other details on the appropriate forms… then noticed, to my dismay, that there’s nothing to show whether this part of their site is secured or not. I *assume* it is, but am not really happy about just going ahead on that assumption.


(I probably wouldn’t be either.)

So I wondered: have you, or any of your alert readers, bought anything from Fantagraphics online? Has it been a good experience? Any information *most* gratefully received.

I’ve only ordered directly from Fantagraphics once (the 2005 special edition of The Comics Journal). The book arrived prompty, and I never had any problems with billing. That was a while ago, so I can’t remember if there was some indication of the site’s security status.

Anyone else have any experiences or information to share?

Kibble bits

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I picked up dog food yesterday, and I noticed that the brand I get has changed their “Senior 7+” to “Mature Adult,” moving the “Senior 7+” tag to a spot that’s discretely lower on the packaging.

Were dogs finding the “Senior” designation insulting? Is this something dogs worry about? Has my older dog been looking at the bag and feeling dispirited and resentful because it suggests she’s past her prime?

Saturday links

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Chris Butcher takes another multifaceted look at yaoi, which is just marvelous in general. I’m particularly fond of the bottom line, which Chris appropriately uses to look at the bottom line:

“The queers are coming. First one to cater their gay porn to the gay community goes home with the money. :)”

I’m going to have to keep my eye on The Hating Blog. Anyone who launches their manga content with a glowing, well-written review of Love Roma is someone worth watching.

John Jakala… I don’t even know where to start, but he used my blather from yesterday as a launch pad for something completely brilliant: the Comic Publisher Personality Quiz.

From the stack: GET A LIFE

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In her review of You, Me and Dupree at The New York Times, Manohla Dargis notes the peculiar cinematic fondness for thirty-ish men who refuse to grow up. Film (and comics) can be “a virtual playpen for legions of slobbering big babies for whom Peter Pan isn’t a syndrome but a way of life,” as Dargis puts it.

One of the things that makes Philippe Dupuy and Charles Berberian’s Get a Life (Drawn & Quarterly) such a pleasure is that it isn’t about growing up so much as getting older. Mr. Jean, their endearingly average, slightly dyspeptic protagonist, is hovering around thirty, and he isn’t entirely happy about it.

But he isn’t obsessed with it or terrified by the prospect. He’s got a reasonable amount of success at work. His personal life isn’t a wasteland; he’s got friends and romantic companionship. If life isn’t perfect and a major milestone of years is looming, things could certainly be worse. In other words, Mr. Jean is in an age-appropriate place, and that’s refreshing.

Dupuy and Berberian, who divide their duties as creators equally, strike a wonderfully balanced tone in their stories. They’re witty without ever becoming arch and warm without being cloying. As Mr. Jean moves through the highs and lows of everyday life, he encounters friends, family, and neighbors who all provide distinct comforts and frustrations. Chance encounters trigger memories that can be both painful and nostalgic. Each story is a snapshot of a life that feels very real.

The illustrations are very much of a piece with the stories. Character designs are funny and charming but not too exaggerated. Mr. Jean’s body language works particularly well, attuned to all of his many moods. He can be slumped with defeat or exhaustion, rigid with frustration, and even (rarely) comfortably at ease with the way his life is going.

It’s a tremendously comforting comic. The stories are funny, moving glimpses of the everyday. If I were to quibble with anything, it would be the title. I’d say that Mr. Jean already has a life, and an appealingly grown-up one. But it can be hard to see that while you’re busy living it.

One year later

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Back when I basically stopped reading superhero comics from Marvel and DC, they were characterized by senselessly shocking death and depression for previously amiable c-list characters, significant revision of a-list characters to serve implausible plots, intermittent lateness of big event comics that threw the schedule (and narrative) off-kilter, editors furiously backfilling on-line, and the handful of interesting, sort-of stand-alone titles living under the constant shadow of cancellation.

The less things change, the more things stay the same.

Why do I take the time to observe this? I’m not really sure. I feel like I’m running the risk of sounding like those people who insist that they don’t watch TV or eat refined sugar. (The TV prohibition isn’t always annoying, provided it’s qualified with “because if I started watching TV, I know I’d never turn it off.”) I don’t really want to suggest that frustrated Marvel and DC fans can find a promised land of good comics in manga or from independent publishers, because the pleasures aren’t necessarily transferable.

But darn it, I make so few healthy life choices that I feel the need to celebrate them when they do occur. (“Healthy” should obviously be considered a relative term under these circumstances.)

When I compare Marvel and DC with manga publishers, one of the big distinctions that strikes me is the lack of an evident corporate personality. Obviously those personalities exist, but they don’t impose themselves on the product.

Clearly I find Tokyopop irritating from a corporate perspective, and the whole Manga Revolution/Lifestyle/Line of Casual Wear thing is completely beyond me (probably because I’m old), but it doesn’t stop me from enjoying Tokyopop’s books. Because nothing DJ Milky says in an interview has any influence on whether Fruits Basket breaks my heart or Sgt. Frog makes me laugh or Kindaichi Case Files feeds my intermittent need for grisly homicide.

In the other direction, I’m always delighted to read what the folks at Go! Comi have to say, like Audry Taylor’s dispatches from Comiket. And it’s always nice to hear from David Wise and Jake Forbes, lovely fellows both. But even if they were all scabrous misanthropes, it wouldn’t make any difference, because Go! Comi’s books are routinely excellent.

I mean, look at that interview with Dan DiDio on 52 # whichever where Booster Gold gets slabbed. (Spoiler text now obscured.) The issue sounds kind of icky just in terms of story, but it sounds so much worse when DiDio explains the rationale behind it. But hey, it came out on time! (And so much for those rumors about the DC spandexverse becoming a more cheerful place after Infinite Crisis, huh?)

So what’s my point? I don’t really think I have one aside from general smugness. There probably isn’t anything DC or Marvel could do to win me back at this point, and there’s no reason they should try. Their business and editorial decisions seem to work for them, and there are plenty of other comics publishers out there whose product and priorities work for me. Maybe I just felt a little nostalgic spleen and had to vent it.