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Oct 18, 2015
"I look up into the clear blue morning sky. It makes my eyes hurt. And suddenly, I feel something nostalgic underfoot. It's the dawn of a new day, and the first thing I do is step in some shit."
Asano Inio's serial debut Subarashii Sekai is an interesting anthology of loosely linked short stories about people caught between prolonged adolescence and adulthood, trying to resist the pressures of a fast-paced society as they stand in the midst of their failing aspirations and relationships.
Protagonists include a college dropout, a bullying victim, and other characters that many readers will be able to relate to on some level. At
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the opposite end of the spectrum, we are presented with a mob fugitive in a panda mascot suit and Tepodon, a pet turtle that, upon realizing there are times in life when we must "move on, despite everything", even at the risk of making mistakes, flees his tank to become a half-man, half-turtle-like creature. Well, Tepodon might be explained as a manifestation of the college dropout's subconscious. But surreal elements like this are an integral part of what is otherwise a brutally realistic setting. Perhaps distracting from the overall realism, they illustrate how life can be strange sometimes while providing a bit of comical relief. In a twisted sort of way, a few of these stories are rather on the funny side.
The manga ultimately refrains from judging its characters' actions and in some cases teases the reader by having them come back for a cameo in a later chapter. It is implied that the dropout went back to school, but we can't be entirely sure of it. Either way, she seems to be doing okay. "Wonderful World" depicts the world as a cruel place, but all things considered, the title is not meant to be ironical. As a matter of perspective, the world can be wonderful.
With a series comprised of nineteen independent stories, there are bound to be chapters which stand out and chapters which pale in comparison. However, this is a manga about how we are better off focusing on the good. And at its best, Subarashii Sekai is nothing short of brilliant.
Reviewer’s Rating: 8
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May 3, 2015
If you have read or watched Bakuman., you might have learned a thing or two about manga. But while the series is quite insightful as far as the actual creating process from character design to storyboard to inking is concerned, it doesn't feel all that more realistic than other Shōnen Jump titles. After all, Ashirogi Muto make their big breakthrough while still in freaking high school. Granted, Bakuman. doesn't shy away from the truth that luck is a critical determinant on the way to publication. But in the end, it's a story fueled by the love of shōnen manga, and as such comes with a
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lot of that ferocious competitive drive, the inspiring rivalries, the showdowns.
Kakukaku Shikajika shares Bakuman.'s premise in that it's about the making of a mangaka. Taking the autobiographic approach, however, it tells a real story of detours, dead ends, and what makes someone slacken or persevere at different points in time. This is not to say that nothing was exaggerated for effect's sake. I'm sure a few things were, but the point remains that Kakukaku Shikajika is not so much an inspirational story as it a truthful account of one woman's life as an artist. There is some unpleasantness. It is neither glossed over nor is it over-dramatized. But while events are presented in a matter-of-factly fashion looking back from a more comfortable place, there is still a very tangible sense of embarrassment – shame even – as one reflects the choices of a younger self. The strength of Kakukaku Shikajika lies in its subtle emotionality, that tinge of regret running through the story that reaches a new intensity toward the end.
Higashimura Akiko is best known for Kuragehime which received both an anime as well as more recently, a live action adaptation. For Kakukaku Shikajika, she uses her real name Hayashi Akiko to retrace her drawing career beginning with her high school days and ending with the present, fitting some non-linear snippets in here and there. With one year left until graduation, Akiko has it all planned out. The goal is to attend the painting department of a prestigious arts college in Tokyo, make her debut as a shōjo mangaka somewhere along the way, use the earnings to pay off her tuition debt, and, upon college graduation, get married to famous actor Toyokawa Etsushi. What could go wrong, right? Phases of overconfidence, hitting creative blocks, poking fun at the ridiculousness of art school, doubts whether it is "worth it", your own as well as that of those around you, the stigma attached to drawing comics – there is a lot in here that the aspiring artists out there should be able to relate to.
But Kakukaku Shikajika also excels at depicting more universal struggles. The pivotal point of the story is the mentee-mentor relationship that forms between the author and Hidaka Kenzō, an eccentric old man who offers art classes in a tiny studio in a small town by the sea. Hard to get to if one does not have a car, Akiko is convinced by a friend that this is the place for her to be if she is serious about getting into arts college. Hidaka-sensei promptly informs an entitled Akiko that her sketches suck. He's the kind of man who will chew everyone out regardless of who they are, make them draw the same thing over and over and over until they get it just right, while hitting them with a bamboo sword. Nevertheless, he shows extraordinary acts of kindness from time to time, like when he carries an Akiko feigning sickness to the bus station. It is in retrospect that the author recognizes good motives also behind his strictness, and from resenting what he made her do goes to realizing that not only could he have been a more sympathetic teacher but she, too, could have been a better student. That willingness to think yourself into someone else's skin and ability to admit your own shortfalls is one of the most important aspects of maturity and in this regard, this is also a classic coming-of-age tale.
Given Kakukaku Shikajika has been fully translated, the number of people who marked it as completed came as a surprise to me. I'm writing this in hopes of being able to spark someone's interest in the manga, as it's one of the most worthwhile ones out there.
Reviewer’s Rating: 10
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Mar 13, 2014
Determined to do whatever it takes to cover his ailing little brother's medical bills, Yuki and his friend Tetsu get caught trying to break into the local yakuza family's office. Hyodo, leader of the Seidoukai, however, is surprisingly willing to let them go unpunished and, what's more, even offers to take care of the hospital bills from now on. He has only one condition: Yuki, without fail, has to show up at the office once a week. Yuki accepts the offer - and his duties at the office turn out to be meaningless. Sitting around and playing chess, Yuki can't help but start to ask
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questions. Turns out Hyodo doesn't only have friends in the yakuza world and before Yuki knows it, he becomes caught up in a complicated turf war.
For some, this might be a dragging read. Character relations are many and complex, and the information necessary to understand what is going on is only revealed in small doses with more questions being raised in the process. While readers still wonder just who Hyodo is and where his interest in Yuki comes from, another syndicate with unknown motives is already making its move, and Yuki has an unpleasant encounter with a demon from his past. With it only getting more complicated from there and long and irregular intervals between chapter releases, it can be difficult to keep track of the story's various subplots and fairly large ensemble of characters. Everyone and everything seems to intertwine at one point or another, and it usually takes a few flashbacks to make sense of a present development in the story. Acid Town's plot sometimes feels a bit like a half-solved puzzle where the more easily distinguishable pieces are already grouped together but don't yet add up to a full picture. I suspect this to have great re-read value once it will be finished.
While it cannot be pinpointed exactly where or when the story takes place - the existence of a forbidden polluted zone hints at an environmental disaster in the near past, military aircraft passing over characters' heads during dramatic moments at an impending war - the underlying rule of the setting is best encapsulated in the following quote: "Things that you don't want to happen will happen, and there's no way to avoid it." The world these characters live in is a cruel one, and the manga does not shy away from showing this quite plainly at times. Yuki's and Tetsu's landlord Ryouji and Hyodo's subordinate Handa could be seen as comic relief characters - with their sunny attitude and dimwittedness, respectively, they relieve some of the tension. But even unexpected characters can be linked to darker elements of the story. Acid Town's world is a small one in which every character is in some way connected to almost every other character.
If this is BL, it's pushing the genre envelope. After four volumes, a central love story is nowhere to be found, and what overtones there are are likely to just leave you feeling conflicted. Some involve characters whose emotional scars, as it stands, make them seem incapable of the trust needed in a relationship. Some show that love can also be a motivation for bad rather than good. May it entail getting that revenge they thirst for or simply protecting what's important to them - Acid Town is all about people trying to make the best of their circumstances, crappy as they may be. This is not the manga to read if you're hoping for some smexy scenes, since it's about as far as you can get from manga in which abuse is presented in a way that is supposed to titillate the readership, and it isn't the right choice if you're looking for something that will make you feel warm and fuzzy inside. But the character's behavior is handled realistically, and even the not-so-pleasant ones are developed well enough to deserve some level of pity for their suffering.
Reviewer’s Rating: 8
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Aug 28, 2013
There's Boys' Love, which is manga focusing on gay male relationships written by women, for women.
There's Bara, which is manga focusing on gay male relationships written by gay men, for gay men.
And then there's Kinō Nani Tabeta?, which a slice of life manga focusing on something else entirely written by a female author and currently being published in a seinen magazine featuring two people who merely happen to also be a gay couple.
Lampshaded by the fact the title translates to "What did you eat yesterday?", Kinō Nani Tabeta? is essentially Food Porn: The Manga. This is achieved by the story being mostly centered on and
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around the protagonist's proudly cherished specialty and hobby: cooking fancy meals for himself and his longtime live-in lover. The overwhelming majority of pages is dedicated to grocery shopping, comparing food store prices, philosophizing on how to match ingredients, preparing dinner, eating dinner, discussing dinner, pondering on what to do with leftovers, and other cooking-related activities. With its attention to detail and personal cooking tips by the mangaka placed at the end of every chapter, Kinō Nani Tabeta? has the potential to act as a substitute for a cookbook.
In comparison to the author's apparent enthusiasm, however, my interest in the art of cookery is rather limited. That, in addition to being a vegetarian with little knowledge of the Japanese cuisine, impacts my enjoyment of the manga to such a degree as parts of it downright bore me, which is why I can't give it the credit it probably deserves.
That is, as long as the cooking aspect is concerned. While Kinō Nani Tabeta? is being published in a conventional seinen magazine and therefore by definition not a Boys' Love manga, the thematic overlap is difficult to disregard. It is perhaps a bit of an unfair comparison, but having read my fair share of BL, the realistic fashion in which Yoshinaga Fumi chooses to portray gay male relationships needs to be praised. Likely out of consideration of the magazine's target audience, no physical affection is shown, which is, however, more than compensated for by the fact that the social issues which are so strangely non-existent in far too many manga are always present in the background, and on top of that dealt with in an oftentimes light-hearted and humorous rather than depressing way.
Other than both being in their forties and identifying as gay, Kakei Shirō and Yabuki Kenji may share a roof but few similarities. Kakei, the cooking enthusiast, lacks a sense of humor, but that doesn't mean he doesn't make the readers laugh. While his seriousness and economic sense are undeniably utile in his job as a lawyer, they become funny when he's in a pinch because he's torn between bulk purchasing food items that are on sale in order to save money and fearing the food might go bad before they manage to consume it. Unlike Yabuki, who's a flamboyantly gay hairdresser, Kakei goes to great lengths to avoid giving away any clues that he believes might cause people to notice he's gay, to the point where he contemplates on whether or not it is manly to eat a slice of water melon with a spoon. Of course, Yabuki has a difficult time keeping mum about their relationship, and Kakei is still forced to come out of the closet at a few occasions. As a couple, Kakei and Yabuki are just as unlikely as the niche this manga is trying to fill.
What surprised me and won me over was the brutal honesty Kakei displays when musing about their relationship. Upon being told he seems to act a little cold towards his lover, he downright admits that Yabuki likely loves him more than the other way round, and the reason he doesn't break up with Yabuki is that it would be troublesome having to start looking for a partner again at his age.
Maybe rather than the focus lying on food, and rather than the target demographic of the magazine it is published in, the most important difference between Kinō Nani Tabeta? and a bad Boys' Love title really is just the lack of any element of idealization.
Reviewer’s Rating: 7
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May 18, 2013
Lasting from 1912 to 1926, the Taishō era, sandwiched between the modernizing Meiji era and the militaristic first half of the Shōwa era, is a relatively interesting episode of Japanese history. The influence of Western culture still grew, and until everything crumbled again under the pressure of the economy and the conservative right, liberal ideas flourished, and people from more and more walks of life were enabled to partake in the decision making process.
Period piece or not, starting a review on a Boys' Love manga with a history lesson might seem a little ostentatious. But knowing Japan was caught between tradition and modernity during the
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early twentieth century is essential when it comes to understanding what makes these characters tick, given their relationship mirrors the developments in Japanese society at that time.
In compliance with his father's last wish, Kuze Akihito is entrusted in chamberlain Katsuragi Tomoyuki's care after becoming a viscount at only ten years old. In addition to having a knack for business, Katsuragi appears to be a charismatic and sociable young man, but it doesn't take long for Akihito to discover he merely acts the part. Strongly devoted to the Kuze, he is not shying at anything that might help strengthen the family's position - like having several affairs with members of notable aristocratic households. Still, his tone towards the young successor is not in the least bit affectionate but rather highly condescending, and as Akihito grows older and wonders how that even fits together, he develops an obsession with his mentor, changing his wish for approval from him into something quite different.
Yuuutsu na Asa is Hidaka Shoko's darkest work yet and might not be easy to get into at first. The atmosphere towards the beginning of the story is notably cold and oppressing; there is an element of non-con and little that points to mutual affection but for subtle hints. Weirdly enough, this is what allows the manga to slowly but surely build up what later turns out to be its greatest strength. With their true selves originally repressed behind a mask of social expectations to live up to, it's the characters' sudden emotional outbursts that help the manga achieve a level of emotional intensity rarely found as the story progresses and they are beginning to figure out what it is they want for themselves.
Taking its time to explore the foundation for their relationship in itself would be enough to set Yuuutsu na Asa apart from the bulk of BL manga in which the characters simply find themselves magically drawn to each other, who knows why. But the art only further increases the difference, with even conflicting emotions showing well in the characters' faces.
Thus, what starts out as merely a grim historical tale of political intrigue and sexual misconduct steadily turns into a manga that mercilessly tugs at the readers' heartstrings. One of them intrigued by the idea of being equals, the other clinging to old ideals, and both fighting a tug-of-war between their inclinations and their circumstances, it is never quite clear whether Akihito and Katsuragi are separated by their difference in social status or just a difference in mindset. In any way, the relationship between these two is a complex one.
In conclusion, far from being fluffy or humorous, Yuutsu na Asa is riddled with flawed characters and palpable emotions, making it a must-read for those that prefer their BL to be gritty and haunting.
Reviewer’s Rating: 8
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Feb 12, 2013
"You're friendly to everybody.
But the truth is you're not interested in anyone."
Sakurai Kazuaki is 37 years old and addicted to work. It would, however, be wrong to say he is a workaholic since that might imply he actually enjoys what he does. The truth is that he spends fourteen hours at the office each day for no other reason than feeling compelled to. Almost needless to say, his relationships don't last very long. And as much as he'd like to take up gardening as a hobby, he's painfully aware that he lacks not only the necessary leisure, but is also not exactly blessed with a
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green thumb. All in all, he's just another "salaryman" stuck in a rut without the motivation or know-how to get un-stuck.
One day he crashes into a younger guy at the train station, causing a cherished copy of a long sold out photography magazine - he works for an ad agency - to become stained. He is irritated, but as fate would have it, the guy is an art student who just happens to own another copy of the issue. And if he trades his copy with Sakurai's, he won't have anything to complain about - or will he?
From there, the relationship between these two moves forward at a pace that will endlessly madden and frustrate anyone who is just is just looking for the kind of manga in which two guys are all over each other from the moment they meet. This largely owes to the fact that neither Sakurai nor Minegawa Youichi, the art student, comply with the standardized character types of the genre. Whereas average titles rarely present more than just archetypes to the reader - the cold, aloof, comically self-assured seme and the uke who is either a hyper kid very much in touch with his feminine side or a feisty tsundere -, Hana wa Saku ka paints interesting psychological portrays of its characters with ease.
As a result, they feel rounded and refreshingly authentic, making it easy for the reader to empathize with their struggles. And what they both struggle with above all else is the ability to express themselves. Especially Youichi turns out to be a rather peculiar fellow. Unusually plain-spoken for a Japanese person, his blunted affect and seeming lack of interest in other people would probably cause him to fall high on the schizoid or autistic spectrum if he were to see a psychiatrist. Still, there is also an almost child-like and unassuming aura to him. Sakurai, on the other hand, presents himself as a kind person in the presence of his underlings and co-workers but upon meeting Youchi must face the fact that his social relationships are not genuine.
Naturally, things are bound to get a little awkward once they realize they're interested in each other, and the art conveys this really well. It frequently includes panels with no dialogue that capture the tension of the moment, and the characters' facial expressions give away at least as much as their written thoughts. A frequent depiction of natural scenes and the recurrent flower motif, albeit a bit cliché, make for an overall atmosphere that is rather calm and mellow. And as if their personality traits wouldn't cause enough problems for Sakurai and Youchi already, the former also struggles with both his sexual orientation and their significant difference in age as well as experience. Both aspects are handled in a fairly realistic manner.
Reviewer’s Rating: 8
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Sep 24, 2012
What makes a good basketball player? There are many attributes to consider here, but most of them amount to the same thing: athletic ability.
Kuroko Tetsuya lacks it. He's small, he's slim, he cannot dribble, he cannot shoot, and he has no stamina. In fact, everything about him is so incredibly unremarkable that he is practically invisible both on court and off. Thus, he considers himself "a supporting actor, a shadow", one whose goal it is to help another one achieve greatness, or, as he puts it, "to make the brightness of a light stand out".
Originally the rumored phantom sixth man of the "Generation of Miracles",
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a middle school team who used to demolish the competition, he is tired of his previous teammates' way of playing. With the only recently formed Seirin High School Basketball club and his newly chosen "light" Kagami Taiga, Kuroko aims to take on the former members' of the Generation of Miracles new clubs one by one, and in doing so prove the importance of team spirit. That is "Kuroko no Basket" – "Kuroko's Basketball" – the way of playing Basketball which Kuroko firmly believes in.
Just like Kuroko possesses the skill of misdirection, each player, coaches and managers not excluded, has a special ability. These abilities are not something a basketball player of flesh and blood would be realistically able to perform and feel like super powers from a battle shōnen. One might be fooled by the large portion of BL-themed fan art for the show, but Kuroko no Basket is a typical show of its demographic. In addition to fast-paced action and silly comedy, interpersonal relationships are important only inasmuch as the importance of friendship and camaraderie within a sports team is shown.
All the more of a bummer is it that with the exception of Kuroko and Kagami, the players of Seirin High remain oddly flat and feckless during these first 25 episodes, while the Generation of Miracles whose haughtiness Kuroko has come to detest slowly turn out to be the true stars of the show. This discrepancy is even reflected by their character designs: the Seirin players, with the exception of Kuroko and Kagami, all have relatively realistic hair colors, whereas the members of the Generation of Miracles have flashy unnatural hair colors most of which resonate with their names. It often seemed to me as if the show was contradicting its intended message by making the remaining Seirin players feel like extras in comparison.
I was rather disappointed with the humor in Kuroko no Basket. I thought it was cheap and felt forced, but in the end, humor, even more so than anything else, is a matter of personal preference, and while I was especially annoyed by Kagami's Engrish, others have deemed it the highlight of the show. The highly suspense-packed, fast-paced basketball matches on the other hand were a joy to watch, and are the reason I'll be keeping my fingers crossed for a second season.
Reviewer’s Rating: 7
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Sep 14, 2012
"If the four fingers on my hand represent animals and the thumb represents plants, humans would be here, at the tip of the middle-finger, farthest away from the heart. The closer to the palm of the hand, the simpler the creature. Around the wrist, all the blood vessels come together, right? About there are fungi and microorganisms. It's hard to distinguish between plants and animals at this point. But high up the arm, past the shoulder, close to the heart, there are still things beyond those."
These things are called "midori mono" - Green things -, or "mushi", a slightly misleading term, given it translates to
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"insects" or "bugs". Because they are much closer to being the very essence of life rather than mere manifestations of it, few people are able to actually see them. One such person is Ginko. Being a "mushi-shi", a mushi master, he travels rural pre-westernized Japan conducting research and helping people who get to indirectly experience the existence of mushi, as these outlandish creatures tend to be the cause of sorts of strange phenomena and problems.
The original manga could be called an anthology, seeing it is basically a collection of unrelated short stories. The anime, consequently, is episodic in nature, meaning it contains no overarching story, not even two-parters. Each episode is a self-contained adaption of a chapter from volumes one to six of the manga.
Over the course of twenty-six episodes, there are only three recurring characters. One of them appears in no more than three episodes and another one remains but a faceless narrating voice - except for that one time. The third one is Ginko. His rather unusual appearance reflects the fact his ability sets him apart from other people. Although the time the story is set in would normally require all characters to wear wafuku - traditional Japanese clothing -, Ginko is always dressed in yofuku - typically Western clothes. In-story, however, no one seems to even notice, and unlike regarding his hair and eye color, the viewer is never given any explanation either.
Ginko's personality is even more unusual. If the average male lead is a boisterous hothead who acts purely on impulse, Ginko is the exact opposite. Whereas other mushi-shi think of the mushi as vermin to be exterminated, Ginko knows they inflict problems on people because they are, like every other living thing, doing what they have to in order to survive. If, however, the only way to save a human life is to eliminate a mushi, he will do so without regret. He simply understands the way nature works and accepts it.
"Why do you kill us?"
"Because you consume human children."
"It isn’t my fault."
"It isn’t my fault either, except we're stronger, so you're going to die."
While this may imply that Ginko is somewhat wooden or stoic, he is, in fact, rather laid-back. His facial expressions can be quite funny and his manner of speech is blunt, almost rude at times. He does not like to lecture people but prefers to give them just enough advice for them to be able to make an informed choice. Needless to say, people don’t always listen.
Mushishi is often mentioned in the same breath with Kino no Tabi which is understandable in a way, seeing both are episodic anime centered around one person travelling. And while I rather like Kino no Tabi, I'd like to emphasize that Mushishi is much more subtle, much more unobtrusive in its approach, but much more thought-provoking notwithstanding. Sometimes calming, sometimes disturbing, there is something about its general vibe that feels incredibly special, magical almost.
Reviewer’s Rating: 10
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Jun 18, 2012
The first thing worth noting about nakedyouth are the visuals which are impressive. Not being an anime expert, my initial hunch was that real backgrounds were filmed and traced over but in fact, everything is the result of masterful computer animation.
The natural scenes - birds flying across the sky, rays of sunlight filtering through trees - are stunningly beautiful and rich in detail. While the movements of the human body are animated realistically as well, the characters themselves look overly two-dimensional compared to the scenery, which creates an interesting contrastive effect. In short, the visuals are reason enough to watch this.
That said, nakedyouth is an
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art film, and will therefore not appeal to everybody. Slow pacing, unresolved tension, repetition and lack of dialogue resulting from the fact it relies on the images to tell the story will leave some frustrated; others will turn away at the the same-sex attraction theme.
If neither of those things scare you, you will be rewarded by a beautifully animated short tale of teenage (homo-)sexual frustration, in which feelings aren't conveyed by words, but subtle glances, awkward situations, and finally, actions.
Reviewer’s Rating: 7
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