Banana Fish

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The following review is in English and Spanish (translated with the support of DeepL)

The version read is the Spanish translation by Deco Woo and Lyrica-chan of “Heart of Gold”

While quickly assumed, the viewer should think more about the interesting decision to set the story in New York. The author, Akimi Yoshida, did a great job in depicting the location, to the point that it doesn't even seem foreign or exotic to the reader, that's how natural the narrative feels. Beyond being part of a Japanese fascination with the United States characteristic of that time, well demonstrated in the cartoonist's interests, for example in her first ... work (California History), it would be a decision that would highlight the work in multiple streams.

It's not the space of this review to address what it meant for the definition and evolution of Shojo to Shonen or Boys Love, I just want to emphasize that part of that historical importance lies in the decision to place the story in the capital of the world because it allowed her to use elements that otherwise would not be there, the most important is the strong presence of gangs.

The gangs are the backbone of the narrative, each one is ethnic, marking a clear differentiation between them that give the guideline to establish relationships in declared conflict or tense peace, being an ideal scenario in which to address the main values of the work: Loyalty, duty or tolerance.

The “street” aspect of the city is built, which is only the basis of a broad framework with police, special forces, mafia or press, with diffuse relationships between them. New York is consolidated not only through the appearance of the tourist spots, but among the forces that seek to control the city in their own way, constituting that real, dangerous and invisible aspect for the ordinary citizen.

Corresponding to the darkness of this presentation, the different situations related are born in this moral corruption such as drug distribution, child trafficking, murder or blackmail. An atmosphere that to be explored in its different facets should have characters corresponding to what wants to be told, and indeed, Yoshida did a fantastic job defining the characters that rule or seek to control the city, they are not only despicable, they have complexity in that evil.

And in highlighting the conceptualization of the characters, the main duo, Ash and Eiji, can't be omitted. Ash's character building alone is admirable, there is a dichotomy between who he seems to be and who he is, which unfolds along the story. I could write multiple adjectives and admirations, however, I consider it more valuable if the reader discovers his multiple facets, as Eiji does.

Eiji at first seems to be the observation from the viewer, but like Ash, he also evolves, in a reverse sense it could be qualified to some extent. The chemistry between the two is the unconditional platonic complement to each other, a relationship in which weakness and strength coexist, resonating with the other themes of forgiveness, acceptance of the past and love.

If there is a lesson that perhaps encompasses the different reflections of its development it would be: The past does not define who you will be in the future, there is freedom in deciding what you want to be and how you want to act, to escape the cycle you are confined to you need courage to love and accept the love of others; a warm message in the midst of its dark presentation of corruption, power and subjugation.

Its main negative aspect is related to the pacing of the story and a narrative whose last quarter feels unnecessarily drawn out, with a repeated “X rescuing Y” dynamic, with Y now being captured to be rescued by X. It brings other consequences, especially in the appearance of new characters with no greater transcendence than being an obstacle, contributing little to the thematic idea compared to the others.

Likewise, its ambition works against it at certain points, with the mention of so many dynamics and conspiracy within a conspiracy, facts of importance at the beginning are barely mentioned towards the end, and others become a mere formality to get to another development or revelation.

It has a very recognizable drawing, and again, with importance at the time by the transition of a more dynamic and action-focused style than the usual similar works of other authors. While most of it's made up of panels positioned for action or conversations, there are the occasional exceptions solely dedicated to reflecting the character's emotion through their expression or positioning.

I must also highlight her character design, it reinforces that New York ethnic variety that has so much importance within the story. And clearly, Ash's physical characterization is vital to his conceptualization as a character, especially when contrasted with Eiji's common and integral appearance.

Banana Fish deserves its historical recognition, it is a solid story with an engaging setting and a multitude of secondary characters with unique motivations and personalities. Although it lasts longer than it should, redounding in the chain of events and learned reflections, once you reach the last panel you know you will remember such a unique story, the lesson that no one but yourself should dictate the future that awaits you will resonate with you.

Español

La siguiente reseña está en Español e Inglés (traducida con el apoyo de DeepL)

La versión leída es la traducción al español por Deco Woo y Lyrica-chan de “Heart of Gold”

Si bien es rápidamente asumido, el espectador debería pensar más acerca de la interesante decisión de ubicar la historia en New York. La autora, Akimi Yoshida, realizó un gran trabajo en la representación de la locación, al punto que ni siquiera al lector le parece extraño o exótico, así de natural se siente la narrativa. Más allá de ser parte de una fascinación Japonesa por Estados Unidos característico de  ese momento, bien se demuestra en los intereses de la dibujante, por ejemplo en su primer trabajo (California History), sería una decisión que destacaría a la obra en múltiples corrientes.

No es espacio de esta reseña abordar qué significó para la definición y evolución en el Shojo a Shonen o Boys Love, sólo quiero recalcar que parte de esa importancia histórica reside en esa decisión de situar la historia en la capital del mundo porque le permitió utilizar elementos que de otra forma no estarían, la más importante es la marcada presencia de bandas.

Las bandas constituyen la columna vertebral de la narrativa, cada una es étnica, marcando una clara diferenciación entre sí que dan la pauta para establecer relaciones en declarado conflicto o tensa paz, siendo un escenario ideal en que abordar los principales valores de la obra: Lealtad, deber o tolerancia.

Se construye el aspecto “callejero” de la ciudad que es sólo la base de un amplio entramado con policías, fuerzas especiales, mafia o prensa, con difusas relaciones entre los mismos. New York se consolida no sólo a través de la aparición de los puntos turísticos, sino entre las fuerzas que buscan controlar la ciudad a su manera, constituyendo ese aspecto real, peligroso e invisible para el ciudadano corriente.

Correspondiendo a la oscuridad de esa presentación, las diferentes situaciones relatadas se encuentran nacidas en esa corrupción moral como son la distribución de drogas, tráfico de menores, asesinatos o chantajes. Una atmósfera que para ser explorada en sus diferentes facetas debía contar con personajes correspondientes a lo que quiere ser contado, y efectivamente, Yoshida realizó un fantástico trabajo definiendo a los personajes que gobiernan o buscar controlar a la ciudad, no son sólo despreciables, tienen complejidad en esa maldad.

Y al destacar a la conceptualización de los personajes no puede omitirse al dúo principal, Ash y Eiji. Por sí sólo la construcción de Ash como personaje es admirable, hay una dicotomía entre quien parece ser y quien es, la cuál se desenvuelve conforme al desarrollo. Podría escribir múltiples adjetivos y admiraciones, sin embargo, considero que es más valioso si el lector descubre sus múltiples facetas, a la par que lo realiza Eiji.

Eiji en principio parece ser la observación desde el espectador, pero al igual que Ash, también evoluciona, en un sentido inverso podría calificarse hasta cierto punto. La química entre ambos es el complemento incondicional platónico hacia el otro, una relación en que conviven debilidad y fuerza, resonando con las otras temáticas como el perdón, aceptación del pasado y amor.

Si hay una lección que acaso englobe las diferentes reflexiones de su desarrollo sería: El pasado no define quién serás en el futuro, hay libertad en decidir qué quieres ser y cómo quieres actuar, para escapar del ciclo del que estás confinado necesitas valor para amar y aceptar el amor de otros; un cálido mensaje en medio de su oscura presentación de corrupción, poder y sometimiento.

Su principal aspecto negativo está relacionado con el ritmo de la historia y una narrativa cuyo último cuarto se siente innecesariamente extensa, con una repetida dinámica de “X rescatando Y”, quedando Y ahora capturado para ser rescatado por X. Acarrea otras consecuencias, sobre todo en la aparición de nuevos personajes sin mayor trascendencia que ser un obstáculo, poco aportando a la idea temática a comparación de los otros. 

Así mismo su ambición resulta en contra en según qué puntos, con la mención de tantas dinámicas y conspiración dentro de una conspiración, hechos de importancia al inicio apenas son mencionados hacia el final, y otros se convierten en mero trámite para llegar hacia otro desarrollo o revelación.

Tiene un dibujo muy reconocible, y nuevamente, con importancia en su momento por la transición de un estilo más dinámico y enfocado a la acción que el acostumbrado de obras similares de otras autoras. Si bien la mayoría está constituido por paneles posicionados para la acción o conversaciones, en ocasiones se presentan las excepciones únicamente dedicadas a reflejar la emoción del personaje por medio de su expresión o posicionamiento.

También he de destacar su diseño de personajes, refuerza esa variedad étnica neoyorquina que tiene tanta importancia dentro de la historia. Y claramente, la caracterización física de Ash es vital para su conceptualización como personaje, especialmente cuando es contrastada con el aspecto común e integral de Eiji.

Banana Fish merece su reconocimiento histórico, es una sólida historia de atractiva ambientación con una multitud de personajes secundarios con motivaciones y personalidades únicas. Pese a que dura más de lo que debería, redundando en la cadena de sucesos y aprendidas reflexiones, una vez alcanzas el último panel sabes que recordarás tan única historia, te resonará la lección sobre que nadie más que uno mismo debe dictar el futuro que le espera.

This is a very uncommon shoujo manga, full of action, violence and almost no woman.
Social justice warrior in our current political climate often complain about lack of representation of nonwhite nonmales. Therefore its funny that this manga which i assume targets young females has almost no important female character. Some people might argue that this is no shoujo manga but they would be wrong, the portagonist Ash is written to be the crush of most young girls.His IQ is 200, he sacrifices himself for his loveinterest, he is acknowledged by every other character to be stunningly beautiful (also i find most characters look very much ... alike), he is courages and so on. The only thing that could stand in the way of being the crush of the female reader is his love interest in another boy, but yaoi is very popular with females so that shouldnt be a problem. He beeing the perfect human is really a problem. Everyone is familiar with mary stu characters. On the other hand one must give the manga credit for introducing a character that is so capable that even our demigod ash capitulates before him.

What i disliked the most was this repetitive sequence of: ash is captured, it looks like its game over, ash frees himself, ash is captured, it looks like its game over, ash frees himself...
If the important characters are always saved in the last minute than it doesnt surprise the audience anymore. Its no fun. To be able to take the manga seriously there need to be serious consequences somethimes. Even though everyone knows that Ash is the smarter than Einstein his enemys always underestimate him, then they lose, then they underestimate him again. Very tiresome.
But its still a decent read.

Banana Fish is a work that gets better the closer you are to “I basically only read shoujo manga”. It is certainly more unusual in its genre, but it’s an “uniqueness” that starts to pale once it’s being compared to more varied works.

First thing that is obviously different from a regular shoujo manga is the artstyle. It’s not frilly and sparkly, it’s clean and readable, overall looking more “mature”. Well, “mature” being a double-edged sword as it also ends up looking as some BL works. That said, it is certainly a change for better over the standard. Both at that time and the current. Still, ... it does get a bit stale and uninteresting, there are some panels that are nice but there isn’t a single panel or page that will make you go “wow”. Being a dialogue heavy piece it doesn’t waste that much resources on the illustrations which is a pity.

Now for the story itself, I can’t really say there was a part that piqued my interest. In a core, it’s just a basic “you took something important from a mafia, now you become an outlaw as they try to get it from you and get their revenge". In a fact, it’s exactly that, but also most of the cast is gay. Not explicitly *shown*, but the dialogue makes sure to mention it. Or at least allude to it, in cases of more minor (pun not intended) characters. Anyway, it drags on way too long with little points of interest, would I not have a no drop policy I would have long dropped this before getting in the half of the manga. Sure, it does have themes usually not seen in shoujo manga such as drugs, prostitution/sex trafficking or actual murders, but that those themes alone does not make it good. It’s how those themes are treated that decides it. It also isn’t “mature” just because of those themes. At first I wanted to at least commend it for not fetishizing the rape (that much) and for a more serious portrayal of it. That was until the “I just got gangbanged, come here my ex-husband, let’s make out” scene. Also, the Dino ex machina in the final fight and the finale after that felt really underwhelming.

One of the main reasons why the story is not entertaining is because the protagonist just isn’t interesting. Sure, he has some childhood trauma, but other than being raped he’s pretty much a Gary Stu. Stunning looks, charismatic personality, great combat ability both hand-to-hand and armed and most of all, a fucking genius. Literally. Dude has an IQ over 180, which is something very few people have. Does it actually have an impact on the story though? No, not really. It’s just the author flexing on the reader with this random revelation, but nowhere in the story Ash feels as an actually genius. Not dumb? Sure. Clever? I guess. But he is simply not written as a genius. And no, “but it gets cancelled out by his personality” doesn’t count as an explanation.

Overall, I would recommend just watching the anime instead as it has better pacing and cuts out some parts (which is actually an improvement in this case) and the MAPPA animation does great service to the watchability of it.