Tag Archives: Manga

ECCC 2017: NEW HATSUNE MIKU VOLUME FROM DARK HORSE MANGA

Hatsune Miku: Future Delivery Volume 1

Hatsune Miku: Future Delivery Volume 1

As it makes its way to Emerald City Comicon in Seattle (March 2-5, 2017), Dark Horse Comics announces new plans for their latest Hatsune Miku manga license. The first of two Hatsune Miku: Future Delivery volumes is scheduled for a October 4, 2017 release with writer Satoshi Oshio and artist Hugin Miyama, the team behind the Overlord manga adaptation, telling the story first featured in their 2014 hit.

Press release follows:

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Filed under Comics, Dark Horse Comics, Emerald City Comicon, Manga, Seattle

Review: THE OSAMU TEZUKA STORY by Toshio Ban

Osamu Tezuka, as a boy, shows promise.

Osamu Tezuka, as a boy, shows promise.

“The Osamu Tezuka Story: A Life in Manga and Anime,” by Toshio Ban, published by Stone Bridge Press, is a work in manga fit for one of the greatest manga artists ever, Osamu Tezuka (1928-1989). Manga is a very particular experience and much can get lost in translation. One key trait to manga is that time constraints often go out the window, the format embraces extended scenes. I like this approach and find it can be quite effective in setting a mood. Like any other technique, it can be overdone. I thought this to myself as I began to undertake this behemoth of book clocking in at 928 pages. Could it have benefited from some restraint? Well, yes and no. Overall, I highly recommend it on many levels. It provides much needed context and general information. And, in the end, there is an enthusiastic spark throughout that lifts the reader.

Manga is inextricably linked to a different world view, as opposed to most Western comics. We Americans, even the most seasoned readers among us, have been conditioned to more tightly edited work. You just need to come into reading this biography with the same spirit you would approach a gloriously sprawling foreign film. Yes, expect to find many detailed scenes with the little boy Osamu. And, yes, expect various detailed scenes of Osamu, the man, at his drafting table.

Osamu Tezuka in his prime.

Osamu Tezuka in his prime.

Who exactly was Osamu Tezuka? you may ask. In the United States, Osamu Tezuka is not as well known as he could be. But, in Japan, he ranks as high as, say, Charles M. Schulz does in America. There is every reason to believe that Tezuka could become as beloved an artist as Schulz. And that adds to the importance of this biography. In America, a certain number of enthusiasts know Tezuka for his landmark Buddha series. In Japan, Tezuka is also celebrated for Astro Boy, Kimba the White Lion, and Black Jack. Also covered in this book is Tezuka’s trailblazing work in animation. It is no exaggeration to say that Japan’s manga and anime owes greatly to the work of Osamu Tezuka.

Working for Osamu Tezuka

Working for Osamu Tezuka proves challenging.

Among the memorable detailed accounts: Tezuka, up to his ears in work, is literally fleeing anxious editors from various publications hounding him to meet his deadlines. The King of Manga, hiding out in hotel rooms from publishers, with the press not far behind, became a veritable cause célèbre. At the height of so many conflicting deadlines piling up on him, Tezuka had to devise various systems to cut down the time-consuming process of creating manga. This included hiring a team of assistants. The poor devils were left to do various bits of piece work without a clue as to what would ultimately go where. This would be just a taste of what it would be like once Tezuka began to work in his own anime studio.

You are in for a treat. Yes, here you are dealing with a mammoth book. Take it bit by bit and you will be rewarded. Frederik L. Schodt’s translation works smoothly with Toshio Ban’s original script and artwork which greatly emulates Tezuka’s own artwork. This is indeed a treasure trove. The original work was published in 1992, three years after Tezuka’s death. It originally came out as three books: Osamu to Osamushi (1928-1945), Dreams of Manga (1945-1959), and Dreams of Anime (1960-1989). With that in mind, it is more reasonable to see how we ended up with such a big book. I think a graphic novel should be as long as it needs to be. Some 300-pagers could easily be half as long. But, in this case, here is a story that is well justified in spreading out as much as it needed to.

"The Osamu Tezuka Story: A Life in Manga and Anime," by Toshio Ban

“The Osamu Tezuka Story: A Life in Manga and Anime,” by Toshio Ban

THE OSAMU TEZUKA STORY is a 928-page trade paperback, published by Stone Bridge Press. Visit them right here. You can also find it at Amazon right here.

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Filed under animation, Anime, Comics, Graphic Novel Reviews, graphic novels, Japan, Manga, Osamu Tezuka

Kickstarter: BAREFOOT GEN for Schools and Libraries Campaign Ends 9/10/2015

Barefoot-Gen-Last-Gasp

Our friends at Last Gasp need that last big push to get them over the top for such a worthy goal: a new hardcover edition of a landmark in manga, “Barefoot Gen,” for schools and libraries. This is the story of the bombing of Hiroshima told from the perspective of a young boy. It has moved Art Spiegelman, creator of the masterpiece in comix, “Maus,” to call “Barefoot Gen” a prime example of how the comics medium can bring ideas to life.

Barefoot-Gen-Nakazawa-Hiroshima

All you Kickstarter supporters know that thrill of making it to the finish line. Let’s all do what we can, spread the word, donate to the campaign, and visit often (the campaign ends this Thursday, Sept 10th!) right here.

FUNDING GOALS

Last Gasp estimates that $36,000 is the minimum needed to create and distribute 4000 copies (1000 each of four volumes). The cost would cover the following:

Redesigning the books for hardcover
Printing hardcover books
Mailing rewards to backers
Kickstarter and credit card processing fees

ABOUT BAREFOOT GEN

Barefoot Gen (Hadashi no Gen in the original Japanese) is a semi-autobiographical story about wartime Japan and the bombing of Hiroshima. For many years, Last Gasp has published the English edition of this classic manga story.

Visit the BAREFOOT GEN for Schools and Libraries Campaign right here.

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Filed under Barefoot Gen, Comics, Japan, Keiji Nakazawa, Manga

Review: MIGHTY STAR AND THE CASTLE OF THE CANCATERVATER

Mighty-Star-Koyama-Press

Alex Degen is working in a place that many cartoonists want to be working in. It’s a place of wonder and experimentation. He’s definitely someone I’d love to sit down and have a long talk with over tea, beer, whatever. What he does in this collection of comics hits close to home since it’s the sort of comics I like to create. I feel that I know a goodly amount about this as I’ve studied numerous similar work over the years and I know several cartoonists in a similar boat. That said, this is a pretty specific way of working.

Some label this type of cartooning as “dream logic” or “psychedelic.” What they mean is that the work evokes an anything-goes quality or follows a stream-of-consciousness narrative. This is seemingly loose work. But that doesn’t mean it’s a free pass to get sloppy. Instead, you want to be pretty clean and precise with your presentation in order to go to some weird places and have it read properly. All this Degen does quite well.

This book collects six parts of previous webcomics which add up to one wild journey. Each part ends with a “to be continued” and it provides an essential pause. I say this because that may help break things down a bit for you, if you’re totally new. What you’ll initially find is a world where it seems as if anything is liable to explode or melt or some such surreal craziness. Let’s get one thing straight, the definition of “cancatervater.” It means, “to heap into a pile.” Does that help? Well, does it? Okay, think of this Cancatervater as a most sinister force plotting to take over the world. Now, add Mighty Star, our superhero, to the mix.

A-Degen-Koyama-Press

What happens is, well, a little of everything. It’s science fiction, fantasy, manga, and bit of a bodice ripper. Twice, we have two pretty young women suddenly bare breasted. One is Bijoux, a typical manga type in skin-tight clothes. The other is far less obvious, an aerialist, Zoe Trala. In both cases, it seems that a certain amount of tension, made up of pent-up hormones and angst, has reached a point of no return. The women’s clothes are not ripped off of them. They simply find themselves without tops. So, needless to say, this book has mature content, more for older teens and above. In the end, this book is more cerebral than titillating.

It’s after this second incident with Zoe Trala’s missing top that more nudity is included but it has purpose. It’s always of a rather understated nature, not offensive or particularly gratuitous. And it leads us to one of the most compelling scenes in the narrative. Mighty Star’s journey leads him to a forest. And hanging from the trees are numerous naked bodies of both men and women. They aren’t hung dead bodies. No, instead, they fall from the trees just like apples. In fact, they each have a big apple stem where each head should be. This is the most explicit symbol of the forbidden knowledge that Mighty Star has been confronting all along.

Alex-Degen-comics

All the characters here are elusive and enigmatic. Moreover, the superhero motif is not obviously vigorous but mysterious. In a setting for action there is farce and ambiguity. The style here is a somewhat rougher version of King City’s Brandon Graham. Offbeat. Off–kilter. Dialed back to just the right frequency. When you expect conflict, you may end up with a muffled sedate response. Sex. Violence. Superheroes. Leave it to a cartoonist like Alex Degen to balance all that with such a wry and ironic sensibility.

Yes, Alex, I’ll be waiting with tea, beer, or whatever. I’m sure we’d have one hell of a good talk.

MIGHTY STAR AND THE CASTLE OF THE CANCATERVATER is a 172-page, black & white, trade paperback, priced at $15.00, published by Koyama Press. For more details, visit our friends at Koyama Press right here.

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Filed under Alex Degen, Brandon Graham, Comics, Graphic Novel Reviews, graphic novels, Koyama Press, Webcomics

Yoshihiro Tatsumi, RIP

Yoshihiro-Tatsumi

“Sensei is dead.” When he clicked on the email, that is all that the esteemed comics authority Paul Gravett had to read to know what had happened. Some will say that the work of the master cartoonist Yoshihiro Tatsumi (1935-2015) has brought them to tears. That’s quite a tall order. But it is certainly plausible. The world of comics, as you may know, is more than one thing. One aspect of it can be so rarified to make the most glamorous and refined creatures on this planet pale in comparison. That’s what you get when certain people communicate with, “Sensei is dead.”

Just imagine getting a text with, “The king has died.” It’s a bit surreal. And, I’m sure, not what Tatsumi would have wanted. Yes, for authorities on comics, and regular everyday fans, Tatsumi knew his manga. He was a master of the more introspective gekiga. He was no king and yet he was a king. Take away the veneer of reserve from the most venerated authority on comics and you’ll find a child looking up in wonder. At least, I hope so. That would have come easy for Tatsumi. His comics are down to earth and irreverent. But, then again, he would likely have respected any goodwill gesture. “Sensei is dead.”

Gekiga-Yoshihiro-Tatsumi

“A Drifting Life” is the epic autobiography of the manga master. Arguably, it is Tatsumi’s work that has inspired graphic novels as we know them today. With “A Drifting Life,” you follow Tatsumi on his journey of self-discovery spanning 1945 to 1960 as he strives to attain the skills of his own manga idol, Osamu Tezuka (Astro Boy, Apollo’s Song, Ode to Kirihito, Buddha). The book is designed by one of today’s leading cartoonists, Adrian Tomine. You can find it at Amazon right here.

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Filed under Comics, Gekiga, Japan, Manga, Paul Gravett, Yoshihiro Tatsumi

Short Film Review: THE SHAMAN and exclusive manga

The-Shaman-Marco-Kalantari

There’s a touch of the poet, the adventurer, and the dreamer in Marco Kalantari’s short film, “The Shaman.” There’s a quirky intensity here like you might find in your favorite story or game. And I consider myself most fortunate to know about it now.

It’s bursting with originality and fierce energy that grabs you from the start. It is 2204. We fight our wars with intelligent machines. The only way to subvert their power is to engage with their souls. And it is only the shamans who can access these machine souls that exist in the Netherworld.

The world war has been raging for 73 years on. It’s some really strange and dark holy war or something quite bad. A scorched Earth is nothing new to anyone. But there’s the Netherworld and, perhaps, it is there that all souls will some day know eternal peace.

“The Shaman” packs quite a punch. It’s a dark and gothic mashup of “Star Wars” and “District 9.” The special effects are first-rate. And there’s plenty of new ground upon which to trod and take leaps of faith from. You’ll love the ritual involved in transporting a Shaman to the Netherworld. This short film provides a whole new set of terms and signs to behold.

And the scene between The Shaman (played by Danny Shayler) and the Soul of the Colossus (played by Susanne Wuest) is brilliant. This is a great battle of wits between shaman and machine. It’s wonderful to see and let’s hope that perhaps all this leads to a major full-length motion picture. I really think that’s possible. Whatever lies ahead, this is an excellent short film.

What follows is a prequel to The Shaman. This is a manga story setting the stage for what lies ahead in the main story:

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Filed under Movie Reviews, movies, Short Film, Tribeca Film Festival

Review: The Last Broadcast #1

Last-Broadcast-Archaia-Boom-Studios

“The Last Broadcast #1” is brought to you by Boom! Studios’ Archaia line and lives up to its promise of being “an urban exploration adventure.” Spelunking has been the subject of comics before, believe it or not. That goes back to 2009 and Jeff Parker and Steve Lieber’s “Underground.” That comic is a character-driven action adventure, which is saying a lot. Either you’re one or the other most of the time. Well, lightning strikes twice with “The Last Broadcast.” And all of the action is not just underground.

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Filed under Boom! Studios, Comics, Comics Reviews

EAST and WEST: The Significance of Plot Without Conflict

Western narrative, from Still Eating Oranges

Western narrative, from Still Eating Oranges

How do we change the world? It can be as simple as how we see the world. There are numerous influences we need to consider. One is as simple as how we tell stories. In the West, for example, there is a rigidly ingrained method for storytelling, and for communication in general. It has conflict built in that must be confronted and resolved. While it may sound like an overstatement, this method embraces aggression, and violence. Why not try another method and see what results?

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Filed under China, Comics, Japan, Kishōtenketsu, Manga, philosophy, Yonkoma

Comics in 2014: NIJIGAHARA HOLOGRAPH, published by Fantagraphics Books

nijigahara-holograph-fantagraphics-books

Inio Asano is a Japanese manga superstar. He is known for such works as “Solanin,” which was nominated for the 2009 Eisner and Harvey comics awards (and which was made into a feature film in 2010). For 2014, Asano’s manga classic, “Nijigahara Holograph,” is published in an English translation by Fantagraphics Books.

Butterflies signal impending doom as children confront a dark entity in a nearby tunnel. Years later, these same kids must confront themselves for how they responded to an unknown terror. “Nijigahara Holograph” is a complex supernatural thriller, like something out of a David Lynch film. It is due out in February 2014. For more details, visit of friends at Fantagraphics Books here.

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Filed under Comics, Comics News, Fantagraphics Books, Inio Asano, Japan, Manga, news

Review: PEPITA: TAKEHIKO INOUE MEETS GAUDI

Pepita_Cover

I was introduced to the work of Gaudí in a very Woody Allen way. This was many years ago and I was on a date. We were very young and full of energy and dropping various names and titles to all the art we had consumed thus far in our little lives. “Oh, Gaudí!” It was the biggest name drop of them all for her since she had just returned from Spain. At the time, the best I could find was a book in the library. I put two and two togehter pretty quickly after that. And I have admired the work of Gaudí ever since.

If you go to Barcelona, you can’t help but find the enormous cathedral of Sagrada Família, the iconic Roman Catholic catheral which is regarded as one of the great wonders of the modern world even if, one hundred years since it was begun, it continues to grow. The legendary Spanish Modernist architect Antoni Gaudí continues, in spirit, to oversee construction.

Inoue-Meets-Gaudi-Viz-Media-2013

Today, the works of Gaudí hold their own very well with contemporary giants like Rem Koolhaus and Frank Gehry. Experimental and expressive architecture are more acceptable these days, even if you may still find an old guard of resistance. Artist Takehiko Inoue makes for a wonderful tour guide, with an open and animated spirit, in his recent book about his pilgrimage to the world and art of Gaudí, “Pepita: Takehiko Inoue Meets Gaudí,” published by VIZ Media and offered under the VIZ Signature imprint, priced at $24.99 U.S/ $28.99 CAN.

Takehiko Inoue is in a unique position to share his views on master architect Antoni Gaudí (1852 – 1926), the famous Spanish architect and leader of Catalan Modernism. An accomplished artist in his own right, Inoue is known for landmark manga titles, SLAM DUNK, REAL, and VAGABOND, all published by VIZ Media. Inoue approaches his subject with great enthusiasm and the insights of a fellow artist.

Pepita-Inoeue-meets-Gaudi-2013

What readers will find striking about this book is the various ways that Inoue comes to his subject: sketchbook drawings, notes, journal entries, more formal prose, photographs, and his own inimitable hyper-realistic artwork.

Above all, this is a refreshingly honest and open book. Inoue makes no claims to a lifelong affinity to Gaudí. In fact, he admits that the first time he saw the work of Gaudí, in 1992, it was as part of a rushed tour and he did not have a chance to develop any significant impressions. However, it was in 2011, that Inoue was determined to learn about the great master.

Pepita-Inoue-Meets-Gaudi-Viz-Media

What you’ll find in this book is such a variety of information from someone you quickly connect with. I’ve always been attracted to these type of books that present you with more than just the facts. You get the facts, to be sure. There is full documentation on Gaudí’s career, family, and where he lived and worked. What’s great is when you have a unique guide that will bring in a variety of unexpected facts. For instance, just consider the title of this book. Pepita? Who are what is that? Well, buried within the book is the answer. Not to spoil anything, I think it helps a lot to go ahead and know what that means. The definition of “pepita” is “fruit seed” and that is meant to describe Inoue’s journey, to find the fruit seed to Gaudí’s creativity. It is also the nickname of Gaudí’s one and only sweetheart! Now, try finding that in your typical book on Gaudí.

“Pepita: Takehiko Inoue Meets Gaudí” is a 108-page hardcover, priced at $24.99. You can find it here.

For more information on other Takehiko Inoue titles available from VIZ Media, please visit www.viz.com.

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Filed under Antoni Gaudí, Architecture, Art, Manga, Takehiko Inoue, Travel, VIZ Media