BLAND Manga Capsules 3/4/98
Michael Welsh Duggan
1/3
This week's manga capsules include Gunsmith Cats: Goldie vs. Misty #5,
Mobile Police Patlabor v2 #2, The Return of Lum/Urusei Yatsura v4 #7,
and The Two Faces of Tomorrow #8.
-----
Instead of spoiler space, here's an explanation of my grading scale.
A: An A-level comic is more or less fully realized, with art and story
that mesh well and which is genuinely interesting and involving.
B: A B-level comic is much the same, but for some reason it just doesn't
pull together as well -- maybe the art's not up to par with the
writing, or something similar.
C: C-level comic is average. Writing and art usually don't work all that
well together, but they're usually not at odds either. Pick up any
random issue of a DC or Marvel comic, and it's most likely going to
turn out to be a C.
D: D-level comic usually has unintelligble art or an incomprehensible
story, sometimes both. Some of them might contain interesting ideas,
but the execution is usually botched in some way.
F: F-level comic usually has both, and is usually offensive to boot.
-----
Recommended:
THE TWO FACES OF TOMORROW #8 (Dark Horse Comics)
by Hogan, Hoshino, Lewis, Smith and Saito (?)
Grade: A-
The unexpected ferocity of SPARTACUS's attack drives the scientists
from Janus, but will it let the humans end the experiment in the way
they planned?
Much of what passes for science fiction has an anti-technology bent;
who hasn't seen a movie where the mad scientist gets in in the end for
tampering in god's domain? But such movies, despite being "cautionary
tales", have precious little to do with science -- they're often just
boogieman tales which lament what's happened after the fact.
THE TWO FACES OF TOMORROW, on the other hand, is about actual science,
and stars a group of brave men and women conducting an experiment
whose outcome is of paramount importance to the human race. And they
are real scientists -- there are experimentalists, trying to deal with
the concrete realities of what they encounter, and there are theorists
who try to make abstract break-throughs in understanding. There are
even a group of pure technologists and engineers, who can't even
conceive of a system ever slipping from their control. The characters
in THE TWO FACES OF TOMORROW are much like many people I've met in
real life rather than cookie-cutter fiction scientists, and that makes
the book all the more fun to read. And they actually do have lives
outside the lab.
Despite all the weighty ideas thrown about, this is still a
startlingly human story. As SPARTACUS's blitzkrieg tactics overrun the
Janus station, we feel the death of each solider as much as any of the
characters, and when a whole platoon of wounded soldiers is sucked out
into space their loss drives home the stakes behind this dangerous
experiment. Each character must wrestle with his own philosophy and
inner demons, and rather than becoming pale stereotypes repeating the
same party line over and over they show very touching moments of
frailty and doubt. When Professor Krantz, head of the project, is
witness to the horrible slaughter one can see the actual reprecussions
of his little experiment finally crash down on him as he slumps
paralyzed in his chair.
One of the reasons these emotions come across is Yukinobu Hoshino's
utterly fantstic artwork. As he slumps, Professor Krantz is frozen in
a horrible rictus, and subsequent panels give us a close-up of his
tense and troubled face. Later, when he argues for keeping the project
open, one can see the regret and doubt on his face. Like the best
cartoonists, Hoshino has his characters wear their hearts on their
faces, and we can assess their characters in an instant. Even so,
these characters are not mere caricatures, but fully-realized human
beings with normal-looking appearances and a wide array of complex
emotions. Hoshino shows the humiliating retreat of wounded soulders,
the nervous breakdown of a troubled scientist, and the blossoming
romantic relationship between two of the characters with equal
aplomb. He's easily one of the best mangaka whose works have made it
here; as Masamune Shirow said in the ad for issue #1, "I wish I could
draw like him."
Perhaps the only caveat I'd issue about the issue is that a romantic
subplot betwen Laura Fenning and Raymond Dyer comes to a head this
issue, and betrays the stories 1950s roots. After a bit of an argument
they kiss and make up, and there's the following exchange of dialogue:
DYER: Why, you cunning vixen, you...! See if I ever believe you again!
FENNING: Oh, personally, I think I'll have no trouble acting like a more
belivable woman...
Which presumably means settling down and raising 2.5 kids by the white
picket fence. I was just waiting for Dyer to slap her on the rump and
say "Go make me some coffee, sweet-cheeks, and let the men take care
of things. Don't worry your pretty little head over it."
But this is a minor quibble about an otherwise excellent issue. I
still highly recommend the book. And if you liked this, you'll
definitely like 2001 NIGHTS, available from Viz in some handsome
collected editions.
Mildly Recommended:
THE RETURN OF LUM/URUSEI YATSURA v4 #7 (Viz Communications)
by Takahashi, Olsen, Jones and Kelleher
Grade: B
URUSEI YATSURA returns with two surprisingly effective stories,
especially when compared to the lame-o "vampire" stories of last
issue. In this case, we're given a story about Ataru being fed a badly
made love potion that turns him into an inveterate liar, and in the
second story Ataru is tormented by the God of Knowledge, who's
determined to show a young punk what real knowledge is even if he is a
little bit out of touch with the modern world.
Good premises, and milked for some great gags, most of which don't
require substantive rewrites. As always, the story is complemented by
Takahashi's art, which is spectacular in this outing -- the first
three pages are absolutely gorgeous, and facial expressions like Lum's
devilish grin on page 11 only help enhance the story. It's always fun
to watch her get better and better with each passing issue of URUSEI
YATSURA, a feeling one doesn't always have when reading comics like
RANMA 1/2.
As always, a decent buy. This is one of the funnier UYs in recent
memory, and definitely worth a glance.
MOBILE POLICE PATLABOR v2 #2 (Viz Communications)
by Yuki, Oniki and Truman (?)
Grade: B-
Chief Utsumi gives a Brocken to the Brotherhood of the Sea, hoping
they'll run into SV2 and obtain the valuable combat data he needs.
If there's anything that works against PATLABOR, it's the inter-issue
pacing. Like many Japanese comics, what reads fine when it's weekly or
wrapped up in a 280-page compilation just doesn't seem the same when
it's doled out in 32 page chunks -- it comes across as slow, drawn-out
and plodding. Which is a pity, because what's there is quite good. If
only Viz would be willing to dole it out in larger chunks, somewhere
between 48 and 64 pages at a time. Or possibly even release a single
tankubon at one go (which would be interesting to try, but which might
not be economically feasible).
There are some great moments here, from a comedic and artistic
standpoint. Noah's devilish grin of contentment on page three is a
sight to behold, and watching Brotherhood of the Sea guys stumble
around in a useless labor is just plain funny. However, as is the case
with all thing this slowly paced, there's just not a lot to comment
on. Everything is very nice and professional, and there are some nice
things a-comin', but it's hard to talk about what's here. At $2.95 a
pop, renting a PATLABOR video or joining your local anime club is
definitely a better way to get your monthly PATLABOR fix.
Neutral:
GUNSMITH CATS: GOLDIE VS. MISTY #5 (Dark Horse Comics)
by Sonoda, Lewis, Smith, Lee and Orz
Grade: C
On her way to a date, Minnie-May gets a flat, winds up trapped in a
junkyard, and reminisces about her relationship with Ken Taki.
Maybe Mike Richardson might want to re-think his stance on warning
labels. If ever there was an issue that required a mature reader's
warning, this is it. This issue, while not really violent at all, is
filled to the brim with sexual situations -- ranging from some crude
jokes and simple nudity to a rather frank portrayal of an almost
pedophilic relationship.
I say "almost". The fact is, the numbers are a bit screwed up
somewhere along the line. Ken is definitely 16-20 years older than
Minnie-May, and he's supposed to be pushing 29. However, that would
make May only 12 or 13, but she's clearly older than that in the
English version. It's a bit confusing, but regardless of the numbers
involved Ken is clearly robbing the cradle.
The thing is, it's presented remarkably well. Ken and May have a good
degree of chemistry and May is definitely a lot more mature than other
girls her age in some ways (being a prepubescent prostitute will do
that to you). But no matter how well Kenichi Sonoda might write the
story, there's still part of my mind that just says "this is wrong",
and that's always getting in the way. Thus, I've given it a C -- if it
was executed poorly, it would have recieved a much lower grade.
Sonoda's artwork is fantastic as usual, though again there are too
many fan-pandering panty shot and boob shots for my taste. Sonoda is
able to imblue these wonderfully simple characters with realistic
emotions, and the character of his characters is instantly visible on
their faces. It's a talent many mangaka haven't picked up, and he
always puts it to good use. His layout skills are also put to very
good use here, with flashback pages done on a black background with
rounded corners, which almost makes them seem like a storyboard. Fans
of his violent action scenes will doubtlessly be disappointed, but
those scenes would have seemed terribly out of place in this slow
romantic story.
Unfortunately, the disturbing and in some ways morally repugnant
themes really prevent a fine single-issue story from being great. And
the odd thing is, three or four years on Minnie-May's age would have
pretty much eliminated this entire objection. What a difference a few
years can make, eh?
Aw, what the hell do I know anyway?
DAVE "The Knave" WHITE, talentless hack
"Those who induce these stressors on you, were individually not your friends
in the first place, for they wish through these stressors to either brainwash
you, transvalue your sex, or even kill you with alphabet soup."
--Owen W. Gustafson
Ron
>
>
> Unfortunately, the disturbing and in some ways morally repugnant
> themes really prevent a fine single-issue story from being great. And
> the odd thing is, three or four years on Minnie-May's age would have
> pretty much eliminated this entire objection. What a difference a few
> years can make, eh?
>
According to the inside back cover of the GC Japanese tankobon,
Minnie May is 17. I recall hearing that it was Smith's decision to
make her 18. However, given that Ken Taki had met May a few years
before, he probably was "robbing the cradle", as it were.
Chadwick Ngan
In article <0ozre6200...@andrew.cmu.edu>,
Michael Welsh Duggan <md...@andrew.cmu.edu> wrote:
>
>GUNSMITH CATS: GOLDIE VS. MISTY #5 (Dark Horse Comics)
>by Sonoda, Lewis, Smith, Lee and Orz
>Grade: C
I found it amusing that in an issue titled "Goldie vs Misty," there is
neither Goldie nor Misty. :) Since that title is something cooked up by DH
anyways (it's not from the Japanese originals), why can't they change the title
to something more appropriate? That whole Minnie May story is a stand-alone
story, meant to be an interlude before the next Goldie story pops up.
Don't tell me DH intends to publish the next story under "Goldie vs
Misty" still, 'cause it ain't Goldie vs Misty at all, if ever.
>I say "almost". The fact is, the numbers are a bit screwed up
>somewhere along the line. Ken is definitely 16-20 years older than
>Minnie-May, and he's supposed to be pushing 29. However, that would
>make May only 12 or 13, but she's clearly older than that in the
>English version. It's a bit confusing, but regardless of the numbers
>involved Ken is clearly robbing the cradle.
Ken's a lolicon (pedophile). He's even admitted such himself, if I
recall correctly.
Chadwick
Michael Welsh Duggan
chad...@world.std.com (Chadwick Ngan) writes:
> I found it amusing that in an issue titled "Goldie vs Misty," there
> is neither Goldie nor Misty. :) Since that title is something cooked
> up by DH anyways (it's not from the Japanese originals), why can't
> they change the title to something more appropriate? That whole
> Minnie May story is a stand-alone story, meant to be an interlude
> before the next Goldie story pops up.
That is definitely amusing.
> Don't tell me DH intends to publish the next story under "Goldie vs
> Misty" still, 'cause it ain't Goldie vs Misty at all, if ever.
See that "5 out of 7" on the cover? You bet your sweet bippy they are.
I can't imagine for the life of me why Dark Horse would choose to chop
things up that way, but that's how the cookie crumbles, I guess.
In general, some of Dark Horse's series are chopped up very very
carefully, but for other series the break points make no sense. Viz,
at least, seems to switch volumes every time they hit the end of a
tankubon (with a few exceptions). Dark Horse is far more inconsistent.
They've had one-shots, short story arcs, long runs which encompassed
multiple unrelated stories, and short runs which barely covered a
fraction of the story. It wouldn't be so bad if it weren't for the
series titles, though I admit they have more zing than "part four".
It'd be interesting to see how they decide which series gets which
treatment.
> Ken's a lolicon (pedophile). He's even admitted such himself, if I
> recall correctly.
I don't recall any such admissions offhand, at least not in the
American version, but that's something that's pretty much been obvious
since day one. It's still kinda disgusting to read about a fluid-heavy
pedophilic relationship and then have the editor proclaim "What a
sweet story!" on the letters page. If Minnie May had actually been Mel
Hopkins, I can't imagine Rachel Penn being anything but disgusted.
William Geiger
Ken's a lolicon (pedophile). He's even admitted such himself, if I
>recall correctly.
>
>
"Gin makes a man mean!"
"Everyone booze up and riot!"
Milk&Cheese
Michael [DHC] Winston
In article <0p19ZK200...@andrew.cmu.edu>, Michael Welsh Duggan
<md...@andrew.cmu.edu> wrote:
> chad...@world.std.com (Chadwick Ngan) writes:
>
> > I found it amusing that in an issue titled "Goldie vs Misty," there
> > is neither Goldie nor Misty. :) Since that title is something cooked
> > up by DH anyways (it's not from the Japanese originals), why can't
> > they change the title to something more appropriate? That whole
> > Minnie May story is a stand-alone story, meant to be an interlude
> > before the next Goldie story pops up.
>
> That is definitely amusing.
I believe that the Goldie story continues in the next arc, "Bad Trip" (5
issues).
> > Don't tell me DH intends to publish the next story under "Goldie vs
> > Misty" still, 'cause it ain't Goldie vs Misty at all, if ever.
>
> See that "5 out of 7" on the cover? You bet your sweet bippy they are.
> I can't imagine for the life of me why Dark Horse would choose to chop
> things up that way, but that's how the cookie crumbles, I guess.
>
> In general, some of Dark Horse's series are chopped up very very
> carefully, but for other series the break points make no sense. Viz,
> at least, seems to switch volumes every time they hit the end of a
> tankubon (with a few exceptions). Dark Horse is far more inconsistent.
> They've had one-shots, short story arcs, long runs which encompassed
> multiple unrelated stories, and short runs which barely covered a
> fraction of the story. It wouldn't be so bad if it weren't for the
> series titles, though I admit they have more zing than "part four".
>
> It'd be interesting to see how they decide which series gets which
> treatment.
Believe it or not, it goes by contract. We commit to a set number of
issues at a time. So, we signed a contract to publish 10 issues, then 6,
then 7, etc. This lets us reevalute whether or not we want to continue
publishing it. Sometimes, sales are so poor that we're lucky that we
don't have a long term contract. Most of the time the stories fit into
neat little arcs, but sometimes there's a stray one that we stick under
the subtitle umbrella for continuity's sake.
GSC and Blade of the Immortal are numbered by contract. Oh My Goddess is
broken up into even smaller parts because they work out okay as one-shots
and short stories. Two Faces of Tomorrow (a personal favorite of mine)
and Chronowar have definite endings so we publish them as complete series.
Michael
--
Michael Winston *By Phone!: (503)/652/8815 x341
Internet Coordinator *By e-mail!: mich...@dhorse.com
Dark Horse Comics, Inc. *By web!: http://www.dhorse.com/
Michael Welsh Duggan
mich...@dhorse.com (Michael [DHC] Winston) writes:
> Believe it or not, it goes by contract. We commit to a set number of
> issues at a time. So, we signed a contract to publish 10 issues, then 6,
> then 7, etc.
I believe it. It's probably just the most convient way to work.
Is there any particular number you like to aim for? Viz, for instance,
seems to like 9 to 12 issues per series with six issues for shorter
stories. Do you just scale the number of issues based on what you
think will sell, or the number of issues it will take to get a story
arc finished, or just whatever you have money for at the time?
> This lets us reevalute whether or not we want to continue publishing
> it. Sometimes, sales are so poor that we're lucky that we don't have
> a long term contract.
That would be REBEL SWORD, unless I miss my guess. :)
> GSC and Blade of the Immortal are numbered by contract.
Here's something that's only tangentially related the latest
solicitations for BLADE OF THE IMMORTAL have had two numbers listed:
the position in the current series, and the position in the overall
series. Are the overall numbers going to wind up on the cover, or will
it wind up like THE MASK where they were numbered in a specific order
that never quite made it the inside of the book?