Barefoot Gen Volume 6

Written by Keiji Nakazawa
Illustrated by Keiji Nakazawa
Last Gasp

Gen and his friends try all kinds of things, both legal and otherwise, to make enough money to survive as we move further away from the end of World War II and further into the nature of surviving the aftermath of the bomb. While Gen does his best to survive, those around him may not be nearly so lucky.

The theme of life and death dominates this particular volume, as we begin with Gen saving the life of a suicide candidate and end with the idea that a young man is off to kill someone in the name of revenge. That's not to say that we haven't had plenty of the same ideas in the past, but this time it's from a different perspective. It's a death of inches, either from sickness or from doing so many bad things or suffering so much from the effects of the bomb.

Gen's strong desire to live seems at times to propel everyone around him into that same zest for life. Note that Koji, in a brief cameo, appears to be slowly killing himself without Gen's zeal. Similarly, whenever he is away from his mother, she does worse. Ryuta would not have lived without Gen's help, to say nothing of the newfound determination of the old man or Natsue. Only Akira, who seems to resent Gen's refusal to be limited to a menial life, is unaffected.

It's clear that Gen feels that everyone in Japan, good or bad, must keep on living to show the Americans that they cannot be as defeated as they appear. That's why he tries to prevent needless killings and justifies stealing or cheating Americans. There are more uncomfortable actions laid out in accusations across this volume, and they are no less difficult to read about as an American reader than ever.

But the purpose of Barefoot Gen is not to just cite American cruelty, as I've mentioned before. There's plenty of comments about those who profited from the war as well as those who use the black market and corruption to harm their fellow citizens. This series is a warning not just about the aftermath of war, but also the way in which we treat each other. As the series progresses, that latter theme grows stronger.

We also get more meta-commentary about the desire to silence anyone talking about Hiroshima, with Gen vowing to have the truth see print. I can only imagine how hard it must have been for Nakazawa to get Barefoot Gen out there for anyone to read, and I note how much longer after he published the series it too for it to be published in full in English.

I mentioned in my last review that the series was moving more toward a character-driven narrative rather than just pushing people into places where they could talk about the horrors of the bomb. That trend continues here. There is a strong feeling of storytelling, as we see scenes that Gen could not experience first hand, such as Koji, Akira, and Ryuta's scenes. Characters are showing up from prior books, and there is a continuity that the manga had lacked before.

I really like this change, because it makes the sufferings of Gen and his friends even more real. These are people who are trying to live their life as best as they can, whether it means stealing copper to set up a legitimate business or forever dodging the authorities. We see little scenes at home, and romantic relationships forming. It brings life to the characters, and also shows that no matter how awful things get, human emotion will still be there.

That doesn't mean Nakazawa is turning away from depicting historical evidence that gets swept under the rug. There's still commentary on the hypocrisy of Japanese officials in relation to the black market, the futility of schools in those early days, the indifference of the American soldiers, and the constant threat of death. The difference is that instead of feeling like Gen and his supporting cast are thrust into places and actions to make a point, Nakazawa is letting them arrive at them more naturally. I really like that approach, and I hope it continues.

I can't imagine anyone reading Barefoot Gen and not coming away from it deeply moved. There's just too much humanity on the pages not to feel the plight of Gen and express anger for those who make war lightly. I know I've said this all before, but it's worth repeating: This is a series that everyone should read.

I Kill Giants

Written by Joe Kelly
Illustrated by JM Ken Niimura
Image

Barbara is a young woman with a singular mission--killing giants. Unfortunately, she's not living in a fantasy world but instead a rather ordinary Long Island suburb. Thus, instead of being hailed as a hero, she's treated as having mental issues.

Only one girl is willing to get close to Barbara, but even she is pushed out as Barbara tries to keep herself walled away from everyone. A school counselor and a school bully, for very different reasons, just won't leave Barbara alone, however, and real life problems threaten to shatter her once and for all.

A very real storm is brewing in Barbara's life, but can even she slay the giant that she's been waiting for, once she learns its true nature?

This book is very much a slow burn. Kelly spends a lot of time (perhaps a bit too much in such a short series) getting to the climax, but it's worth sticking around to see some of the cool things in the book.

Kelly uses a girl as his protagonist, and one who doesn't feel the need to play with dolls, either. It was nice to see a girl featured as a person who likes mythology and gaming for a change. (This also leads to one of the best gag lines in the book.) Of course, her liking "boy" things is part of what makes her an outcast, so some of the coolness of the casting does lose a bit of its shine. Even here, in a comic book, it's still not okay to be a girl who likes typical male concepts.

I liked the snappy dialog between Barbara and the rest of the world. She's got the perfect acid tongue to go along with her stony demeanor. This plays out the best when Barbara is meeting with the principal or the counselor. Those are some of the best scenes in the book, as our heroine stands up for herself with all of her verbal abilities.

We also get some really nifty ideas in terms of how Barbara wants to stop the giants. She's seen creating all manner of traps and sacrifices, each more elaborate (and at times gross) than the one before. The mythology behind her secret weapon also works well and is fitting to any story like this.

I think Kelly did a pretty good job of capturing what it would be like to be Barbara. I may not agree with how things ultimately play out, but the problems she finds in her world (raised by older sister, bullied at school, and so on) feel real, as do the reactions of the various characters.

I have to admit, I wanted to like this one a bit more than I actually did, when all was said and done. I liked the idea that Barbara formed a mental idea of killing giants instead of trying to face the problems of her home life, but in the end, I think Kelly erred in how this split is resolved. After working so hard to set things up in one direction, by the climax, everything comes crashing down, including the premise that we've come to expect as the reader.

I'm not saying that books always have to follow a logical conclusion. It's just in this case, I think the logical answer was the correct one, and putting a new spin on the book in the final pages did not work for me in this case.

Speaking of things that may or may not be to your liking, Niimura's artwork will be something you either love or hate. I don't have any problem with abstract design in comics, so I thought it worked just fine. The sketchiness allowed for the blending of fact and fiction without requiring a change in visuals. He does a lot with facial features and closeups, adding to the tension. Plus, his designs for the giants we encounter are just plain cool. I'm glad this story was drawn as it was, rather than in an attempt to mimic a young adult novel or something.

I mean, this is a guy who put bunny ears on the main character. You just can't argue with that!

I Kill Giants is a good book worth reading. The subject matter is ultimately very sensitive, and Barbara's ability to accept or reject reality makes it a good story. I just don't think it was the story it could have been. Those who like adolescent-themed books about growing up should definitely find it well worth your time. I'd also recommend it for anyone who has a teen that's looking for books about people like them. Despite a few flaws, this was a book I'm glad I read. I think you'll feel the same after reading it.

Dororo Volume 2

Written by Osamu Tezuka
Illustrated by Osamu Tezuka
Vertical

Hyakkimaru's wanderings continue in this second volume, as his somewhat unwelcome companion Dororo tags along in the hopes of gathering up some good loot (and to prevent having to deal with his own troubled past).

Fated to fight the demons who have his body parts, Hyakkimaru wanders right back to where it all began. Even if he kills the demons, they will exact an awful revenge.

Meanwhile, Dororo's legacy awaits him as well, if he's willing to face it. Will he run away rather than try to avenge the death of his family?

As we swing into the second third of this trilogy, the dual nature of the quest story Tezuka presents to the reader shows itself here, as we learn that Dororo, too, has a mission. Unlike Hyakkimaru, however, he is far less inclined to travel down that road, preferring just to be a thief than the starter of a revolution. It seems that both our characters are more willing to point out the other's path rather than follow their own.

There is a large amount of emotion on display in this part of the story, as Hyakkimaru tries to deal with being reunited with his family, Dororo tries to deny the connection to his parents and their goals, and two of the demon-keepers we meet are wracked with guilt about their deeds. Even Dororo's horrible father shows he has a heart.

When Hyakkimaru encounters a demon, it's often preying upon a group of human in some way. These aren't just random battles to thrill the reader; they serve to show the cruelty of man against man, disguised in the supernatural. For example, the foxes who keep a war going almost certainly are a stand in for the people who profit from conflict and our fake Buddha might be representative of those who scam via religion. I bet you could find others if you looked.

The ability to bring what feels like real human emotion to a boy's adventure story is no mean feat, and Tezuka does a great job pacing the battles while also giving even the side characters quite a bit of depth and range. Despite the fantastical setting and wild demons flitting through the pages, there is quite an emotional story going on underneath it all. Faced with rejection on all sides, our two characters must carry on alone, with only each other for company. Their inability to even rest for more than a day or two not only drives the plot, but also makes the reader want to reach out and comfort them.

Lest you think that the manga is all about being serious and reflecting, let's keep in mind that we're dealing with a story where Dororo picks a skull out of his butt, asks the artist not to portray embarrassing moments, and often gets himself in the most comical trouble possible. This lighthearted attitude keeps things from getting too deep.

The mood is also altered by Tezuka's artistic style. I've mentioned in other reviews of Tezuka's work that he reminds me of older Warner Brothers or Tex Avery animation, and that's in full display here. Dororo gets fast feet like a cartoon character in one scene, and often has the exaggerated poses common to animated shorts prior to World War II.

When you mix this style with horrible demons that range in type from fox to moth to giant Buddha and dramatic scenes with Hyakkimaru trying to deal with his tragic meeting with his family, you get a rather odd combination. In any given set of pages, there is comedy, drama, and monsters. It's like reading Scooby Doo as written by Ibsen and drawn by Chuck Jones. Because Tezuka manages to keep the balance between all of the elements just about right, this combination manages to work a lot better than you'd think it might.

Dororo is really unlike anything else I've ever read. It's far deeper than it appears on first blush, and is one of those rare comics where I really don't know what's going to happen next. Fans of fantasy adventures with deep themes will enjoy this a lot, and anyone who likes Tezuka definitely needs to check it out. I'm definitely looking forward to reading the conclusion soon!

Conversation #2

Written by James Kochalka and Jeffrey Brown
Illustrated by James Kochalka and Jeffrey Brown
Top Shelf

Kochalka teams up with Jeffrey Brown, who also writes personal comics, though in a very different way, to talk about the idea of being an artist.

If you know anything about these two, you can tell they have different outlooks, and their give and take, shown with fanciful pictures that see both of them gain powers (and even turn Brown into a huge giant), is an extremely compelling read.

While Brown (at the time they wrote this) still clung to his full time job, Kochalka says that he must be doing artistry full time to really live and that everyone must love their job. Brown counters with the fact that some jobs just aren't glamorous, but still must be done. It's a point that Kochalka really can't answer. (But hey, neither can I.)

Brown careful reserve and exactness contrast with Kochalka's desire to throw ideas against the wall and see if they stick. He worries less about an audience than Brown, and their musings on what and why they publish are a great inside look into their ideas.

I love how Brown uses some Marvel comic book logic to express his points and even teases himself about his problems in relationships. Similarly, Kochalka's almost overwhelming optimism we've seen in his other projects shines through here.

By the end, they don't so much agree as seem to understand why each acts in the way that they do and produces comics in the manner that they do. It's like reading two people who have expressed their philosophies, with neither asking the reading to side with them. And unlike seeing this at a university, we end up with silly pictures to illustrate their points.

I really enjoyed both Conversations books, and anyone who likes Kochalka or Brown definitely needs to grab a copy from Top Shelf. This may be a zine-sized work, but it has a lot in its small pages. Fans of both artists should enjoy getting to be a part of the conversation.

Powers Volume 3

Written by Brian Michael Bendis
Illustrated by Michael Avon Oeming
Image

The third volume of Powers jumps around the series a bit as Detectives Walker and Pilgrim investigate the case of the death of a Superman-like cape who died in a sleazy apartment building, take Warren Ellis for a ride, and even end up involved in a contrived return to glory for a failed hero. Plus, there's even a coloring book for the kids!

The cover to the left of this text gives a pretty good indication of the work the poor letterers had to do in this volume. I hope they got hazard pay! The combined names of the two creators alone is enough to make comic book publishers everywhere question the practice of putting author names on comic covers. Oh, the poor letterers!

For those not familiar, Powers is the story of a pair of cops who deal with Superhuman crimes. One of them, the male half of the duo, is a former "cape" himself. His partner is a smart-mouthed female cop that doesn't take crap from anyone. In Bendis's capable hands, their dialog together is amazing. Working together again for most of the book, we see a return to what made the first trade sing. Bendis working on a character with no one to banter with just isn't the same to me.

The opening story is very good, with subtle hints to echo Clark Kent without it being too obvious. I love the idea of our dead hero having an uncomfortable interview based on a scandalous book--isn't that just how things would work in the real world? This case, which does have a bit of a gotcha ending just to warn you, gives Bendis and Oeming a chance to strike at the way the media grabs for gossip. They even turn most of one issue into a mock magazine.

It's good stuff, but the real gem here is Issue 7, where some guy named Warren Ellis shows up to write about what it's like to be a cop in the Powers world. He writes a comic book about it, imagine that. Bendis gets some playful digs in at one of the best writers in the business. I just wonder if the dialog was faked or from Ellis's various writings. Anyone know? If it's faked, it's faked very well. I love the comment on comics versus movies at the end, and my only regret is we didn't get to see Ellis teamed with Deena.

The final story, which I'm guessing was the annual, is sort of like reading Bendis writing an episode of Law and Order. Our two detectives investigate the crime, and in a "transcript" the prosecution finishes their work for them, with Oeming providing sketched visuals of the trial. It's stretching the comic medium a bit, and probably would never fly in a traditional capes comic. But Powers is an odd amalgam of crime writing and superheroes, so I thought it worked rather well.

The Powers coloring book is just silly fun, with both Bendis and Oeming poking fun at themselves and their creation. It reminds me of the times Stan Lee would use a few extra pages to take swipes at the comics business. Naturally, I loved it.

I liked this volume a lot the first time I read it, and nothing much has changed except my wordiness in putting together a review. The banter drives the appeal of powers, as Bendis writes a buddy cop story that could stand up with anyone's in any medium. Walker's quiet reserve and unflappable seriousness mixed with Pilgrim's hysterically funny ranting about everything from cape-inspired booty calls to falling down in brains gives the often serious crime stories a needed dose of comedy. This is Bendis doing what works best for him, and I wish he'd do more of it and less epic plots in his mainstream books.

Oeming's art is as steady as ever, using thick shadows to contrast with the glossy style of the tabloid sections. The colorists should be commended for their work here, as they really bring that contrast to life. Oeming gets to show his range, from tight small panels to sprawling splashes, and the results are even better than usual. Powers would lose a lot under the hands of a different artist. His style that's part animated Batman and part Mike Mignola really works here.

Powers is able to appeal to both those who like capes, those who like banter, and those who enjoy hard-boiled crime action. If you are scared of this because of the writer, don't be. I can easily recommend Powers to just about anyone, and I think they'd like it. I urge you to give it a try.

Black Jack Volume 3

Written by Osamu Tezuka
Illustrated by Osamu Tezuka
Vertical

Physician, Heal Thyself might be a good alternative title for this collection of done-in-one stories about the notorious Doctor Black Jack, a brilliant but unlicensed doctor who shows off his skills far and wide in this third collection by legendary manga artist Osamu Tezuka.

There seems to be a theme of people doing harm to themselves in this trade, in which even Black Jack himself is a patient a couple of times. Doctors get hurt trying to solve cases, a nurse must soul-search about her calling, and at least two other people are the cause of their own suffering. The common link is Black Jack, who just so happens to be in the right place at the right time to works his magic to save them--if even he can manage the task.

Since these collections are pulled from the entire history of the series and not in chronological order, I cannot help but this this is intentional. Either way, it makes for compelling reading as Tezuka is a master of writing a compact story that finishes in roughly 20 or so pages without leaving the reader feel cheated. Like the Western comics of old, he's using the limitations of his medium to tell a good story, rather than ignoring the need to satisfy someone who may only be reading that particular issue. There is some limited continuity, but nothing that prevents a reader from picking up any volume in the series and enjoying it.

For comparison's sake, imagine picking up a comic today in the middle of an arc. It's nearly unthinkable, regardless of whether it's manga or a capes comic. You'd be terribly lost if you had no frame of reference.

In addition to the idea of helping yourself, Tezuka has a lot of social commentary slipped in here and there. We've got references to overpopulation and a Doctor Kevorkian stand in, years before either were at the top of anyone's radar. Family ties obscuring incompetence also gets a feature, as does the idea that sometimes people want things to come easily, when that's just impossible. If you want to know what Tezuka was thinking about a topic, crack open a volume of Black Jack, and you're likely to find the answer.

This does lead to a few moments that seem to force Black Jack into a stand in role, which is awkward. I can't see him shouting at God, and his frustration at not being able to help some of his patients this time around feel a bit at odds with the cooler head we saw in the first two volumes. This is the downside to the meshing of the stories based on theme rather than date--it's hard to tell if Black Jack is maturing or changing to fit Tezuka's needs.

Several of the themes remain family, however. Black Jack is like Doctor House, able to find solutions to problems no one else understands. He's reviled by the medical community, except when he's needed. There are concepts in these stories that are far beyond reality, just like on the TV show, but they always look grounded in a logical idea that actually exists. Plus, even though he is a jerk to those around him, Black Jack has a good heart that always seems to lead him to do the right thing. Whether or not anyone else knows the truth (including Black Jack himself) is less important than the reader understanding that fundamental concept. It's an idea we see over and over again.

As with the first two volumes, Tezuka's art is fluid and reminds you of an older animated cartoon, even when dealing with more serious issues such as famine or chronic disease. His characters feature exaggerated noses, hair, eyes, and anything else the artist can think of make them look different. This is especially true in the case of people we are supposed to dislike, such as a bank robber or a cruel father. After awhile, some of these drawing themes begin to repeat each other, but there's only so many ways to draw wild hair. While very different from what we're used to seeing today, Tezuka's art, like that of early Eisner, reminds of what later generations used to inspire themselves.

From aiding an ailing robin to grafting people together to save bad lungs, Black Jack is full of medical drama, with characters who play their parts well. I'd definitely recommend reading the whole series, but you can easily pick this manga up anywhere and be able to follow along. I highly recommend that you do so right away!

Jack of Fables Volume 2

Written by Bill Willingham and Matthew Sturges
Illustrated by Tony Akins, Steve Leialoha, and Andrew Pepoy
Vertigo

Jack's adventures in America continue, as he relates a story about his time as Jack Frost and then ends up in one of the warmest places possible--good old Sin City itself, Vegas.

Can the former movie mogul, with the help of another fable, turn the cards in his favor in the high stakes world of gambling? Or will Lady Luck block his path? Watch the highs and lows of the life of Jack of Fables as he tries to stay one step ahead of Revise, gangsters, and his own trouble making nature.

This is the point where I dropped this in single issue form, apparently because I didn't like it. I continue to be baffled as to why, because this is another set of solid stories using Jack's own arrogance against him and further expanding the world of Fables.

Heck, there's even nerd jokes in this one! How could I be against that?

This trade has two story arcs in it, the first going back to the days when Jack was in the Homelands, causing almost as much trouble there as he does in America. The idea that it's Jack in his desire to satisfy his needs brings pain to an entire world and later creates a horrible killer makes perfect sense and gives the two Fables books a connection without forcing a reader to follow both titles if they don't want to.

Jack's constant misogyny, scheming, and outright lechery is in full force as Jack Frost, despite only going for two issues. Willingham and Sturges make it perfectly clear that Jack is a horrible person, but he's still compelling enough to want to follow. After all, there's quite a bit of fun in seeing Jack fall from his artificial grace time and time again. (Jack's awfulness might have been what turned me off three years ago.)

The main story parallels Jack's time with the Ice Queen in that he ends up taking something which isn't his and ends up abusing his powers. The biggest difference is that Jack appears to care about the girl this time, or does he? Personally, I think Jack's rage is more that he's interrupted by another Fable's meddling than because he really is in love this time.

As Jack romps his way through Vegas, ignoring warning signs and living life in the moment, it's clear that we're supposed to notice that Jack never learns from his mistakes and is fated to fall again and again. That's the nature of his character, and at least so far, his development is going to be a lack of development.

I was happy to see that Willingham and Sturges aren't letting go of the Revise crew. They show up to break the fourth wall in two great scenes, then pop up trying to prevent Jack from spreading his illicit magic across the American West. The Librarians catch someone very different, but the prize may be more than they bargained for. It's a point I'm sure we'll see continued later on.

So far, every story involving Jack has ended mostly where it began, with our rogue hero having to start all over again, never being able to live happily ever after. I'll be curious to see if that theme continues. In that way, Jack of Fables is sort of the anti-Fables. You can pick it up almost anywhere and not really miss anything, other than a few references here and there. Even the Revise sections work, thanks to a few comments summarizing the first trade. Our co-writers are very good at writing a comic that doesn't require lengthy knowledge of past history, and I think they should be praised for it.

The best skill these two have, however, is for comedy. Unlike Fables, which is often so serious, Jack's life is one big comedic scene after another. Whether it's the Pathetic Fallacy making slot machines come alive or having relationship issues with a mannequin *he* created, two geeks discovering there's more to life than D&D, or the idea that Jack has an unnatural hatred for Belgians, the tone here is light, no matter how many people die. Even the gruesome ideas of eating lucky brains ends up being dark comedy.

The setup would not work nearly so well if it were not for the strong partnership with the artists. Though I still don't like Akins' design for Jack, he knows just when to exaggerate the action and how to give Jack a look that shows he's aware of the reader. Leialoha's section gives Jack a more handsome face, but shares the same comedic feel. John Byrne managed this balance between being in the story and having an interactive character, too, but he was writing and drawing. The collaboration on Jack of Fables is extremely solid to pull off the same trick despite having four people working on the writing and artwork.

In addition, the whole book has the same general look as the main Fables title, keeping this world much more cohesive than anything else I've ever seen from DC or Vertigo. I don't know how much of that is in Willingham's hands or that of his editor, but I appreciate it.

My 2007 self was totally wrong. Jack of Fables is a great book, and anyone who like books that skewer comic conventions, traditional story settings (a prison in vol 1, now Vegas), or feature people who you love to hate definitely need to start reading this. Filled with humor and a racing plot, Jack of Fables is likely to stay one of my favorite comics for awhile. I'm lucky I gave it a second chance!

Blue Sheep Reverie Volume 1

Written by Makoto Tateno
Illustrated by Makoto Tateno
June Manga

Standard warning--I still haven't read a lot of yaoi manga, so please keep that in mind when reading my review.-Rob]

A young man named Kai is on a mission to find the killer of the woman he loved, Maria. the key will be to find a certain ring--a cat's eye set the wrong way. When he encounters the man who might have killed her, Lahti, Kai will do anything to learn the truth.

But what happens when that truth is far more complicated than Kai expects? Drawn into a world he had no intentions of staying in, Kai soon finds that life is full of difficult choices. What decisions will he make to shape his life after he learns the answer to his quest? Can he ever go back to the way he was before Maria? Does he even want to?

Those are the questions that shape this manga, which really has more in common with a mature shojo story than a yaoi one. (The author explains this in the afterward, but I had no trouble figuring it out on my own.) Those looking for extensive scenes of love between two men aren't going to find them here. Kei's focal suspect being gay just adds another level to the love triangle in the book, rather than being a central plot point.

Since I read comics for characters and story and not particular kinds of story, this was just fine by me. I mention it this far up in the revie, because a person who reads more for genre needs to know going in that this is not heavy on signs of affection between the male characters. Similarly, those who might use this manga to try the yaoi genre should be aware that in my opinion, it's not typical and is not a good example of what yaoi stories tend to do.

Don't mistake me, however--I liked this manga a lot. I like the idea that Tateno works with in this story, taking what seems to be a typical plot and mixing it with other concepts. We've certainly read the revenge plot a time or two before, but I don't think you often see the results come out quite like this. The sacrifices that Kei makes in beginning stages of the book really seem hollow as you read on in the story. The fact that Kei doesn't give up despite all that has changed for him makes Kei a very interesting character that I want to keep reading about.

You can make a slight argument that the way in which Kei comes to this decision is a bit too abrupt, but I was okay with it. In order to make things work, he has to want to stick around and create the love triangle we get over the second half of this trade. Since we're new to Kei, it's not like you can say he's out of character for the actions he takes.

The main thrust of this manga is Kei's evolution from a man seeking revenge to a man trying to find his way in a complex world. His character development moves quickly through the pages. We don't get a lot of soul searching, which I found rather refreshing. Kei makes his decisions and lives with them, no matter what happens. The idea that he must make a literal choice between staying in the dangerous game and returning to the oblivious world he knew before was a great idea. I'm sure we all knew how it would play out, but the way Tateno tells the story worked well for me.

Our two other main characters, the dead Maria and Lahti, form the other points on the triangle. As you may have guessed from my summary above, their link is a bit stranger than Kei believes it to be, setting up the possibility for extended plots and stories in this world. They are far more alike than I think Kei wants them to be, based on what we're shown by Tateno, and I'm curious to see how that plays out in other volumes. Despite being featured prominently, both are shrouded in mystery and make me want to read more about them.

Tateno is not the strongest artist I've seen thus far, but I read more for story than artistic beauty, unless I'm looking at a CLAMP title. Her males are not as pretty as I would expect from a yaoi title, and the few sex scenes we do get are framed rather awkwardly. Characters tend to dress the same and seem to be grouped a bit too closely together. There's also not a lot going on in the way of backgrounds.

However, I do think her action scenes were well drawn. I never had a problem following the action, even when some of it was obscured for dramatic purposes. Characters react to getting shot, kicked, and generally abused in natural-looking ways. I've been looking a lot lately at how action scenes are framed, so her steady hand in these sequences stood out to me.

Blue Sheep Reverie may not be the best example of yaoi manga, but I liked the story a lot and found the characters to move smoothly in the world created by Tateno. I'm interested enough to want to read the second volume. Those looking for romantic intrigue should really like this one, as should fans of strong character development.

You can find a hard copy out there somewhere, or go to eManga and read Blue Sheep Reverie Volume 1 online.

[A complimentary electronic copy was given to me by eManga to review.]

Children of the Sea Volume 2

Written by Daisuke Igarashi
Illustrated by Daisuke Igarashi
Viz

Continuing from the dramatic events at the end of the first volume, Umi and Ruka work hard to find Sora--who may not wish to be discovered. As we learn more about Jim's links to the strange children who come from the ocean, it's Umi's turn to start acting different.

With storms brewing in real life and in her personal interactions, can Ruka hold things together? And what of her own growing connection to the waters that draw Sora and Umi to their depths? Is she now linked to the events her father and other biologists cannot understand? As fish and friends disappear, Ruka struggles to understand things and makes an even more startling discovery.

This volume of Children of the Sea, unlike the first one, throws a lot of information at the reader, almost to make up for the shortcomings in that regard of the first eight chapters. We get the origin of Jim and his link to the sea-humans, his ties to an unnamed corporation that wants to investigate the children (to what end?), and a former partner gone rogue.

Meanwhile, a lot of hints are thrown that Ruka may be very different than she appears, which might explain why she has such trouble fitting into the surface world. We got a few glimpses of this in the first trade, but it's more explicit here. I don't know if it's a red herring (no pun intended) or not, but the idea intrigues me and I hope that we see more along this line in future chapters.

Despite all of this, there's still a feeling that this manga is working at a leisurely pace. Ruka's adult narration keeps the tone somber and measured. Jim's story is also worked together piece by piece. There are plenty of establishing panels without dialog, and when the characters do speak, it's in a way that does not invite the reader to jump from word to word, except in a few places.

It's not a pace I'm used to when reading comics, and I admit that I sometimes get a bit frustrated that Igarashi is being a bit too obtuse. It's clear that big things are comic, both for Ruka and for the world at large, and I'm a bit impatient to get to the meat of the story.

On the other hand, the fact that I want to read more of this plot right away is a sign of just how good this manga is, despite being a bit slow in terms of pacing. No one in the story, save maybe Sora, knows the truth of what is about to happen, and watching all of the players try to piece together the mystery of the disappearing fish and humans who can swim and live underwater is a big part of why this one works so well for me. As a reader, we're pretty sure they can find an answer if they work together, but right now, they're all at cross purposes. Will anyone learn the truth before it's too late?

This is a mystery as big as the sea, and with every chapter, Igarashi opens up a few more doors. Right now, those are only increasing the possibilities, not limiting them. As we see Ruka and her father learn more about Sora, Umi, and the glowing fish, it's clear that there are miles to go before they really know anything.

In the case of this volume, another factor is added--time. Thanks to Sora, we now know that anyone trying to figure out just what is going on must do so before it's too late. There's an invisible clock hanging over this manga's head now, adding tension to every maddening delay. That gives the pacing a new point--the longer things drag out, the more likely it is that Ruka and the others will lose. How much that will cost them is yet to be determined.

One of the things that's a bit odd for me in terms of liking this manga is that it's more story driven than character-based. I generally prefer the latter. But we don't see much in the way of character development at all here, just a better understanding of their backgrounds. Instead, it's the plot itself that grows, as the mystery widens and the implications grow if no one can solve the problem of the disappearing fish. Normally, I'd be bothered by this, but the mystery is good enough to overcome the fact that the players in the drama (at least so far) aren't growing much.

I mentioned in my review of volume one that Igarashi's art style is quite different from that which we usually encounter in manga republished here in English. He draws intricately designed fish but the humans are almost sketches rather than completed drawings. In some panels, there is a feeling that they've turned flat or that Igarashi has forgotten to add the lines that give them dimension. He also frequently uses the same facial features to show emotion and action, when it happens, is extremely stilted.

It's a look that, combined with the strange but captivating story, shows this is a manga is part of a branch line, ala Vertigo. (Thanks again, David, for the analogy.) Just as with Western comics, there are a lot of artists doing very different styles in Japan. Those of us who don't read Japanese just don't get to see them nearly as often, though Viz's Signature line may be changing that here in the future. That's a change for the better, in my opinion.

If you weren't sure about sticking along with Children of the Sea, I'd urge you to read into volume two. I'm glad I did, because the mystery Igarashi creates here is one I want to keep reading to find the solution. If you aren't hooked by the ending of this trade, then it's probably not for you. If you read this and want to get more before the print edition of Volume 3 comes out, then head on over to Ikki online and read the latest chapters. I'm thankful to Viz for opening up new possibilities like Children of the Sea to English readers, and I can't wait to read more of this story in the future.

Dungeon Zenith Volume 1

Written by Joan Sfar and Lewis Trondheim
Illustrated by Lewis Trondheim
NBM

The now flourishing world of Dungeon gets its start here in this book from Sfar and Trondheim. A guardian of a powerful dungeon full of monsters and treasures has a problem--someone wants to buy him out.

He seeks a strong adventurer to solve the problem, and ends up with...a duck? Soon we are following the adventures of Herbert, a duck out of water, and his unintentional guardian, Marvin the Dragon. Watch as they run into all sorts of D&D and Sword and Sorcery cliches turned on their head. Can Herbert survive this chaos and make sure his heart is in the right place?

You know the answer to that last question (sort of) by the end of this volume. I realized the other day that I needed to finish reading the Dungeon books and so I decided to go back to the beginning to see how it all started.

From the first panels, you can see that this is going to be a fun book for anyone who has ever played a role-playing game of any kind, or enjoys the exploits of everyone from Conan to Rincewind. Trondheim creates a patchwork quilt of a castle sprawling over land that has the typical village and inn (with patrons who get more than they bargained for), swamps, deserts, and weird creatures. His character designs may be primitive, but that works here. When you are dealing with characters that are blobs or Cthulhu-like capitalists, there is no right or wrong. You just go with the flow. Trondheim's inspired drawings do that perfectly.

Though I prefer his art style, I'm glad Sfar is only the co-writer here. His more realistic figures and shaky lines would not have worked for this kind of a story. I much prefer Tronheim's angular anarchy. I can't see Sfar making a Pacman ghost on steroids work the same way that his collaborator does.

Primarily, the story is a parody of the idea of a dungeon plot. We have the setup of a dungeon master who needs help and later the student in need of training as our main "quests" and on a basic level, they are solved just like they might play out on your kitchen table, if you threw out the rule book. After all, how many DMs would let a duck be the primary hero, or have a vegetarian dragon blindly follow the advice of a cruel and thuggish trainer?

The situations are similarly hilarious. Swords might have requirements, but to try and get their owner killed and possess a rotating set of spirits called upon when needed? That's almost as good as the joke of varying degrees of Robin Hoods or the idea that the Dungeon Master allows some people to win because it's good for business.

There's all kinds of little things like that in the book. You may prefer to laugh at the idea of a killer feather (think about this when the protagonist's a duck) or that a giantess would love a weakling. Personally, the idea that elephants are really robots is a particular favorite of mine.

It's easy to lose yourself in the fun of this book, and that's perfectly okay. But don't forget some of the serious undertones. Herbert comes from a family that scorns him for being different, for instance, and the way this is revealed is quite touching. Marvin may look gentle, but listen in horror to his speech to the townspeople. The lies behind a guru are a cautionary tale, as is the story of the two island nations.

Sfar's desire to add philosophical issues to his comics shows here in these kinds of scenes. (Trondheim may have serious comics, too--I've just never read them.) I don't know who did what, but these little touches remind me strongly of the questions raised in Rabbi's Cat. They might look out of place elsewhere, but in the hands of these two creators, they fit right in to the world they've created. It's a place J.M. DeMatteis would find comfortable exploring, as he is usually good at this type of tale as well.

I wrote in 2006 that this is a parody series that holds its own, and I think that's accurate. Fans of either Sfar or Trondheim should definitely explore the world of Dungeon, as should those who like a mixture of silly and serious storytelling. It's easy to get locked in this dungeon, and I recommend you join me in it!

The Spirit Archives Volume 2

Written by Will Eisner
Illustrated by Will Eisner
DC

The Spirit may be lounging around, resting on his good name* on the cover to this archive, but he does anything but in this next set of adventures from the weekly Sunday strip.

See former investigator Denny Colt take the law to places the police or US Government can't touch, rooting out everything from common criminals to international tyrants and terrorists as Eisner puts him through his paces in twenty six short stories.

I continue to be amazed at the quality of these stories overall, given when they were written, the short space allotted to tell them, and where they first appeared (in your local newspaper, now seemingly home to the most generic and inoffensive material editors can find). Eisner is not perfect here by any means, as I'll get to, but for comics written in 1941, this is great stuff. It's both artistically and conceptually better than its counterparts that I've read. There might be other comics just this good from seventy years ago, but I bet you'd be hard pressed to find one.

Though we've seen these tricks many times by now, Eisner tells one story in verse while another opens on a page that looks like that of a child's fairytale book. There's a story where the very idea of the Spirit is enough to bring a villain to justice, even as the Spirit himself decries his failures. We see the idea of multiple people claiming to be the Spirit, the return of at least one past character, and ever more innovating camera angles.

Perhaps most risky of all is when the Spirit gets into the politics of the day. There's the usual remarks about gangsters hiding behind politicians, a familiar theme going back to at least Dick Tracy. But we also see the Spirit chastise Dolan for not allowing a former criminal a chance to go straight, and the potential problems this might cause. That's pretty heady stuff for the funny pages, if you ask me, even today, and a sign of what Eisner will later accomplish with his graphic novels.

Most ballsy of all, however, is when the Spirit meets Hitler--or at least, *a* Hitler. Eisner's handling merges the comic with the serious, but it's clear he's sending a message to the reader about his personal thoughts on the idea of a dictator and what must be done. The Spirit may fail to grasp this point, but I don't think the reader does. I'd love to know what the reaction to this strip was, but unfortunately DC doesn't provide any historical commentary beyond yet another modern creator (Dave Gibbons this time) talking about how wonderful The Spirit is.

There are still quite a few things that are strange to modern eyes, even within the introduction of the innovative ideas you'll see on just about every other page. Characters still get the whole body treatment, leading to stiff figures more often than not. We're still working mainly off a nine-panel grid, though Eisner adjusts this as needed and even gives us a cut shot, looking down, of the Spirit's hideout. For every change in style, however, there's still way more that follows the conventions of the time.

Women and racial minorities aren't treated much better in this volume, either. There's a set of stories about Mexicans that have no redeeming features. They're just offensive and make Speedy Gonzales look downright tolerant. They're early on in in this collection, too, so be braced to be upset at the beginning and then settle in. Ellen is still incredibly awful here, as everything she does turns into a debacle that the Spirit must resolve.

Two exceptions do stand out here, and both come earlier than I expected. Satin is a character who starts off as a villain and moves into the role of the woman who can outwit the Spirit. That's sorely needed, and I hope we see her again, soon. She reminds me of "that woman" from Sherlock Holmes, and I imagine that was Eisner's intention. Interestingly enough, she's British. I wonder if Eisner felt he couldn't show a strong American woman? Does anyone know?

Similarly, Ebony is given more credit as a character. He's still stuck in racially offensive land, given how he's drawn, the way he speaks, and how he interacts with other African Americans. However, he's often shown trying to do the right thing and even contributes in some meaningful ways in these adventures. Ebony is still a second class citizen, but it's not nearly as bad. He's becoming less of a figure of comic relief and more of an actual sidekick. I think Eisner deserves a lot of credit for that, since this is still only 1941.

If you want to see the comics that inspired a generation of writers and artists, you really need to begin with the Spirit. It's easy to jump in anywhere, which is good because these archives aren't the easiest thing to find and are pretty expensive when you do. If you are a comics fan of any kind, but especially if you want to learn about the history of comics from the actual source material, you owe it to yourself to find and read The Spirit. You'll be glad you did.


*I'm sorry for that.**


**Not really.

Cantarella Volume 5

Written by You Higuri
Illustrated by You Higuri
Go! Comi

It's brother versus brother with a sister-in-law in the middle! As things quiet down from the recent war and the Pope uses his various children to solidify his power, a woman scorned heads right to the one place she knows she'll find a sympathetic ear. With the often humiliated Juan ready to take down Cesare once and for all, will Cesare finally give in to the dark forces surrounding him?

If he does, will Chiaro be able to fill his vow, or will evil run unchecked under the cloak of the clergy?

Intrigue builds on intrigue as betrayals and lies stack higher and higher on top of shaky claims of honor as this volume of the series returns to the things I liked best about it in the first place.

We still have a bit of angst, as characters bemoan their situations, both real and imagined, but the focus is strongly centered on the idea that just about everyone in this book is willing to do whatever it takes to have their way. From Sancia sampling just about everyone in the Borgia family to the Pope admitting he can't trust his "favored" son to do what it takes to using the power of their various offices and titles to do things they have no right to claim, this is a gathering of people who'd just as soon as stab you in the back as kiss you on the cheek.

Even those who seem to be following a stronger moral path have a few questionable motives. Does Chiaro really want to save Cesare from the demons that plague him if they start to take over, or is he really looking to get a rival for Lucrezia's affections out of the way? (Lucrezia herself is merely a pawn in all of this, which would normally bother me, but it makes sense within the historical context of the series.) And why is that sorcerer so keen on helping out, anyway? What's in it for him?

Figuring out the angles and how each character will react to the situations that Higuri sets up for them is part of the fun of reading this manga. We're drawn to Cesare primarily, of course, but watching the others run around behind each others' backs is quite entertaining. The fact that nothing that goes on in this manga, save the part about actual demons existing, is too far out of line for the time period is both a tribute to the author and a sad commentary on human nature.

For me, seeing the alternative history play out is the primary draw to Cantarella. However, I do appreciate that Higuri is working hard to make sure that the characters mature and grow as the volumes progress. Cesare's nature darkens just a bit every time, and we're definitely meant to believe that he's giving in to the demons. But is he? There's a long discussion about fate and our ability to change it that adds a depth to watching Cesare. Are the demons controlling him, as Chiaro fears? Or will Cesare take charge of his life instead, and use the horrible powers his father gave him to set his own course? I don't know yet, and part of the growth of the series is seeing that change over time.

Similarly, Juan moves up a bit here from being just a foppish jerk to a man who knows he's been emasculated by everyone. His move for a power play at this point makes sense, even if we all know he's not capable of playing in his father's league. Chiaro's devotion to the two Borgia siblings and the reasons behind it also progress here, and it looks like that might be trouble for the man known also as a top assassin.

Higuri's artwork continues to be finely detailed, working to keep the period feel while still making her characters have the beautiful look that we see in so many manga. I thought the action scenes were a bit hard to follow, but other than that, the panel construction worked well. I think we saw a lot about what the characters were thinking by the looks on their faces, something I always appreciate in a comic story. You can tell that a lot of research goes into the pages to make it look just right.

I really like Cantarella, both because it is a historical piece and the plot that Higuri works with is compelling and makes you want to keep reading to see what's going to happen. If you like historical comics or series with a lot of intrigue and scheming, pick this up. But you definitely want to start with volume one.

Umbrella Academy Volumes 1 and 2

Written by Gerald Way
Illustrated by Gabriel Ba
Dark Horse

Volume One: Apocalypse Suite

After one of those freak events that only happens in comic books creates a very special set of children, an eccentric man gathers seven of them together to form the Umbrella Academy. Unfortunately, only six of them have powers, or so it seems at the time.

Years pass and despite some triumphs, the team slows falls apart. But when one teammate returns with tragic news of a dystopian future and another is pushed to the edge by a pattern of neglect, can the team get it together long enough to save the world one more time?

Volume Two: Dallas

Picking up after the tragic events of the first volume, the team is broken even further than it was before. But now the mysterious actions of Number 5 cause the team to split in two directions with one time-traveling goal--the day President Kennedy died!

It's adopted family against adopted family once more for the life of an idea. But sometimes, no matter what you do, you cannot change the past. Can the actions of the Umbrella Academy save the world again, or will they destroy in in the process of fixing time?

I debated quite a bit about whether or not to do these reviews together or separately. Ultimately, I figured it would be easier to group them together to prevent repeating myself. They fall within minutes of each other in terms of chronology, so they are definitely designed to be part of a set. So a combined review they shall get.

The first volume does a really good job of setting up the premise fairly quickly. We get an absolutely hysterical set up of a the team going after an animated Eiffel Tower, manned by Eiffel himself. Underneath the jokes, we can see that this team really doesn't function all that well together and their organizer is a heartless bastard.

Just as we're comfortable with the idea that the biggest problem facing the kids of the Umbrella Academy (now all grown up, with one notable exception) is themselves, we race to the climax, where the complex family dynamics play out in ways that save the day but leave the team feeling no better than they did going into things.

Similarly, the second volume picks up on this theme of distrust between the children gathered together by Hargreaves, and they once more seem to be one step behind everything because of their squabbling. This time, saving the day seems to be almost accidental and more a result of being manipulated by forces far greater than they are.

Throughout both volumes, the idea of caring and love is devalued in the name of doing one's duty, however nebulous that concept may be. At any given time, two or more members of the team work at cross purposes because of this arguably dysfunctional idea. Being self-sacrificing first may be the mantra of the hero, but in this world, it might just be more destructive than plain old villainy.

Way creates a team of very flawed characters, but they are not evil or even dark and edgy. They don't go out and do things just to be horrible people. Because of how they were raised, none of them seem capable of relating to humanity or understand the larger picture. As a result, all of their actions end in heartache and death. I really like how Way shows them as a team that can't get it together, because from the start, their formation was flawed. It's a great idea that works well in practice and I thought it made for a fresh approach to the idea of a heroic team that's not nearly as heroic as it looks.

I love what Way does with the idea of heroes, and his ear for dialog is strong. Each character is unique, and the way in which they relate to each other feels normal. The idea that this "family" has dynamics is shown not just in the plot but also in the way they speak to each other. Plus, he does the mad villain bit in a way that echoes the familiar, but feels fresh. Sometimes having a new person at the wheel (Way is a songwriter by trade) can help take what we're used to and give it a new spin.

The problem I had is that in Volume Two, I didn't think we really covered any new ground. The book opens with another wacky battle for the adolescent version of the team, this time against an animated Lincoln Memorial. The way they take down Honest Abe is absolutely hysterical, but it mirrors the opening of the first trade far too much.

Similarly, the book's main plot is chasing after Number 5 and his quest to kill President Kennedy. Like the first trade, we have a member of the family seemingly going rogue, partly due to the way in which they were raised. Instead of it being a girl lost in the shuffle, we have a man taken out of time over and over again, ready to do anything to put his life back together.

The story itself is engaging enough and a fun read, but it felt like a retread to me. Those of you who read the first two Harry Potter novels close together know what I'm talking about. There was just a bit too much of a similarity in the volumes for me to really enjoy Dallas in the way that I did Apocalypse Suite.

I also don't really care for stories that use time travel as their main focus. Way's altering of the time stream is far too confusing for my taste and I'm still not 100% sure I understand how things resolved the way that they did. Between these two factors, Dallas did not make me stand up and take notice the way that Apocalypse Suite did.

That doesn't mean I didn't like the story, don't get me wrong. The Lincoln bit is quite good as are two horrible killers sent after the team with designs on blowing up the world. I thought the ending was perfect, as I never saw it coming. Way's use of his characters' powers is maturing, and they are definitely portrayed in new lights in the second volume. I just wish the plot itself had been more original. I hope that when we see the team next, it will be in a format that changes up the premise sufficiently to make it more original than this one was.

Gabriel Ba's artwork is perfect for a series like this. In both trades, he uses his angular style and use of thick heavy lines to good effect. His character designs fit the characters well, especially the way he sets up the villains of both pieces. Drawing adult versions of child characters that echo their adolescent designs is no small accomplishment, and I think Ba nails every single one of them. From killer robots to oversized gorillas to crazed conductors to the usual cannon fodder, Ba gives them a life that animates every page. His panel work is quite detailed and every page is full of action. Nothing is wasted, which allows Way to tell a complete story in only six issues per volume. I wish more artists worked like Ba does.

Overall, the Umbrella Academy is a great idea from a newcomer to comics, which doesn't often happen. I wish the concept of the second series has been a bit further away from the first, but it's still quite good. Combined with strong artwork from Ba, this is a series that I'd recommend to anyone, whether they like superhero stories or prefer more character-driven work. Way delivers both, which makes for a great comic.

Kurosagi Corpse Delivery Service Volume 5

Written by Eiji Otsuka
Illustrated by Housui Yamazaki
Dark Horse

Urban legends, ancient secrets from another continent, and popular blogs are just a few of the secrets explored by the Kurosagi Corpse Delivery Service team this time around in their fifth collection of adventures. With the help of scheming social worker Sasayama, the end up traveling all over to finish the case--and maybe make a few dollars. Faced with some of the strangest cases they've seen yet, the team marches on despite the fact that some of the corpses they're working with may be very old, indeed.

As the cover indicates, the biggest thing to happen in this set of adventures is that, thanks to the mysterious Mr. Nire from a prior volume, they may have come face to face with a real-life mummy. Given all of the Egyptian obsession over the dead, it makes sense to add this dimension to the world of the Delivery Service. Because Otsuka likes to keep things off-balance, it's not straightforward, either. Neither the case that brings them in contact with the mummies nor the alleged mummy themselves are what they first appear to be, a common theme in this manga. I love the way that Otsuka dangles all the possibilities, only to take them away--or does he?

It's part of the fun in this series. In the case of the opening story, we dismiss the idea of an urban legend only at our peril. A get rich quick scheme that leads to the Delivery Service becoming professional mourners ends up leading down to a complex set of murders than only the team can stop. The closing story winds its way around the idea of cryogenics and a person who uses his unique physiology to his advantage, building to a rather amusing joke at the very end of the chapter.

Otsuka works very hard to make sure that each adventure the team undertakes is more than it seems and that's what drives the premise. Even Karatsu has a veil of mystery added to him that his friends lack. I love the way we keep getting little hints here and there, without a big reveal. There's plenty of time for that, especially since this is an ongoing series in Japan.

So much of this book turns on the interplay of the characters. I love the way Otsuka is currently structuring things, with Sasayama playing a large role in their adventures and being as money-hungry as they are. His age difference from them adds a layer of depth as well. Bringing in other characters, such as the alleged mummy or the crying woman to assist on cases also works really well. These additions, plus the more frequent screen time for all of the cast, makes this far more of an ensemble book. Karatsu and Numata still feature prominently, but everyone gets a hand.

Another strong improvement is that none of the female characters were used as bait. I know it's common all over comic books, but that doesn't mean I have to like it. In fact, the girls come to the rescue in a very funny scene that's drawn perfectly by Yamazaki. I hope the trend of equal footing continues.

As this series progresses, Otsuka seems to be more comfortable slipping in his personal views on controversial issues. Another hidden secret of Japan's war years makes it into this volume, as does commentary on the plight of single mothers, and even a bit on the ways in which rich people try to cheat death. If this dominated the story, I'd get annoyed--I hate comics that preach at me, even if I agree with the message. But Otsuka manages to do it in a quiet way that gets the point across without burdening the story. That's just fine with me. It actually adds a bit of flavor to the mix, as I don't read a lot of manga that does this.

Though his art is always a highlight, this particular volume owes a lot to the pen of Yamazaki. His depiction of a living mummy is perfect, right down to the subtle hint of sharpened teeth. The other members of the undead that show up in that chapter are both creepy and realistic, Yamazaki's stock in trade. He handles the oozing corpses of the opening chapter equally well and manages to make the concept of talking heads both horrible and plausible. With plenty of little hand gestures and looks to the reader, his characters show both surprise and a resigned acceptance of the inevitable strange nature of their cases. He really is a great manga artist and perfect for this series. I can't imagine it working nearly so well in less skilled hands.

Kurosagi Corpse Delivery Service, like the bodies they work with, seems to get better as it ages. I definitely recommend this to anyone looking for an adult-level manga that has a supernatural bent. You won't be disappointed.

Incredible Hercules Volume 3: Love and War

Written by Greg Pak and Fred Van Lente
Illustrated by Clayton Henry and Salva Espin
Marvel

Sometimes an adventurer just needs a break, especially after smashing alien gods and watching your peers die. Hanging out on an island with Namora from Agents of Atlas, Herc and Cho run afoul of the Amazons, who are out to change the world in a Cosmic Cube sort of way.

With both of our heroes feeling their oats while trying to save the day, will the Amazons rule the day? Or can a few level-headed heroes--one from an unlikely place--keep things in order? And just what is Hera up to, anyway, while all this goes on?

Deftly avoiding getting stuck in post-crossover wrap up, Pak and Van Lente move the Prince of Power and his pal right into a new adventure that features a fun guest appearance by another hot tempered hero and an awful lot of jokes about Herc's legendary appetite for women. Meanwhile, Amadeus Cho is hoping to start a few legends of his own, only to be blocked at every turn by circumstances beyond his control.

Athena, who is used perfectly as a cautionary voice heeded just about as often as Cassandra, warns them about thinking beyond the obvious, which they end up ignoring at the world's peril. The key to taking down Hercules is clearly to just make sure your agents are women.

There's quite a bit of mythology in this trade, with Poseidon getting linked to both the Atlanteans and the Greeks, the wrangling of Hera in her never-ending quest to kill Hercules, and good old Atlas himself lends a hand (see the great Bob Layton illustration above) to the proceedings. I don't think I'll ever stop being impressed by how well Pak and Van Lente bring the Marvel Universe and the Greek myths together in a way that might even top Simonson's use of the Norse.

Best of all, however, is the clever way that the two writers make this a story of Hercules versus Wonder Woman. She's never mentioned by name, of course, but the main villain turns out to be Hippolyta's daughter, who is conveniently made out of clay. You do the math.

The story itself is perfect for Hercules. The stakes are high, which befits his power. His past deeds are tied into the modern narrative, via the links to the Amazons and Atlas. He may not be the perfect person to save the day, a common theme in these trades, but he will try his best. The idea of Hercules as a very human god who can make mistakes occurs again in this story, and it's a theme that works well for me. Herc may be a god, but his batting average for making the right call is no better than, say, Peter Parker's.

In fact, the only real problem I had is that this story arc seemed to be cut off a bit too early. Reality-changing stories need room to breathe, and five issues just didn't do it justice, in my opinion. The ending in particular felt rushed, as though they had to wrap the narrative up because it was time to make a new trade friendly story. I would not have minded seeing this go another few issues to make the climax have more punch.

Speaking of punches, there are all kinds of fun battles in here, with the usual crazy sound effects. Herc battles Amazons, the guest star, and of course, Atlas. Part of what makes this comic so good is that it has all the action you need but combines it with a strong story and characters who aren't sitting around waiting to be used (or misused) as the author sees fit. They have personalities that impact on the direction of the story and the Pak/Van Lente team use those quirks to make the story, rather than ignore them.

It's why this is really the best capes comic series I've read that's in continuity in some time. After all, no only are the plots good, but you get inside references like Cho reading a Marvel comic (someone clearly remembered that the company exists in the 616 universe) or Herc teasing Namora because her team is named after one of the few people dumb enough to be tricked by the Prince of Power. Those are just two of the neat little tricks you'll see here. I'll let you read the rest for yourself.

The art team on Incredible Hercules seems to be different every time, which is one of the more annoying features of modern comics. (Can anyone imagine keeping a run the way Sal Buscema did on Spectacular Spider-Man?) Luckily they've done pretty well with picking people who can tell a story visually. Henry and Espin don't do anything spectacular, but they're solid and give us pages that link together and shifting camera angles to keep the reader engaged. That's good enough for me.

I love Incredible Hercules, and you should, too. The best part is that you can pretty much pick it up anywhere along the line, so feel free to start here if you'd like and work your way backwards. Regardless of where you start, you'll be glad you did.

Barefoot Gen Volume 5

Written by Keiji Nakazawa
Illustrated by Keiji Nakazawa
Last Gasp

We're over two years in to the story of Gen and his family after the horrible events of Hiroshima. As people continue to try and put their lives back together, gangsters, hypocrites, and those who are desperate all seem ready to do whatever they can to survive in this world.

Gen works hard to get others to see his point of view, almost to no avail. What will happen when grim reality hits and his family is once again threatened with breaking apart?

If the last volume struck a slight note of hope despite the pain, this section of the story shows that the hope Gen has for the world is easily shattered in the skewed mirror of reality. He's faced with the fact that gangsters rule the day and those who have the most to answer for the crimes before, during, and after the nuclear blast are also those lease likely to face any punishment. Gen won't easily accept this fact, and a lot of this trade sees him using his youthful energy to engage in acts of defiance. The fact that Gen survives these encounters is more a tribute to his need to be the reader's guide to the horrors of war's aftermath than his ability to escape danger.

That's been true to a certain extent in every volume, but it's especially evident here, as Gen takes on thugs, corrupt politicians, opportunistic doctors, and even a few people here and there who have nothing left but to debase themselves in order to survive. Any one of these could have done Gen in, but he manages to weave in and out of trouble just long enough for us as a reader to see post-war Japan in all of its horrific honesty.

It's a powerful story, so I don't mind a bit of stretching of plausibility. The things that Gen sees are those kept from us in the history books, both here in America and in Japan. There's some clever meta-textural commentary about this in the narrative, which I thought was a nice touch. Gen quits school when they honor the Emperor and refuse to acknowledge the way Japan's leaders nearly destroyed their country and later he meets a writer who cant' get published because he wants to tell the truth behind the cover up of Hiroshima. There was no such thing as Project Censored at the time, but if there had been, I'm sure the deaths, the radiation, and the lack of food would have been stories told under the radar, so I'm glad to see Nakazawa discussing that difficulty here.

As with any story dealing with the darker side of US history, it's hard for me to read abut collecting the dead as specimens, even paying people to basically steal bodies for research purposes and treating victims as fodder to add data to someone's war game evaluations. Worse still is the portrayal of American soldiers as men almost willing to holiday in Hiroshima, collecting the dead as souvenirs. The whole actions of America makes me sick to my stomach, and I'd love to be able to dismiss it as exaggeration. Unfortunately, I don't think that's the case. Too often bad things are done, either individually or as a group. The things Nakazawa shows and describes sound all too real to me.

If reading Barefoot Gen makes you uncomfortable, I think that's a good thing. It means you care, and don't want to see the sins shown here repeated anywhere else. Just be careful not to say, "I'd never do that!" After all, who knows what we might do in the same circumstances?

That's the lesson Gen takes away from this part of his story. He sees the actions of his desperate friends, his brother's desire to move on to save (or escape?) the family, and even in the morally questionable actions of the doctors and scavengers. As he moves through his life, we see Gen evaluate everything, and make his judgments based on what he knows. I'm sure the reader is doing the same, drawing similar conclusions or perhaps seeing conflicts in Gen's point of view. I really like how Nakazawa allows the reader to do this by never keeping Gen too controlled in his views.

Overall, I thought this volume of the series was stronger than the one before it. The narrative is linear, which helps, and we start to see the longer-term effects of the war instead of its immediate aftermath. There's even a recap of the story so far, neatly tied in via a school assignment. I wasn't expecting that, but I think it's a good idea as we approach the halfway point. This trade also has more of a story arc feel to it, at least to me. Characters weave in and out as needed, and there's less of a feeling that Nakazawa is just using people as props. The new folks we meet, even if they are only shown briefly, have more life to them. I'm glad to see that. Even though this story is mostly about showing the horrors of war, there's no reason it can't have a strong structure as well.

Since the very beginning, I've said that Barefoot Gen is a series everyone needs to read, and this volume is no exception. We need reminders of human cruelty, no matter how hard they can be to read. Otherwise, we might just condone these actions again and again. And that would be a bigger tragedy than dropping another bomb. This series is a tough read, but it's very highly recommended.

Itazura na Kiss Volume 1

Written by Kaoru Tada
Illustrated by Kaoru Tada
DMP

Kotoko is a typical high school girl that unfortunately has not figured out how to succeed academically. She's even more clueless at love, however, because she actually thinks she has a chance with Naoki, the smartest student in school (and perhaps even all of Japan). Things go about as well as you would expect, until a sudden change in Kotoko's living situation places her right in Naoki's home!

Now, with hopes set high by their parents and rumors flying all over school, can Kotoko get over her feelings for the seemingly impervious Naoki, or will their relationship grow and form an unlikely couple in the grand shojo tradition?

I wasn't quite sure how I'd feel about this one because of the idea of a "stupid" girl chasing the smarter boy. However, I found this series to be funny and engaging, with characters that are compelling to the reader.

The humor of the series is present early and often and is what really attracted me to the book. Kinnosuke's antics trying to prove his love for Kotoko drive a lot of the jokes, and his over the top desire to "protect" her from Naoki are hysterical. They're made all the funnier because no one seems to regard them as abnormal. The way in which Naoki's mom tries to pair our protagonists at every opportunity is also great fun, as she seems to be the only mother in the world who'd be happy to learn her son was engaging in amorous activities.

Heck, the entire school seems to get in the act, spreading outrageous rumors and putting up banners about this unlikely couple. It's completely silly and unrealistic and is sure to bring a smile to your face.

I think my favorite joke is the running gag of the feud between Kotoko and Naoki's little brother, Yuuki. Displaced from his room, he develops an immediate hatred of the girl who enters his life uninvited and snipes at her constantly. (The best example of this is his summer diary, with scrawled cartoons and acid text to accompany them.)

There's so much humor going on that it actually dominates the love story, in my opinion. I don't have a problem with that at all, but those looking for more romantic angst may walk away disappointed. Kotoko definitely thinks about her love life often enough to carry on in the shojo tradition, but she does it a lot less than I expected. She also does not have a best friend to confide in, which surprised me. I'm used to long expressions of feelings to confidants, and you won't find them here, at least not yet.

Part of why I think this one works so well is that Tada sees no need to rush the development of what is almost certainly going to be a relationship between Kotoko and Naoki. Every time the reader thinks that this will be the moment where they start to come together, Tada finds a way to make Naoki pull away at the last second. It runs the risk of annoying the reader, but for me at least, the changes of heart seem plausible. They also have the bonus effect of making Naoki more human. Without any redeeming scenes, he could easily be too much of a jerk to survive as a protagonist for long.

The relationship (or lack thereof) is not the only thing going on in Itazura na Kiss. Both Kotoko and Naoki are almost at graduation with no idea what they want to do with their lives, though for very different reasons. Kotoko gets a focus to be a better student to prove to Naoki she's worthy, and we see her struggle with academics while also not being so good at anything else, either. Meanwhile, for all Naoki's brains, he doesn't seem to have a clue as to his future plans. With Kotoko comes into the picture, he seems to start finding that life is more than just about being smart, and that actually rattles him.

It's an interesting idea that I think is very realistic for characters this age and gives this otherwise silly manga a serious edge. How many of us got out of school, either at 18 or 22, with no idea what to do with your life? Watching our two main characters work through their life plans (that may or may not involve each other) while fighting against the plans being made for them by their parents should be an interesting counterpart to the love-hate relationship.

There are a few things in this manga that troubled me a bit. The idea that Kotoko is pressured to relax her studies and concentrate on being a good wife is a concept that I cannot get behind. Similarly, it does seem like all the women in this series are shown to be academically inferior to the men and they feel positioned in a lesser position as a result. That might just be a result of the age of the manga itself. It's definitely a flaw in the work, but one I can look past because I like the story itself a whole lot.

Fitting the material well, Tada's artwork has a loose style to the characters and backgrounds. The body shapes of the parents match their personalities rather than anatomy and Kinnosuke has a rubber face and limbs that flail at every opportunity. Kotoko and Naoki have more stable features, but they also change as needed. The hairstyles and dress are rather dated at this point, but I think it adds to the charm. Tada uses a lot of background wallpaper to set mood and even borrows the action lines from shonen where needed. Overall, while there is nothing spectacular about the artwork, I think it compliments the story.

Itazura na Kiss is very much a romantic comedy, and as such wouldn't normally hit my radar. But the jokes are fast and furious, the characters are completely serious within their comedic exaggerations, and despite clocking in at an omnibus-sized three hundred some pages, flowed quickly and naturally. I liked it a lot, and will definitely try to read volume two when it comes out. If you like shojo manga with a touch (okay, a LOT) of humor, then you definitely should pick up a copy of this right away. You'll be glad you did.

If you're still not sure after reading my review, you can sample a bit of Itazura na Kiss here, at eManga.


[A complimentary electronic copy was given to me by eManga to review.]

Re: Play Volume 1

Written by Christy Lijewski
Illustrated by Christy Lijewski
Tokyopop

A homeless young man known only as Izsak joins a band when they discover he can play a mean bass. Moving in with the lead singer Cree, a girl who sometimes acts more on impulse than good sense, he is immediately suspected by the band's guitarist Rail, of being dangerous.

There might be something to Rail's suspicions, as Izsak is trailed by people with supernatural powers and he may have even killed someone! With Cree in love with this dangerous man with no memory of his past, what will happen next?

This was an unintentional re-read for me. I'd completely forgotten about it, but it turns out I also got this one out in 2006. I've cannibalized the old review, because it was so short and focused mostly on the plot. From what I can tell, the old me thought this series was okay but not great, with a premise that had some interesting moments but didn't do a lot with them.

I think that's probably a fair assessment. This is an "OEL" manga, and it seems like Lijewski may have tried too hard to integrate parts of typical manga series into one story. We have the mysterious man with a haunted past that might be a vampire or he might be from a government project or he might be dead and back from the grave. It's also possible he's all three. There's an agency with superpowers after Izsak, another familiar theme. By the end, we've added a murder mystery to the laundry list.

In addition, we have the love triangle of Cree, Rail, and Izsak, with each playing the part you've seen often in other manga, complete with Cree rebelling against the idea that Izsak might be bad for her. There's the idea of the rock band and the tragic parental death that drives the inner sorrow of our heroine.

Oh yeah, and there's a family rivalry too, as Char and her brother fight for the right to be in the most successful local act, combined with Cree being the ex of the latter, when they all performed together.

It seemed like every time I turned the page, Lijewski was adding more concepts to the mix. By the time we get to the end, I was exhausted with the new plot points and wrinkles. I don't ask for the story to be original, but I do think it's a mistake to include so many familiar themes at one time like this. I'd have been happier if Lijewski had thinned a few of them out and let those concepts she wanted to keep have room to breathe. This is only a three-volume series; trying to cover all of this is going to be difficult to do justice to any of them.

Despite the problems with the overloaded plot, I did really like Lijewski's characters. Cree acts completely on emotion, which gives her a sense of chaos that is fun to watch. From bringing Izsak in to slamming herself into a wall to confirm something is actually happening, she's good for keeping the story moving and making the reader laugh. Rain works well as the protective guy who cares for Cree more than he'll admit. He's even willing to be hated for doing so. Playing the straight man, he keeps the story as grounded in reality as it can get, when flying humanoids are involved.

I'm not real big on the mystery man type of character, but Izsak as he's written here by Lijewski is likable. You know from the first pages that he's going to be trouble for Cree and her friends, but his desire to NOT cause trouble endears you to him. I also thought Lijewski did a great job keeping him innocent without being ridiculous about it. He's not stupid--he just can't remember anything. I definitely want to see what he's hiding from Cree (and the reader) in this volume, so that's a job well down.

Last but not least, I want to credit Lijewski for including a character who is very non-traditional and doing it in a respectful manner. We don't see that nearly often enough in comics, and I think for that alone, she needs to be praised.

Artistically, this could easily be mistaken for a shojo manga in terms of style. Faces come to a point, things get exaggerated, and boys are drawn to be as pretty-if not prettier--than the girls. Lijewski does a nice job working in the style of Japanese comics, aping the look that I tend to refer to as "shojo house style," even though there really isn't one. She does seem to spend a bit more time placing the characters at odd angles than other artists do, which keeps the reader's eyes off balance. I like it, but it might cause a different reader to feel that she's not drawing in a straightforward manner.

In 2006, I summed this up by saying it was nothing earth shattering, but I was going to read the rest. For whatever reason, I never did, possibly because volume three was never released. Now that Tokyopop has finished the series, I think I will, too.

I haven't read a lot of OEL manga, depending on where you put Scott Pilgrim, but I think this book shows that despite some perceptions against the genre, it can hold its own. If you want to see what a Western creator writing an Eastern comic looks like, this is worth a shot. Just be aware that at times, it's trying a bit too hard to include everything.

JSA Volume 2

Written by Geoff Johns and David Goyer
Illustrated by entirely too many people, including Marcos Martin
DC

No sooner does the Justice Society get started but a new writer takes them up against a family member gone bad and a hero whose lost his wings, as the series is given the dark, tragic touches needed for it to fit into the modern world.

As the JSA's membership shits to face the threats partially caused by its own connections, they must make hard choices and be willing to do anything to save the world, again and again.

I think that this volume of JSA suffers more at the hands of my changing reading tastes than in anything wrong with the story itself. These are three perfectly serviceable stories, with two one-shots thrown in back when books were less concerned with telling stories in arc form.

The problem is, they just felt empty. Black Adam beats the hell out of the team because of a medical condition. Alan Scott's son is used as a pawn by an old enemy and pays the price for not being a pet favorite of the writers. Atom Smasher's Mom is an unwitting tool of another villain leading to tragedy in our character's life.

I've read this stuff too many times before for it to feel anything other than senseless. Any one of these things happening in a single trade might be okay, but using a variation on the same theme repeatedly? It strikes me as lazy writing. What's wrong with just getting together to save the day, without a personal reason for it all?

It doesn't help that the final story dredges up Zero Hour, which should best be forgotten. We get a "final" resolution here, but not before all sorts of reality-changing, time-altering things happen. Except that we don't ever get to see much of them, so even the fun in watching alternative worlds play out for the reader is denied because it might take away from the seriousness of it all.

By the end of the trade, the JSA is a somber crew ready for more pain, which appears to be what DC wants out of its comics, going back to the years before Identity Crisis set the whole thing on overdrive. It's an approach that sells comics--this series was highly touted--but doesn't appeal to me.

My favorite story was Wildcat's one-shot, where Johns engages in some old fashioned fun. Our somewhat off-color hero gets caught with his pants down against a whole gathering of rogues, but manages to come out on top. He monologues the whole thing, too, just in like in the old days. I could have done for more of that and less of constant doubting and moping and personal tragedy that pervades the rest of the book.

If you are the type of person who likes the DC universe as redesigned by Johns (and apparently that's most of you buying capes comics these days), then this will be right up your alley. I don't care for the story Johns is telling, but I do think he does a great job of putting it together. He definitely knows how to make a team book work, giving each just enough time to shine (or fail) and not excluding anyone. At the same time, it's clear who his favorites are, and that's okay because while they get more exposure, it's not at the expense of the overall story

Conceptually, the solutions to the problems are good ones, too. Alan Scott may not be Hal, but he knows his way around willpower. Fighting a time traveler across the stream is a great idea (I just wish we'd seen more of it). Using the powers of your team to save the day without making it look easy is no small task, and I give Johns a lot of credit for doing it well.

What I don't give DC credit for is the artist rotation. We have four different pencilers and three different inkers on these ten issues, and it makes it hard to have a consistent feel. I don't understand why no one can seem to stay on a book anymore, since the turn of the century. Marcos Martin only does the Black Adam fill in, which is a shame because his pencil lines are sharp and give any book a leg up on its competition. The others are okay, but the changes in such a short period of time are troublesome.

For better or worse, my reading habits have changed. Once upon a time, I'd have probably liked this book a lot and praised the action. Now, not so much. If you still are strong into superheroes, then I think you'd like this. If you're curious because you've heard good things about the series, but aren't big on angst-filled battles with little caring about who dies in the process, then you're probably best to skip it. I'll leave it up to you.