Highschool of the Dead (Yes, one word...I know, I know.)
Writer: Daisuke Soto
Illustrator: Shonji Sato
Sentai Filmworks, 2011.
I love a zombie apocalypse. No really. I love a zombie apocalypse. So much so that if you knew a little bit more about me you'd know that I've been paid to do a lecture on zombie apocalypses and its effects on social order.
Yes, I am a nerd...so?
Here's two reasons the zombie apocalypse is a great idea:
1. It makes everything simple. For example, who cares if your bills are past due? People are dying, man. And Oh, you're having a bad hair day? I'm having a zombie-ate-my-family day. Perspective is a good thing, and the ZA will provide some much needed perspective. Say goodbye to your First-World-Problems, and hello to survival mode.
2. In simplifying the world, including our relationships to one another, the arbitrary social conventions that create friction between groups based on race, culture, gender, etc. fall away...there is no more backwards, binary us v. us confusion! There is only Living and Undead. In establishing a common enemy we more easily recognize our HUMANITY...theoretically. (People are still bad sometimes, and they still cling to the old social orders when it benefits them.)
The effects of the ZA above are clearly illustrated in the animated series Highschool of the Dead, based on the manga series of the same name by Daisuke Soto and Shonji Sato. The setting of a highschool, a place rife with cliques and social stratum, only further emphasizes the message. As with all the best ZA situations, we as viewers are introduced to a group of dissimilar survivors who are thrust together by circumstance: geek and jock, egg-headed perfectionist and clueless bimbo, bad-girl kendo club captain and ridiculously busty assistant librarian, creepy totalitarian teacher and (obligatory) red-shirt-esque zombie fodder. They have to band together to survive...maybe? I'm still early in and that creepy totalitarian teacher, is really, really creepy.
Creepier than zombie hordes! I have a feeling he will be the antagonist, and a villainous antagonist at that!
Dr. Shido's character seems power-hungry and opportunistic already. I expect his character may very well be representative of the worst humanity has to offer in a ZA situation. There's clear set up for him as adversary and complicating factor in later episodes.
Creepiness aside, this anime is surprisingly beautiful...there's a powerful juxtaposition between the beautiful and bloodthirsty: gorgeous skies and scenery is the backdrop to unflinching depictions of death. The fight scenes are brutal. This is one violent anime. But, it is also deeply emotional in a way that makes more than a few of the characters multi-dimensional from the start. The emotional angst of a few of the characters, and the genuine feel of their reactions was surprising.
I have only one complaint about the series so far: the random upskirt shots and excessive amounts of bouncing breasts are gratuitous, numerous and annoying to no end. Show me the fight scene; I don't care about wobbling fun-bags.
HOTD Trailer
(Note the sheer amount of panties and breast shots.)
All in all, I think I might keep with this anime, despite my irritation at the T&A (it doesn't make everything better). The second season of Highschool of the Dead was announced in April 2012, and although rumors were that the announcement was an April Fool's Day joke, there has been information out that one is in the works with no release date confirmed yet.
Random Bonus Factoid:
While looking at the closing credits for HOTD for the Japanese cast and crew, I noticed that there was a position listed as "Art and Literature Support." What is that? And why don't American production companies have such a position? And if they do, why can't I find a job doing that? Because I would be really, really good at it (if I knew what it was).
Written and Illustrated by Narise Konohara
Publisher: June
Rating: YA 16+
Aw, someone's sad because they're shopping for wedding dresses.
I know that feel, bro.
Aswaka is a wedding planner and Sasagawa and his wife were his first clients. Aswaka was unsure of his profession, but this couple inspired a passion in him and he continued his career to become a highly sought after wedding planner. In his mind Sasagawa and his wife became the archetypal couple...the perfect wife, the perfect husband, the perfect couple. But when he runs into Sasagawa alone a handful of times, and the two of them strike up a friendship, Asaka discovers that not everything is as it seems.
Sasagawa had a crush on his wife in high school, but he was far below her interest, it was years later when they ran into each other during a homecoming that they reconnected...but their marriage is a front. She had a female lover and needed to get married to claim an inheritance, and poor Sasagawa, still head over heels for this woman, agreed to the charade. In his heart he believed that if he were the perfect husband, that eventually she'd see his love and devotion and return it.
No, there isn't, Asaka.
I worry about 30 year old men all the time.
Asaka is floored when he learns of their marriage and pities Sasagawa's situation. Like he says, "being in a fake marriage with someone you really love--it's so unfortunate, its laughable." Asaka is the accidental witness to Sasagawa's breakdowns, and their friendship deepens as they support each other emotionally over the years. Then, because this is yaoi, well, they become romantically entangled.
Here's the thing, I like Asaka, but Sasagawa is a sad sack. Normally I love a damaged character, and the damage here seems real, but Sasagawa is weak and needy, and too ready to take a backseat to everyone around him. I suppose there's an innocence there that's a little endearing, but he's so much like a kicked puppy that it unnerves me.
Oh, my god, nut up!!!!
This man needs a wah-mbulance!
One of the most interesting aspects of this manga is the sort of unaware love that grows between the two characters in moments when they shore each other up. Unlike those annoying yaoi, "Oh, suddenly and without any hesitation I'm gay" moments (because that's so realistic--sarcasm), the development of love between the characters is slow paced and feels genuine. They just enjoy one another's company; they take comfort in one another; their love grows slowly and very, very cautiously--after all Sasagawa is a wounded man. Both of them then run from the idea that their friendship is anything more...but to no avail.
More than anything this is a story about loneliness, and the hard truths about love--that it doesn't always work out, that it takes work and patience--the gender of the characters doesn't matter to those truths. It is the timidity (and to some degree the embarrassment) of this unlikely couple, that ultimately saves this slow-paced manga. Don't go looking for sexytimes here, or adventurous/aggressive characters...you'll be disappointed. But, if you're looking for something a little more realistic, and if you don't mind a bit of drunken man-sobbing, then this might be worth a read.
Title: Ata
Author/Illustrator: Tamaki Fuji
Publisher: DMG
Genre: Yaoi
Rating: 18+ Explicit Content...for some frank discussion, not for graphic sex.
EXPLICIT CONTENT NOTED!
Dear Readers, occasionally I come across a manga that I should not like, and yet...I do. Ata is such a manga. And not because it's risky, or raunchy, or because it contains questionable aesthetic choices, because Ata doesn't really do any of those things...in a lot of ways it's just another straight-forward, predictable, sloppy-love-triangle yaoi. But it's also less than that, in that it is really badly written. And it's also more than that, in that behind that bad writing and predictable scenarios there is something raw and powerful and heart-wrenching about the art and the genuine emotion that is expressed by these characters. To be honest, it surprised me. I mean it really surprised me. I said aloud to the computer screen, and the dog who happened to be listening in, "Holy crap, am I crying?" And, Dear Readers, I was.
Let's start with the bad:
Straight away (no pun intended) I am annoyed at the protagonist, Kagerou, who is complaining that his troubled, middle-school drop-out, foster-brother and childhood friend has "decided" that he is gay. So, my hackles were raised. Raised! "Decided?" Grrrr. Thankfully this attitude is diverted quickly by a more reasonable discussion, almost so quickly that I thought, maybe they didn't mean "decided." I'm fairly sure the author didn't. Unfortunately, this manga is riddled with not only so much bad writing in general, but also so many blatantly obvious proofreading errors that it's hard to tell if "decided" was a mistake or intentional.
Clunky translations might not bother every reader, but they make me want to throw things. If translation is an art (and it is), whomever translated this just handed you a placemat with a crayon drawing of a cat which wound up looking more like an eggplant with a deformity. And typos? Typos are unacceptable, and yet...
Faught is not a word.
if the whole fought/faught thing were an isolated incident I might overlook it, but there are others. At one point Kagerou's name even shows up as Kagefou.
Poor translations can do more than just sound clunky. Sometimes they can change the meaning of the passage. For example, rape is a serious word. Rape is violent, brutal and is NOT about the physical act of sex as much as it is about the concepts of power, control and viciousness made physical. It is not a word to be thrown about lightly. And it is not molestation. Molestation is bad too, but it isn't rape. Molestation is unwanted sexual advances and can lead to rape, but these two things, although related, are not the same things. Language is subtle, friends, and often things that seem like synonyms to the (kill it with fire) thesaurus, are not things that are synonyms in the real world. No one is raped, thankfully, in this manga. People are, however, molested. But even that seems like the wrong word at one point. Maybe the word was coerced? Seduced doesn't seem right? Translations ARE hard, but words need to be used wisely, Dear Readers.
Sometimes poor translations just make a mess of everything. At this point I don't know if it is the translators or the original author who should take the blame for one of the stupidest and most biologically improbable discussions of ejaculate ever. I'm assuming here, Dear Readers, because I don't read a lot of ejaculate discussions. If the translator is to blame then okay, status quo for this manga, I suppose. But if the author is to blame, then I have to ask that manga writers do a little research when dealing with the male anatomy and its functions.
The plot is predictable in a lot of ways, boyhood friendships grow into unrecognized adult affections and it takes a love triangle for the characters to realize their true feelings. Nothing special or startling happens plotwise, but...I still wound up in tears. Let's explore why.
Kagerou doesn't seem to understand Ata at all, but he still sets himself in the role of protector, a role he took on when he and Ata were very young. Ata was a foster-child in Kagerou's home, and had a troubled past. They formed a close brotherly bond and spent much of their time together.
Little Kagerou (dark hair) comforting a little Ata (light hair) after a bad dream.
Kagerou takes his role as big-brother and protector very seriously even now. He calls the men Ata sleeps with "garbage" and he's right...they are. They're abusive, manipulative, cruel and selfish. But sadly, Ata can't seem to live long without falling from one bad relationship to another. At times Kagerou even has to step in physically to protect Ata from his choices in partners.
Adult Kagerou and adult Ata after one of Ata's nasty breakups.
Ata doesn't seem to understand Kagerou either. Ata wants to be with someone, but not just someone--someone who will care for him. He discovers, to his dismay, that he has been in love with Kagerou for a very long time. The string of lovers serve to occupy his passions, because he would rather keep Kagerou by his side than lose him completely. The lovers he has are ultimately unlovable, but that's fine with Ata, who feels as if he is unworthy of even the cruelest sort of partner, since, he believes, he is betraying them all with his love for Kagerou. Kagerou is Ata's home, and he is so afraid of poisoning that home with his desire, that he shuts himself off from any real feelings. He is used to men who use and mistreat him, so he becomes nervous when one of Kagerou's friends, archery Captain Sanuki, becomes interested in him. Ata falls into a secret relationship with him, and when their affair is revealed shit hit the fan for only a second before Kagerou backs down--he only wants the best for Ata, and Sanuki is a good guy for once, someone that Kagerou can approve of.
The problem is that Sanuki knows Ata's feelings for Kagerou, and eventually tires of playing second string, forcing Ata to admit his feelings to a broken and astonished Kagerou, who has been waiting for Ata all along.
Argh! Why am I crying when this is so badly written?
I am totally ashamed of myself right now.
And that, Dear Readers, is the moment I actually start to cry.
So, despite the bad grammar and the stupid assumptions about male physiology, there's something so painfully raw and beautiful beneath the surface of this otherwise cliched story that it moved cynical old Dr. M (who does not believe in things like true love, or soul mates, or unicorns, or tragic-pretty crying moments in the rain) to tears. And that, Dear Readers, is a pretty significant thing. I just really wish the writing were better. I can't approve of this manga, or recommend it as is...the writer/teacher/reader I am will not allow me to do that, but I can say that IF you can tolerate bad writing, then the story may be worth the effort it takes to slog through this train wreck. Better yet, just look at the pictures. The pictures are very nice.
Title: The Rule of Standing on Tiptoe
Author/Illustrator: Puku Okuyama
Genre: Yaoi? I suppose incidentally it is.
Publisher: DMP
Rating: 16+ YA, but really doesn't need to be (zero sex or sexual situations)
Cover: Kosuke (Ham-chan) on Raku (Luck)'s shoulders
as Raku steals his chips. These boys are goofballs!
Okay, first of all, this is freaking adorable...adorable...like one of the most adorable things I've ever read, so I am going to keep writing adorable over and over again as I review it. ADORABLE! The Rule of Standing on Tiptoes is an adorable high-school romantic comedy/friendship story about the tallest boy in class and the shortest boy in class. Short, hyper, hamster-like Kosuke and tall, popular Raku first meet when Raku hits Kosuke with his bike on the first day of 10th grade. Kosuke, who is immediately nick-named Ham-chan by Raku, is the first to discover Raku's secret--he's only half-Japanese. The secret isn't a big deal, but Raku stands out so much already because of his good looks and height that he'd rather keep his blue eyes (he wears black contacts) and his light brown hair (he claims he dyes it) under wraps to keep him from standing out more. His personality is vastly different from loud, boisterous, pierced, bleach blond Ham-chan, but despite their differences they form a fast friendship as they make their way through the pitfalls of high-school. Somewhere along the way each, individually, starts to form more difficult feelings of love and devotion to the other. Did I say adorable? Because seriously, this is adorable. There's no graphic sex, no weird drama, no astonishingly unrealistic beautiful boys, no big obstacles, no secret pasts (I mean unless you count Raku's heritage), no psychic powers, no conniving rivals (one standard high-school-type rivalry is pretty tame), no aggressive lusting...there's nothing but an absolutely genuine feeling, sweetly awkward friendship that turns into an absolutely genuine feeling, sweetly awkward sort of love. Adorable.
On a side note there is something about Kosuke (Ham-chan)'s gestures and personality that reminds me of Ms. Shakespeare. Some of it may be the way he hyperactively panics before over-rationalizing and putting on a stoic face. Some of it may be because she is kind of adorable. See exhibit A and B below:
On the left the adorable Ms. Shakespeare and surly Dr. M battling for the only copy of a manga!
On the right Ham-chan and his ex-girlfriend race to school to prove who is faster!
It really does look like us.
So, the manga is adorable, and Ms. Shakespeare and I are adorable. Facts is facts, Dear Readers.
This really is one of the most honest seeming yaoi manga I've ever read. Okuyama has really captured that swoony-sick feeling that accompanies a timid sort of love. It is well worth a read if only to re-experience that feeling again. Oh...adorable (just wanted to type it once more).
The story of Saya, the last vampire, has been retold and reimagined more than a few times. Saya was originally introduced to audiences in the 2000 feature length anime film Blood: The Last Vampire. The anime followed Saya, a sword-wielding teen with long braids as she battled bloodthirsty creatures called Chiropterans on a US Army base in 1966 Okinawa. It is during her battles that we first discover, as an audience, the preternatural qualities Saya has for destroying these vampiresque monsters--she is one of them, albeit older and more powerful.
Chiropteran--the name is taken from the order of mammals that include bats.
They are ugly and big. Much bigger than bats.
As such her blood acts as a weapon against them, essentially crystallizing and shattering their blood and bodies. It is in Blood that we are first introduced to another constant among the reincarnations of this story as well, in the character of David, one of the members of Red Shield, a secret organization intent on destroying the entire race of Chiropterans.
The storyline of Blood is simple, girl kills vampires, but it leaves viewers with more questions than answers. Who is Saya? If she is as cold and ruthless as she seems, then why fight to protect human lives at all? Why not see them as inconsequential casualties in a greater war? What is this secret organization lurking in the shadows? Does it work for good or evil? Or is it powered by something else---weapons development? political gain? economic gain? Why is Saya different from the things she kills? Why doesn't she change into the inhuman looking Chiropterans she hunts?
The 2000 version of Blood.
The cover shows Saya, and displays its gritty animation style.
None of these questions are answered in Blood, but despite (or perhaps because of) the lack of specific information the audience is provided, Saya becomes a compelling character, and perhaps another version of the archetypal female warriors against the supernatural (certainly along the same lines as Buffy). The character is revisited in 2006 in an anime series called Blood+. This anime is clearly not only a continuation, but a reimagining of Saya's character and destiny. We see a very different Saya, at least at first, in this four season series.
The animation style has changed from the dirty, gritty and dark style of the film into something bright and almost confectionery at times. The skies are blue, the golden sun pours over beautiful background scenes in Okinawa. Saya has changed as well. She is a slim, big eyed (that's to be expected) waif of a girl who has very little superficial resemblance to her previous incarnation This new Saya seems overwhelmingly innocent. Where as the Saya of Blood was a loner, this Saya lives with her adopted father and two adopted brothers above the family-run restaurant and is on the track team. We soon learn that this sunny outlook is a result of severe amnesia. Saya has forgotten the brutality of her past and lives her live as a normal teen girl. Unfortunately, a sequence of events align to awaken Saya from her dormancy.
The cover of the 2006 DVD, shows a very different
animation style, and additional character of Haji.
The U.S. Government, conspiring with a large and mysterious pharmaceutical corporation called, Cinq Fleches, is doing research on Chiropterans in the hops of creating super soldiers. They "accidentally" release two, who head straight for Saya, attracted to her scent. At the same time Saya runs into a mysterious man named Haji (who is hot as all get out). This injured cellist awakens fuzzy memories in Saya, but she does not awaken to her full fighting potential until she is trapped in the school with one of the rampaging Chiropterans. Hagi, who we now see has superhuman strength and speed, saves her by awakening Saya with a bloody kiss. He feeds Saya his own blood and she supercharges--her eyes glow red as she easily defeats the Chiropteran; she then falls unconscious. When she wakes she remembers nothing of the incident. Saya's warrior side awakens again when her family is attacked by a human friend who has been "turned" into a Chiropteran. Saya's awakening has consequences. David, the (for lack of a better word) handler, from the original movie, sows up to reclaim Saya from her family. He gives them 24 hours to say goodbye--things do not go as planned.
Saya's family is attacked again, her father George is killed and her brothers Riku (the younger) and Kai (the elder) refuse to break apart their makeshift family further. What results is a heartbreaking series in which Saya reconstructs her tragic past and reawakens dark memories, all the while being pursued by Chiropterans, evil corporations and a malignant figure named Diva. Saya, it is discovered, has periods of dormancy for decades, so before her time runs out again she must defeat the evil she is partially responsible for releasing into the world.
In the middle of tall the battle and intrigue of this story lies a story about love and family. The central character for me is not Saya, nor her eternal demon lover (or chevalier) Haji (who is too pretty and devoted to feel genuine), but the older brother Kai. It is his story that I keep returning to, mostly because this faux bad-boy, ex-gang member turned would-be soldier refuses to part with those he loves. It is clear that he will fight to the death for his brother and sister, regardless of anything else. It is Kai who tells the story in many ways, and Kai who allows Saya her chance at redemption, who preserves the humanity of the tale and who never gives up hope. He is not a sunny optimist, he is a fighter and a wounded one at that. He is my second favorite type of hero (the torn prince) again. Saya and Haji are neigh indestructible, but Kai, who is fragile flesh and bone takes risks alongside them. And it is Kai who watches over Saya as she sleeps, keeping vigil for his sister (and the love of his life) until she awakens again.
Kai carries Saya when she has no more strength,
and keeps vigil over her as she sleeps.
(Kai is squeeworthy!)
The series ends with a tentative hopefulness and some room for yet another incarnation or sequel. I half-hope it doesn't happen myself. I like the ending as is.
If you are more of a fan of manga, live action or light novels the Blood/Blood+ franchise has you covered in those genres as well. The manga and light novels follow along with the Blood+ storyline, although there is a novelization of Blood as Blood 2000. The plot is followed fairly closely, with some expansion of course. The light novels do an interesting job of explaining each character's motivation, especially Saya's. Although it is sometimes nice to have this information, I don't see it as crucial to the understanding or appreciation of the storyline. The manga and novels also seem to play ou the Saya/Kai/Haji love triangle a bit more fully. Bringing this to the forefront turns the series into more of a romance, which is fine, but seems unnecessary. I get the feeling that the changes to the relationships were added to appeal to a younger female fanbase. The romantic aspect doesn't take away from the story entirely, bit it does simplify things. The relationships each of these characters has with one another is vastly more complex than a mere romance. For instance, Kai positions himself as brother, friend, protector (father figure), comrade in arms, and lover--each of these roles creates tension with the others. Saya's relationship with Haji is complex as well; they are essentially soul mates of a sort, their relationship has spanned centuries, but they are also master and servant in a relationship that can never have the same equality as Saya's relationship with Kai.
Haji comforting Saya.
To boil this sort of interwoven complexity down to a "He likes, she likes, he likes" love triangle is to over-simplify those relationships for an audience of readers who, I hope, can handle a more mature discussion of love, responsibility and devotion.
Of course, the 2009 live-action film Blood: The Last Vampire does none of this. It centers mainly on the original 1966 storyline with some nods to the series that follows. I think it was cast quite well, and the fight scenes are spectacular, but it is missing a lot of opportunities to move beyond basic plot.
It is not an unsuccessful retelling, just a very limited one. I like to see a strong female lead kick a bunch of big-bad ass. The Saya in the live-action version is almost as brutal and incompassionate as the original anime version. A few (sadly) expected changes were made to gain audience appeal. In the original Saya was moved to protect a frumpy, middle-aged, high school nurse, who spent most of the film in flustered confusion. In the remake the nurse is replaced by a young, pretty, American army brat. I know why they did it, and it doesn't make that big of a difference in the storyline, I suppose, but I still want to see a frumpy school nurse fighting terrifying monsters.
I would have given the film mad props for that...but alas. In truth the film doesn't do much for the franchise. There's no reimagining of the storyline or characters--they've simply been translated from anime to live action I always wonder, well, what's the point then? I feel this way about a lot of "translations" from book to film to anime to whatever---if you aren't going to add something or explore something further or reimagining something fully in this new incarnation, then why do it it all. OR, if the changes you do make are superficial or if they oversimplify something fans enjoy already, then what the hell is the point?
I'm looking at you Hollywood! And I"m already pissed about the all-Caucasian cast of Akira.
Saya's story has a lot of reinventions, some better than others, but that's all based on my personal desires for the story--each incarnation has strengths and weaknesses. Personally, I love the anime series Blood+. I'll admit that I sobbed quietly several times before the final episodes--where I sobbed very loudly. I fell in love with the fallibility of the characters and their sense of responsibility towards not just each other, but the larger world. Plus, I like a tragedy...man, do I like a tragedy.
So, in review and to sum up this ridiculously lengthy post (which I wrote in longhand as my students took their final essay exams) here's the breakdown:
Blood: The Last Vampire : Violent and gritty anime. Not a lot of revealed story line. Bad ass female lead.
Blood+ (anime series): Complex, international, intertwined story lines, beautifully animated, emotionally draining. My favorite version.
Blood+ (manga): Very much like the anime, plays up the "love triangle" aspect. Pacing is different--a few "new" or "extended scenes." Some characters, like little brother Riku, have bigger changes to their storyline.
Blood+ (light novels): Follows manga fairly closely. Added "bonus" of seeing characters' thoughts and motivations (if you need that sort of thing). VERY heavy on the Saya/Haji relationship righ away--much faster development of this complication, much slower development of overarching storyline.
Blood (live action): Follows original anime storyline. Some nods to later series (although I may not have noticed them if I were not such a fan). Violent. Fun. Nice effects. Little to no storyline or motivation. Lots of girls with swords--cool, but is it cool enough to recommend? Nah. Not unless you're a huge fan of the original anime.
Dear Readers, Ms. Shakespeare and I are rather busy ladies, but we do try to post regularly amid our complex and demanding lives. For instance, I am deeply embroiled in some international espionage at the moment and as a result could find no time to present anime/manga ta-tas for this past Ta-Ta Tuesday. I regret this, because there are so many ta-tas and so little time.
I have invited, after some rather existential discussions with Ms. Shakespeare (who in the last post called herself a mister...either way, sister), my good-twin James Parker to submit his thoughts for Winchester Wednesday.
Now, you might be asking, why have a Winchester Wednesday at all? I mean, it isn't anime (well, there IS an anime), it isn't manga (although there are plenty of doujinshi), and it isn't Japanese. Well, the answer is simple: Supernatural is about as anime-esque as a live-action anything can possibly be (except for maybe Torchwood). So, James Parker will provide the occasional guest blog post. The first of which, can be found, Dear Readers, below. Remember, you don't have to be nice to him...I'm not.
My name is James Parker Lombard, and I am a fanboy. Or, a fanman, although that sounds, as I say it, like an altogether ridiculous term. But, it is not as ridiculous as the fact that your two fine, upstanding babblingly-girly hostesses, Dr. M and Ms. Shakespeare, have called on me to submit to this anime/manga review site. To be honest, I don’t think I can pronounce either of those words. Is it Anne-may, or Ah-Nee-may? Is it Man-Guh or Mon-guh or Mah-n-gah? Dr. M has tried to correct me on several occasions, although I keep telling her, quite clearly and in no uncertain terms, that I don’t care. I am not here for manga or anime, no matter how one wants to pronounce it. I am here by squiggly, wiggly, “squee”ing request, to participate in Winchester Wednesday.
There are some things you should know about me. I am academic to a fault. I am not keen on emotions of any sort, mine or others. Actually, I’m not super-keen on people in general, so I try to keep to myself. I drink a lot of coffee. I have been known to be a “scowly mofo” (thank you, Dr. M). I put my foot in my mouth, but it doesn’t seem to bite me in the ass very often. I watch a lot of Supernatural. I may or may not write fanfiction of a dubious nature. I have a “thing” for Dean Winchester, and I tolerate Sam because Dean loves him.
My participation in Win-Weds is purely analytical, although it is driven by perhaps a sick-ish obsession with the nuances of the show, and that “thing” for Dean Winchester I mentioned. I don’t plan on being a moon-eyed, swooning sycophant about things. I plan on keeping this old-school analytical—I would be talking footnotes and works cited whenever possible, but I know my audience, so I’ll keep it to a minimum. I’m thinking Carl Jung, Sigmund Freud, Joseph Campbell, Homer, Dante, T.S. Elliot, Blake and some Plato paired with some hard-core critical theory, psychology, lit crit, and sociology. See, real old-school academic shit, because that’s how I roll.
Like the ladies here, I don’t warn about spoilers and I don’t pull punches. I dig complexities and condemn stupidities. I also encourage responses. Let’s get in a conversation about the over-watched and under-analyzed brilliance that is SPN. Post some responses, argue with me (I know Dr. M and Ms. Shakespeare will…I think they only invited me here because they think they’ll get to bitch and moan about things); I like an argument. Offer up theories of your own so I can shoot them down with wild abandon. I’d like that.
Next Wednesday’s post: Supernatural and The Hero's Journey
A little Joseph Campbell checklist and a look into who the hero of the story might be. It isn’t as clear as one might think.
The season is half-over and I'm half-hooked, which is a good sign, because unlike our intrepid Ms. Shakespeare, I hardly ever feel obliged to continue a series if I'm not enjoying it. I am enjoying Durarara! As the story progresses, the interspersed stories of the first few episodes begin to overlap and reveal the hidden connections that exist in, Ikebukuro, a city that only feels anonymous and disconnected. The mid-season in Durarara! makes clear that, although disparate units make up the city, each of these units feed off of one another in co-dependent ways.
Each character plays a part in Ikebukuro, which itself is nothing more than a conglomeration of many selves, hitting and pinging off of one another in a seemingly endless, and intricate pattern. Every character, from the Russian Sushi Chef to the introverted Student Council Representative, seems to be on a search for some sense of completeness and connectedness that may already exist below the surface of their understanding. All of these characters express a heartfelt (and sometimes misdirected) desire to belong to something, and many, like the "main" character, Mikado Ryugamine, actively create that "something" through their actions and interactions.
It turns out, in a mid-season reveal,that Mikado is the accidental and anonymous leader of the Dollars, the "gang" of the moment that actually is more of an anti-gang, seeking out ways to act for the greater good instead of self satisfaction. His need for belonging stemming from his isolation (he is without family, and introverted) helps him create virtual connections in an online community. The numbers of Dollars swell beyond his expectations as more and more people join this "unband" of outsiders and misfits. Although they have been a latent gang (of sorts), Mikado calls on them for the first time in an attempt to assist Celty in her quest. Even he is impressed by the turn-out.
Other characters, like the siblings Shizuo Heiwajima (a self-proclaimed peace-loving man who seems anything but that when he resorts to ridiculous shows of violence)and Kasuka Heiwajima (a professional actor on the rise), keep a distance from one another despite their strong brotherly bonds, in order to assist the other in achieving their goals, and only reveal their connections in subtexts and secrecy. Other less pristine relationships like the one between Doctor and Pharmaceutical Director, Namie Yagiri and her disturbingly obsessed brother, Seiji Yagiri, have a more troubling relationship in which the co-dependency is pushed to its irrational, and disturbing, limits out of a twisted response to childhood loneliness and desperation.
Lovers like Celty and Shinra Kishitani (her old friend and current roommate) deepen their connection to one another, finding in each other someone who accepts their limitations without question (they are adorable in their sweet, simple friendship and stilted infatuation). They all struggle, in positive and negative ways, for completeness. Celty herself serves as a character who, quite literally, embodies this desire for completeness in her continuing search for her head and the memories she believes it may contain.
Out in the city it isn't only people, but incidents that become intertwined. A rash of disappearances is connected with gang activity, medical testing and even, in a rather disheartening way, with Celty's missing head. Good news everyone, Celty's head has been found…unfortunately, attached to the body of a murdered girl (one of Mikado's classmates who has gone missing—she was Seiji’s stalker and he killed her when she discovered Celty's head in a jar by his bed) by Namie Yagiri in order to satiate her little brother Seiji's obsession (I did say they had a disturbingly twisted relationship) with said head and serve as a "love gift" of sorts. Bleh. Poor Celty's head attached to that stupid girl's body. I hope Celty gets her noggin back; headlessness must be frustrating.
I love this picture of Celty and the Good Doctor Shinra
by deviantArt artist YukiYijiKusakabe.
She's captured the sweetness of his devotion to Celty,
regardless of her "incomplete" state.
Most of me wonders if I'm really just watching this series to see if Celty gets her head/memories back. I might be, but I'm also watching to see the connections play out. As I wrote in my earlier Durarara!: First Impressions post, this series has an insane number of characters who each tells/sees/experiences only part of the whole story of Ikebukuro and its residents. I like the complexity of the interwoven plots, and I hope that by the end of this series more mysteries and connections are revealed. Until then, it is on Adult Swim on Saturday nights. Check it out (try not to get confused).
When I grow up I want to be a few things:
1. Dean Winchester! (Or Sam, if I have to. I'd be a little disappointed though...so close to perfect, yet so far away.)
2. Part of an evil travelling circus akin to the one Bradbury writes about in "Something Wicked this Way Comes."
3. A priest who is called upon to advise church leaders in instances of supernatural phenomena as a result of my occult research.
4. One of a small group of intrepid folk who fight for survival during the coming zombie wars.
5. A secret rock star like Hannah Montana (well, maybe not that one).
6. A tactical sorcerer like the characters in Strait Jacket (as long as I don't turn into a gross blobby monster thing).
The film is set in a steampunky alternate future/past (I can't tell which) where scientists from the Potter-esquely named Magic Administration Bureau have successfully brought magic (in the form of a sort of laser alchemy?) "from myth into reality." After this "scientific" discovery the government and private sectors began utilizing magic in everyday life to aid public welfare, medicine, agriculture and, most inauspiciously, in connection with the military. Surprise--things go wrong!
People using magic are occasionally transformed by something referred to as "The Curse," turning into gross blobular demons who do things like cut people in half with their demonic appendages before eating them. And a terrorist group known as The Ottomans starts using magic to run amok in the city. But I guess it's not like they could, let's say, STOP USING MAGIC IF IT MAKES PEOPLE INTO MONSTERS! Jeesh! It turns out it isn't that easy. People are addicted to magic and the power it brings...it's like crack. There are even children being born with "hereditary magic poisioning" which the MAB calls Child Sorcery Addiction like a sort of otherworldly supernatural Fetal Alcohol Syndrom. These kids are magic crack babies. Something must be done!
The MAB creates Tactical Sorcerers to combat the growing numbers of demons and counter the terrorist magic attacks. Tactical Sorcerers are protected fro their own tranformations by sigil body paint and charmed armor called "The Mold" which keeps them from turning into the demons they battle. It is this "mold" that earned these warriors the nick-name, Strait Jackets. Unfortunately, "The Mold" isn't infallable the Strait Jackets are always risking their own lives in more than one fashion when the battle these demons.
The film begins as Junior Agent Mary Simmons is called to a hospital under siege from a doctor who transformed mid-surgery into a blood thirsty monster (and a gross blobular one at that). The city itself is in dire straights, so many people are transforming as a result of sabatogued molds (by terrorists) or irresponsible magic use that there aren't quite enough Tactical Soldiers to go around. Without options and with the death count rising inside the hospitals wards, Mary finds herself suddenly calling on the assistance of unlicensed (and illegal) Tactical Sorcerer Reiotto Steinberg. Rey is hot as hell and kind of a grumpy bad-ass who spends his time atoning for past sins. He seems callous on the surface, but has a weakness for kids coupled with an admirable sacrificial/suicidal streak. These are all of the things I like in my reluctant heroes.
A sinner looking for redemption. Oh, tortured Rey...mmm...
The animation is a little graphic, but quite beautiful. The spell-casting battles against demons are dramatic with a whole lot of interesting shouting. "I defy all laws and transcend reason!" I think that's a great battle cry. I kind of wish that were my battle cry.
The story of Rey's attempt at redemption is touching and unnerving at points. He is a sympathetic character who pushes himself closer and closer to the breaking point in every battle. Mary proves herself to be more than the annoying petty beaurocrat she seems at first. One of the side-characters, a very heroic Tactical Sorcerer named Hammond, serves as a foil to Rey, and his life, like the lives of others before him, ends badly. In fact, everything ends badly. But, like the Winchesters say, "it all ends bloody or sad," Dear Readers, sorry. Strait Jacket ends bloody AND sad, but it's still worth a watch.
Basilisk: The Koga Ninja Scrolls centers on a battle between two rival ninja clans during the Azuchi-Monoyama era (1600). A sort of non-agression pact betweent the two clans was put in place generations ago by Hattori Hanzo (not the Kill Bill Hattori Hanzo...jeesh, the samauri) which helped Hanzo rise to power. When Hanzo dies a power vacuum is created among his grandsons, the political tensions in this early Japanese government run high, as each candidate sets off a string of espionage-style tactics to defeat their rivals and fill that vacuum. One of these tactics entails recalling the treaty between the Kouga and Ida ninja clans, and setting their best 10 ninjas against each other in a kill or be killed battle to the death. Two grandsons want the shogunate, each is backing a different clan, whatever clan wins the backing grandson earns the title...a very odd way to remedy the situation, but it is fun! So, it's sort of historicial, but not really. The basis of the story is actually rooted in Japanese history, but then it gets very anime with some fairly impressive ninja skills and a Romeo and Juliette love story between the heirs of each clan, Gennosuke and Oboro, whose marriage (arranged prior to Hanzo's death) was to unite the two clans permenantly.
I did enjoy this series--it had a lot of fighting, some heavy symbolic gestures and repeating images/metaphors, and a rather sad/poignant focus on loyalties (does one honor love above all else? And if so, which kind of love? Filial, romantic, familial?). As the plot twisted around itself amidst some heavy betrayals and deceptions, I would become interested in characters only to be shown their tragic demise. This is not a light-hearted romp! It is, in fact, one of the more violent and brutal animes I've watched. But, there does seem to be some rather skilled story-telling here as well. I enjoyed the pacing of the series, and the way characters' special ninja skills, backstories, connections, etc. were revealed. Although, I did enjoy it, I don't know as I'd put this on the list of my favorite animes of all times. It was good, it was thoughtful, but it stayed just shy of becoming something I could see myself watching again--perhaps due to the violence? Or perhaps the animation style (which does seem older and grittier)? Or maybe it is the guy who fights with his nose hairs?
If you are interested, as many people are, in warring ninja clans, this is well worth a watch--it is rooted in at least SOME historical reality and does not shy away from serious brutality and heartlessness. Just don't expect a feel-good romp.
Okay, Hero Heel, by Yellow writer/illustrator (favorite of mine) Makoto Tateno, completely deserves it's adult themed rating...because it has VERY adult themes. I'm not just talking about the sex, because there is sex (graphic sex, actually), but the complexities of the plot, character interactions, and emotions are anything but easy to process. I like angst. I like, as Ms. Shakespeare likes to point out, suffering and insecurity and long-standing secret loves. So, I like Hero Heel. This three volume manga series is brutal at points, so if you are an empathetic person this might not be for you...unless you want (like me) to feel that sort of extended tension and pain. Tateno is fantastic at extended tension and pain. Stunning at it, actually! The dialog is loaded with it, the illustrations are taut with it. OH, and it's about actors on a kid's superhero program.
Don't shake your head just yet, us ladies of a certain age remember the hotness of Power Rangers...this is something similar, and yet possibly hotter. Although, man, a few of those Power Rangers...daaaammmnn! Hero Heel is the story of first time television actor, Minami, who lands the lead role of Oreas in a special effects, fighting program called Air Guard. His co-star, Sawada, is a veteran of these programs and takes an immediate dislike to Minami's attitude. Sawada is a consummate professional, and is playing Gadriel, Oreas's rival in the program. Minami and Sawada are both proud and stubborn on and off the camera. Their rivalry heats up, but Minami learns from Sawada as well, and comes to realize that his feelings of deep admiration for Sawada's acting and fighting skills may be hiding true affection for the man.
Okay, tame enough, a little co-worker love interest, but then it gets really, really uncomfortable. Sawada claims to have no interest in Minami at all, in fact he treats him with scorn which only seems to make Minami want him more. Desperate for any scrap of affection, and drowning in unrequited love, Minami blackmails Sawada into sleeping with him. In one of the most painful, regret-laden scenes of any manga I've ever read (and I read a lot of painful, regret-laden manga) Minami breaks down. The intensity of the sorrow in the final chapter of volume one nearly crosses the line to intolerable for me. I'll admit it...I may have cried a little. And, as I keep saying, that's not my M.O. Something has to be very powerful to move me to tears, and yet the last silent panels of Hero Heel volume one did just that.
In trying to forget Sawada, Minami smothers his feelings with a new relationship with yet another co-worker. And Sawada rekindles an old relationship with a former co-star in an earlier program, who looks remarkably like an older Minami. Could Sawada be hiding the truth about his feelings for Minami? Let's ask him.
Sawada, are you hiding your attraction to Minami behind a facade of scorn in order to save yourself from potential heartbreak?
Oh, Sawada-san, you make me so sad in my heart.
You are absolutely the kind of cruel and passionate character that makes me want to squee!
Um...yeah, I guess he is...oh, right, spoiler or whatnot! So, once we know this, as readers, the plot gets even more complex, and painful, and bitter, and...all those things I love to read about. Each of the characters deals with their own insecurities, and any hope for a relationship seems defeated by a combination of insecurity and defensive pride. When the characters do break down, succumbing to their emotions in sometimes drastic ways, it is poignant and heart-wrenching because we as readers are privy to the whole story rather than just the one-sided suppositions the characters make about one another's motivations and intentions. This is heavy stuff. As such, it isn't for everyone. There are certainly points where each of the characters crosses into uncomfortable (and sometimes even dislikable) territory. There are moments of assertiveness that do border on violence, and reactions that seem at the time completely disproportionate...like this one:
"Eh?" Indeed! (Also.."Aw, yeah!")
It looks sweet and passionate, but it turns out in the very next panel Minami (blond) punches Sawada in the face, tells him to quit messing with him, and then runs off into the night to sob in his bedroom until he passes out while Sawada avoids his boyfriend and drinks himself into a stupor. Hooray! What a light-hearted romp through candy-canes and gumdrops! Or, did I mean what a painfully (three bonus chapters are actually entitled "Pain") drawn-out, spiral into despair that seems to have no hopes of redemption? Maybe I meant the second one. Oh, delicious pain! Oh, Sawada! (Seriously, I may be madly in love with Sawada myself...maybe I'll steal him from Minami?) Oh, Minami!
The good news is there is (sort of) a happy ending to this one--the payoff is worth it once these two idiots realize that they can't deny their disturbing love for one another. Plus, the show is a hit, so everyone wins (except the people who were dragged into the bizarre love-conflict and ultimately dumped in cruel ways...they lost, completely).
Hooray, another yaoi involving a bakery and older characters! Although, I'm not sure this angsty-yearn-fest is Ms. Shakespeare's cup of tea (too much tension and tortured emotion), it is CERTAINLY mine.
Yukimura's A Love Song for the Miserable has a great title, doesn't it. And it's pretty appropos of what to expect from the single volume work. The main character, Itsuki Asada, is a miserable guy who hates his job, his life and...well, he's a little bitter. The story starts with Asada drunkenly ranting about his position at a Tokyo department store to a co-worker. The co-worker, annoyed by his pity-party, leaves him half-passed out in some shrubbery (I love the word shrubbery) where a runner by the name of Iwasaki Nao runs, quite literally, across him.
Nao has a dilemma of his own. His father owns a bakery and wants Nao to take over, but Nao is unsure of himself and his abilities. He is an avid runner (with a very poor sense of direction), who uses running to sort out his problems and lost in thought finds himself in an unfamiliar area. They "rescue" one another: Nao pulls the drunken, sobbing Asada from the bushes and Asada gives Nao directions home. The ever-exhuberant Nao scribbles his own directions on a scrap of paper. The directions are to Nao's bakery "The Star," where he asks Asada to come by for a pastry as thanks. Uncharacteristically, Asada does come by and discovers that Nao is a very talented, yet untrained pastry chef. Nao discovers that Asada may be helpful in developing his skills, as a critic and a taster. The two form a quick friendship which temporarily lifts Asada from his slump. He finds himself feeling useful and relied upon for once and relishes the opportunity to be a part of something successful.
It is not until Nao decides to begin training in France that Asada realizes that his friendly feelings for Nao might be something more. Rather than confess his feelings to his friend Asada does the exact opposite, he snaps at Nao, plays down the importance of their friendship and snubs Nao's ambitions. The two part on terrible terms and Asada once again falls into his misery.
Asada is miserable. He's pretty much always miserable. Look at that anguish!
Three years later the two are thrust into a business situation and hurt feelings on both sides cause even more tension between the two. Finally the stand-off breaks, but unfortunately Asada realizes that not only is he still the same miserable person in an unsatisfying career that he was three years ago, he's also still in love with Nao who is now a world-reknowned patissier. As Asada himself says, he loves Nao but hates him at the same time. Nao, who is open and honest and almost puppy-ish in his devotion, has things that Asada wants (not just his body). Asada is jealous, bitter and heartbroken when he's around Nao, but he longs for Nao when they are parted. Asada is one tortured soul...and kind of a puss. Finally Nao reveals that he thinks he has figured out Asada, and that he wants to make him happy because "No one wants to see such a (sad) face on the person they love." Despite the love confession, Asada bolts just after this painful scene:
Seriously, Asada, you have got to quit beating yourself up...it really isn't that bad.
All in all, this is the kind of crappy manga I adore. It has long-standing secretive emotions, defensiveness to conceal heartbreak and some awesome looking desserts. It doesn't hurt that Yukimura, whom I have grumbled about before, seems to have solved some of her problems with foreshortening and perspective in the artwork. I really love the sort of stark anguish on Asada's face, and the way his posture and body language conveys his mood. She's improved by leaps and bounds over the years.
A Love Song for the Miserable may not be for everyone. It is (I keep saying it) a fairly miserable story. Thankfully it all turns around (a bit) in the end. Maybe nothing will put a smile on the beautiful Asada's face? Maybe some people wear tragic quite well?
NC-17 or whatever, not a lot of graphic sex in this book. What's there is sweet and fairly modest, but I warn you anyway.
I've decided that I'd like to review some of my absolute favorite mangas. Be warned, most of them are yaoi (boy/boy) and most of them have at least one graphic-ish scene.
Among the manga I find myself re-reading the most is a single volume work (a one-shot) called Constellations in my Palm. The story is by Chisako Sakuragi and the art by (one of my favorites) Yukine Honami. For a single volume work it is rather hefty 246 pages...of some of the most angst-filled, tension-riddled, sweetly painful writing/art that I've encountered in a manga. I am not particularly prone to weeping at manga, unlike a certain Lady-Bard I know, so when I say that this manga has the ability to bring me to tears, it's no insignificant thing.
The story is told from the point of view of college student Mizuho Odaima. When Mizuho was a child his best friend was his younger cousin Enji, they spent every family function together, and all summer joined at the hip...they dreamed about their future lives and followed their interests in astronomy and the universe. Enji looked up to Mizuho with something akin to hero worship, but eight years ago in the aftermath of a childhood accident an embarassed Mizuho pulled away from Enji entirely. Mizuho reflects on the incident and decides that after the accident all traces of admiration Enji once had for him had been replaced with a new and upsetting awkwardness, "I somehow sensed that this change came from his disillusionment with me. The realization was so heartbreaking--and so embarassing--and because at the time I was mired in a morass of self-conciousness I began to avoid Enji." Although Enji tried to contact him several times after that, Mizuho, trying to save face and avoid that "disillusionment," ignored him.
The story begins with the arrival of Enji to the Odaima household. Enji is starting his first year at a college nearby to study...you can guess...astronomy, while Mizuho has given up on his dreams to become what he believes is a more ordinary path, as a business major. When Enji arrives Mizuho is confronted by someone who seems a stranger to him in many ways, but someone he desires to become close to again. The cold awkwardness between the two cousins is well-written and effective. They try to find some common ground in their lives, to become friends again, but both are bitter and regretful of their separation, and each fails to understand the other's feelings as they struggle with their own. They are each so painfully nostalgic and uncertain that it is heartbreaking. Mid-story line it is clear to the reader, although not to Mizuho who is still struggling to make sense of things, that Enji's awkwardness comes from an overwhelming mixture of love and feelings of abandonment rather than disappointment and disillusionment. Mizuho whose lack of self-confidence has lead him to give up on every one of his grander dreams cannot accept the truth of Enji's love for him and sees it as another form of ridicule rather than a confession. Their misunderstandings and trepidation of the characters is ridiculous in many ways (each suspects the other of harboring feelings for a third party), but makes sense when framed in their long-standing, shared history and the true feelings they have for one another.
ARGH! This shit is painful! It's sweet and tender and clueless and angsty and just...awesome! Each of these characters is so broken and oblivous that it kills me. And scenes like the one below are gut-wrenching in context.
Mizuho (blonde) currently cannot speak because he knows he will cry
and believes that if he does Enji (dark-hair)
will be further dissapointed in him for being weak.
Why are those boys torturing themselves?
Thankfully, in the end, one of Mizuho's friends helps him pull his head out of his ass and convinces that sometimes things are actually worth trying for, and that his love for Enji is the one thing he shouldn't give up on. And Enji, who gets defensive when he's emotionally vulnerable, backs down when Mizuho bravely confronts him about his feelings while (finally) admitting his own.
Oh, it's so awkward on so many levels. But, then again, what wouldn't be slightly awkward about two male cousins harboring almost decade long infatuations with one another? Yeah, despite the (or perhaps even "because of the") skeeve-worthy taboo-ness of their relationship this is a manga that deals with some complex emotions and is well worth reading. I am impressed by the way it makes an art of awkwardness. The confusion and longing is palpable in these characters, and their breaking points (like the one pictured above) are tenderly squeeworthy. They're so fragile despite their defenses...le sigh. Star-crossed lovers...le sigh. For real.
Durarara! is a little strange, but I'm already looking forward to the next episodes. My first impression is that the series is made up of fragmented, multiple plot lines that overlap to create some larger more cohesive story arc as the disparate plot lines interweave. This makes sense as the anime is based on a series of nine "light" novels (an english-derived japanese word that defines shorter novels that are roughly equivalent to what we call novellas, although they are often released serially in magazines and journals). The characters all live/work/study in Ikebukuro, Tokyo. And as their lives intersect with the Ikebukuro underworld, turf-wars between rival gangs and even Irish folklore, the characters meet and interact with one another.
The series begins with, high-school student, Mikado Ryūgamine moving to Ikebukuro. Unbeknownst to most of the characters around him, shy-seeming class-representative Mikado has a very dark side. He is actually the only remaining founding member of the infamous "Dollars," a mysterious and highly-feared gang in the area. Rumors fly online in chatrooms about the mysterious Dollars who, unlike other gangs who wear "colors" to denote membership, prefer to remain incognito. Even members of the Dollars may not be aware of one another's true identities.
One mysterious member of the Dollars worth note is Celty Sturluson, a Dullahan who has "lost" her head. A Dullahan is an unseelie fairy in Irish folklore who manifests carrying its head in its arms. Dullahans ride through the night to call people to their deaths, and may at times coach the cóiste bodhar, or death coach that takes the deceased into the afterlife (the headless horseman was inspired by this myth). Celty has actually lost her head. Yes, it wasn't attached to start with, but it is currently AWOL. She tracked it to Japan and has been searching ever sense. Her current (headless) manifestation is called "the headless/black rider" by locals. She rides a black motorcycle (her horse in disguise) and works as an underground courier (keeping her helmet on and her visor down to avoid detection).
Below: the very odd group of people who make up the characters in Durarara!
Other strange characters also populate the Dollars. They count among their members a parkour/knife master, a black, Russian sushi chef with ridiculous strength, a big-boobed swordmaster who lacks the ability to love, an obsessed underground doctor, and a bartender with a serious agression problem.
I know these stories add up to something, so I plan on sticking with it. I just want that lady to find her head.
Now, normally I give you, dear readers, a link to Amazon where you could, potentially, purchase a copy of the manga/anime we are discussing. However, it appears that Makoto Tateno's Yellow is partially out of print. So, I feel bad talking about a series whose first volume is difficult to obtain. The good news is that volumes 2-4 of Yellow and volume one of the sequel Yellow 2 are still in print. And, if you look, and trust me you don't need to look very hard, you can find fan translations of volume one online. I will not guide you there, you can find it yourself, trust me! In fact, just scroll down the right side of the screen to where we mention sites we like and one of those sites might be FOXy enough to provide you with the MANGA scans (see what I did there? I know you did, because you are brilliant and insightful).
But, Amander, you say, fan translations can sometimes be very bad. Yes, friends, I know, but trust me, they're no worse than the actual translation in this case. Yellow volume one has the notorious distinction of being the one manga so poorly translated (by the publisher, mind you) that Ms. Shakespeare attacked my copy with a glue stick and some paper. Allow me to demonstrate with an actual scan of my favorite of her "alterations."
(Remember, this is manga in the original Japanese formatting, so read Right to Left and then Down the pages.)
That is Ms. Shakespeare's actual handwriting which you see so eloquently "correcting" my first chapter. They may have hired a translator/editor for subsequent chapters because they did get better, MUCH better. The first chapter of volume one is nigh unreadable. And that, friends, is why when Ms. Shakespeare borrowed my copy she could not help but improve upon the choppy translation. Thank goodness. (Incidentally, as a thank you, I altered a copy of one of her more, ahem, provocative manga purchases to include, um...junk. Yes, I drew in "parts" where parts had been pixelated or removed due to censorship in Japan. I'm a good friend! Such a good friend!!)
But, I digress...a lot!
Here's the gist of Yellow: Taki and Goh are what they call "snatchers" who live their life in the metaphorical "yellow"/caution zone both professional and personally. They are hired by anonymous entites to "snatch" things like drugs, guns, evidence, etc. Taki is heterosexual and Goh is gay. They live together and most people assume they are a couple. Despite being only partners, they love one another very dearly and rely on one another in life or death situations which has formed a strong bond between the two. Each of them is willing to sacrifice themselves to save the other. Eventually Goh develops some rather strong feelings for Taki, and despite Taki's resistance (sometimes violent resistance) to Goh's advances, it is clear that it is only a matter of time before Taki succumbs to his intense love for (and of) Goh and their chaste partnership turns into a physical relationship. So, DRUGS! GUNS! ULTRAVIOLENCE! DIRTY SEX! I like it.
One interesting aspect to the relationship that develops between the characters stems from the fact that they know little to nothing about one another previous to their first meeting (a little over a year before the plot begins). Their former lives and identities (for the most part) are kept secret even from one another. On the surface this seems like this omission might insinuate a deep mistrust on the characters, but it doesn't seem to be the case. Each of them is trying to reinvent themselves, and feels so much trust in the other that pasts don't seem to matter. Unfortunately, not everyone feels that way and Taki's past catches up to him with a vengeance. The boys must negotiate their pasts with their future as both partners and lovers while both the good guys and bad guys are out to get them. The first series ends with a fairly solid conclusion, and feels complete (if not a little saccharine). The sequel series Yellow 2 is being released as we speak from June' Manga...and it is certainly good, but isn't great. I wish they had opted out of a continuation. I mean I like spending more time with the characters, but the sweet tension between the characters has abated as they are drawn back into the life of snatchers.
On the surface the Yellow series is a angst filled story with some light-hearted moments, and will appeal to both the yaoi crowd and detective story fans. Below the surface, for you analytical readers, there are some fairly interesting, although sometimes quite subtle discussions of the role of trust in a relationship, the definition of love (in all its incarnations), and whether abiding romantic love needs a physical aspect to be powerful and permanent.
Warning: Some very intense sexual scenes so, NC-17. Despite the rating I'd give it, I would not consider this manga series to be pornographic in nature, it is erotic at points, but is more character driven than it is a plotless vehicle for hot manga-guys doin' it.
