Even though my 2020 in gaming was on the mediocre side, the same wasn’t true with manga. I read a lot of great stuff this past year, more than I can fit in this post. In addition to the ending of 2018‘s Manga of the Year, Silver Spoon, I wrapped up the comedic essay manga Skull-Face Bookseller Honda-san. There was also the first volume of Drawn & Quarterly’s long-awaited collection of Yoshiharu Tsuge works, The Swamp; What the Font?!, an informative introduction to typefaces; the cute BL story Our Dining Table; Sneeze, a solid short works collection by Naoki Urasawa; and the entertaining brain candy The Seven Princes of the Thousand-Year Labyrinth. Even a classic series I didn’t quite take to, Ai Yazawa’s Paradise Kiss, had a bit to recommend it. Note that not one of the manga I just named made it to the final list; that’s how good this past year was for me.
This ranking is done in much the same way as with my Gaming Selections, with honorable mentions and a top three. After each manga’s title is the author(s), the North American publisher, the first year of Japanese serialization, and the number of volumes I’d read roughly up until the end of 2020 (followed, in parentheses, by the total number of Japanese volumes). Series printed in omnibus, kanzenban, or similar editions are denoted with an asterisk (*), but the numbers reflect the original volumes as they were first printed in Japan. All of the cover images used here came from Right Stuf or the publisher’s website. Finally, there are no repeats from previous years’ lists in either the honorable mentions or the top ten, even if I was still reading (and loving) a particular series.
We moved, and somehow even managed to order and receive some new furniture. That process wasn’t without its own headaches, and it’s not over yet. Nor is the unpacking; for starters, I’m still trying to figure out how to store and display my massive figure collection, especially since we have no walk-in closets this time. At least I was able to set up my office by mid-June, though a few other areas, such as the living room, are a work in progress.
The first thing I played on my desktop computer in the new house was Dungeons 3, which I reinstalled after picking up the latest and final DLC, “A Multitude of Maps”, during the ongoing Steam Summer Sale. As opposed to a mini-story, this DLC consisted of a set of skirmish maps, and given that I hadn’t touched the game in some time, it took awhile to reacquaint myself with the basics of play. The maps and missions were well designed, though I did miss having story content tying them all together.
Speaking of that sale, I installed Augmented Steam alongside a couple of other related browser extensions recently, and have been using it to see what the stats are for certain smaller games on my wishlist. Although I knew on an academic level that a lot of newer indie games have abysmal sales on Steam, it was still shocking to see some great-looking games—some of them rather highly-ranked on my wishlist—with Steam Spy-estimated ownership stats of 20,000 or less. My current plan is to buy a handful of these, including at least one at full price, alongside a few others that have done somewhere between a little bit and a lot better before the sale’s over.
As mentioned in my previous post, I have had a special project in the works. Today, I’m happy to announce the debut of P.S. Triple Classic, a fansite/archival project dedicated to a semi-obscure Japanese webcomic called P.S. Triple, aka P.S. Three-san.
P.S. Triple is a series that’s near and dear to me, so I hope you check out these comics. They’re sweet, funny, and often a bit sad. See the blog’s intro post for more information about the world of P.S. Triple.
Two years have passed since my 2016 Manga Selections, and now I’m finally going to come back at you with a whole new slate of recommendations. Since that post, I’ve finished most of the manga featured in that older article, with the exceptions being the still-ongoing My Hero Academia, Wandering Island, One-Punch Man, Vinland Saga, and Yotsuba&! (all of which are still great), so the time was right. As in 2016, to qualify, I had to have read at least one volume during the past year (and therefore, the fantastic Ooku: The Inner Chambers will once again have to wait for a future installment).
To refresh your memory as to how this is all set up, the series are presented in alphabetical order, and this year, for the first time, my top three are ranked at the end. After each manga’s title is the author(s), then the North American publisher, the first year of Japanese serialization, and the number of volumes I’d read up until the end of 2018 (followed, in parentheses, by the total number of Japanese volumes). Series printed in omnibus or other special editions are denoted with an asterisk (*), but the numbers reflect the original volumes as they were first printed in Japan. Finally, all of the cover images used here came from Right Stuf or the publisher’s website.
You might have noticed that I didn’t put together a “Manga Selections” roundup for this past year, like I did for 2016. This is mainly because so much of what was on that list would only be repeated. However, I’m considering doing one for 2018, as since then, I’ve finished—or am close to finishing—a handful of series.
That said, I’ve been itching to try some new stuff. This continues to be a great time for English-translated manga, with many new titles coming out on a regular basis. I recently tried a bunch, all of which made their English-language debut in 2017 or 2018, and have reviewed some of them below.
These reviews account for only about half of the new books I’ve read so far this year. Two of the others—the one-shot orange -future- and the first volume of the ongoing Battle Angel Alita: Mars Chronicle—are continuations of previous series, and excellent ones at that. Another pair, the first volumes of Hatsune Miku: Future Delivery and Neon Genesis Evangelion: Legend of the Piko Piko Middle School Students, are middling media tie-ins. What remains in these reviews are the original titles, which have nothing carried over from previous manga series or franchises. Any one of them should be accessible for those looking for something new.
The Promised Neverland, vol. 1
Kaiu Shirai (story) and Posuka Demisu (art), Viz Media (Shonen Jump label)
Although it’s the newest critical darling from Weekly Shounen Jump, this series didn’t quite click with me. The premise, laid out in the first chapter, is solid: a group of kids at a lively, yet unsettlingly weird, orphanage accidentally discover the horrible truth about what happens to them when they leave for new homes. This truth is frightening and fantastical, and lends itself to many questions. However, the rest of the volume consists of plodding suspense and small, sometimes bland, revelations about the orphans’ circumstances.
The orphanage itself is mostly dull and it doesn’t help that the plot suggests that any true excitement lies beyond its borders, a world which we barely get a glimpse of. The three main characters, who strongly resemble the heroines of Magic Knight Rayearth in their personalities, make plans and toss off theories at a regular pace; however, there’s little that foils or contradicts them so far, which lessens the tension. Aside from the fact that this is a non-romantic Jump series with a female lead, the most interesting character is the orphans’ caretaker, whose side of the story is teased every now and again, making it clear that she knows much more than she’s letting on.
The Promised Neverland has clearly set itself up to be a slow-burn cat-and-mouse tale of mystery and escape, but neither the setting nor the cast are engaging enough to want me to get the next volume right away. Perhaps the most disappointing aspect of this series is that Posuka Demizu’s talents seem wasted here. I picked up her artbook, Pone, last summer, and her strongest works in that are detailed fantasy worlds filled with objects. She’s not as good with characters, but this is a very character-driven series. In a more suitable artist’s hands, perhaps I might’ve wound up liking this first volume more than I did.
If you want to check out The Promised Neverland for yourself, the first three chapters are currently available for free on Viz’s website.
Spirit Circle, vol. 1
Satoshi Mizukami, Seven Seas
In a completely different turn of events from The Promised Neverland, I liked the first volume of Spirit Circle much more than I expected. The mangaka’s previous series, Lucifer and the Biscuit Hammer, was enjoyable enough, but going by this first volume alone, Spirit Circle is shaping up to be even better.
Middle-schooler Fuuta can see ghosts, a power which annoys him more than anything else. He is fascinated by the pretty new girl in school, Ishigami, who has a spirit companion named East. As it turns out, Ishigami has carried a serious grudge against Fuuta through several previous lives, which the latter begins to become aware of.
I haven’t read many stories about reincarnation, and, after reading some other reviews of this volume, was afraid that this one might be too complicated to follow, but my fears proved unfounded. This tale is expertly told, with the transitions between past and present handled smoothly. Also, the characters are extremely relatable and believable, which makes getting into the story that much easier. There’s not much more I want to say about this, in part because I don’t want to accidentally give something away, save for the fact that I can’t wait until the next volume.
Plum Crazy! Tales of a Tiger-Striped Cat, vol. 1
Natsumi Hoshino, Seven Seas
And now we’re back to a series that I wanted to enjoy more than I actually did. Plum Crazy! is a slice of life cat manga that is currently up to an astounding seventeen volumes in Japan. However, even with the cat-centric premise, it turns out that I am still rather picky when it comes to the slice of life genre.
In this series, a cat named Plum lives with an ordinary high school student and his airheaded dance teacher mother. One day, Plum finds and rescues a tiny kitten, whom the family later names Snowball. However, this kitten does not get along with Plum much at all. In fact, Snowball has a habit of biting Plum to relieve stress.
So, we have two cats—one cute but dour, and one cute but bratty—and a small cast of mildly amusing humans. Their misadventures include one where Plum follows the son to school, and another where Snowball starts chewing on wool clothing. These stories are okay, but don’t have that special spark that is required for the best slice of life manga. On top of that, I have mixed feelings about how Plum and Snowball sometimes test the boundaries of “real” cat behavior, mainly in their interactions with their human companions. Overall, this first volume was an enjoyable read, but I don’t see any compelling reason to continue.
My Brother’s Husband, vol. 1 (omnibus ed.)
Gengoroh Tagame, Pantheon
The most recent first volume I read turned out to be the best of the bunch. My Brother’s Husband is an intimate, heart-wrenching snapshot of LGBT life in Japan, and is masterfully crafted to boot. The story starts when a single father, Yaichi, receives an unusual houseguest: a Canadian named Mike whom he’s meeting for the first time. Mike is the widow of Yaichi’s twin brother, Ryoji, who had recently died back in Canada. He stays with Yaichi and his young daughter Kana, getting to know both them and the town that Ryoji had left behind.
Yaichi clearly has mixed feelings about Mike, and the late Ryoji, and wrestles with them throughout the volume. He does his best to be a good host, but has trouble fully accepting Mike, and, as a result, starts to reexamine his relationship to his twin. Kana, on the other hand, does not share her dad’s ingrained prejudices, and loves that she has a Canadian uncle (in part because “Canada” sounds a little like “Kana”). As the story goes on, other characters start to appear, some more accepting of Mike than others. Meanwhile, Mike’s visit doubles as a mourning process for him, and through certain sad scenes, the reader gets a real sense of how much Ryoji meant to him.
Tagame has been creating manga for decades, and it shows. The artwork is crisp and expressive, and the panels flow together smoothly, with a deliberate pacing that’s appropriate for this sort of real-life drama. Pantheon’s presentation—a Chip Kidd-designed hardcover with dust jacket—is suitably outstanding. This first book collects volumes one and two of the Japanese edition, and the second and final omnibus is due out in September of this year. It may be worth it to wait until then to pick up both volumes, but at the same time, this is exactly the sort of high-quality, groundbreaking manga that should be supported. Either way, My Brother’s Husband is well worth reading.
I’ve been reading Osamu Tezuka manga the past few days; namely, a couple of the titles published by Digital Manga Publishing via one of their ever-present Kickstarters. Under the Air was the first; a seinen short story collection, it’s one of the better Tezuka books I’ve read in awhile. After finishing that, I started Melody of Iron, another anthology, but with a long title story (100+ pages) and few others, instead of many short tales. Though nowhere near the level that Vertical lavished on their Tezuka volumes, the localization and printing quality of these books is pretty good for DMP. However, after three backed Kickstarters, I may be done with buying new series from this company.
For several years now, DMP has had a reputation for turning to crowdfunding whenever it wants to print—or reprint—just about anything. Not only has this been the case for niche titles, which is understandable, but also reprints of their biggest hits. One prime example is the BL drama Finder, which is so popular that new volumes wouldoftenhit the New York Times’ manga bestseller lists back when they had them. Perhaps this overreliance on crowdfunding was a reason why Finder‘s Japanese publisher terminated its contract with DMP. Many of their readers haven’t been too happy with them either; their books tend to get delayed and often have unreasonably low print runs, and their lack of communication on classic manga Kickstarters leaves much to be desired (on the other hand, a BL Kickstarter of theirs that I backed—mainly for reprint add-ons—had timely updates and great communication overall, though I don’t know how they’ve been since). On top of all that, they have practically no distribution—it’s hard to get many of their books even through a manga specialist like Right Stuf—and it seems like a fair number of their former employees didn’t like the place, either. Although a handful of Tezuka fans have damn near succumbed to Stockholm syndrome when it comes to DMP, I sort of hope that Tezuka Productions’ deal with them is the next one to be terminated.
Anyway, back to the manga itself: as is customary for most all Tezuka printed in English these days, there is a disclaimer at the start of these anthologies that basically says that the depictions of various races in these works are products of their time, and that they should be seen as such. I would suggest to Tezuka Productions that they start mandating this sort of thing for gender depictions as well. Tezuka’s depictions of women are interesting at best but are more often problematic; Princess Knight and Message to Adolf have been some of the worst offenders for me, personally. The women in Melody of Iron (so far) and Under the Air are a bit more standard for Tezuka: not much more than love interests, wives, and/or relatives.
On a whole other end of the gender depiction spectrum, there’s the 1997 shoujo TV anime Revolutionary Girl Utena. This series, about a girl who was inspired to become a prince when she was younger, and the duels she finds herself embroiled in to win the hand of the “Rose Bride”, borrows heavily from both the magical girl genre and “girl prince” stories like The Rose of Versailles and the aforementioned Princess Knight to create something new. I talked bitprophet into watching the first dozen or so episodes with me—the Student Council Arc—and fortunately, he was intrigued enough that we ended up going through the whole show. This was my second full viewing of the series, so I was mostly interested in catching little details I had missed the first time around. Turns out that there were many: Anthy’s smiles, the consistent theme of animals in the humorous “Nanami episodes”, various spoken lines, even more props and objects. It remains a dense, character-driven series that requires a patient soul to fully deconstruct. This is a series where even its greatest weakness—its relentless reliance on reused animation, and indeed, entire scenes—ends up working in its favor. It’s glamorous while adhering to a certain routine, a routine which could be subverted at any moment. It’s the high drama and messiness of adolescence whirling around its simultaneously bland and eccentric title character in a series of duels accented by a primitive CG castle and hard rock choral music with strange lyrics. There’s nothing else quite like it, and I’m glad I watched it again. As for the other versions of the Utena story, a rewatch of the movie is being planned, and I’d already reread both manga series earlier in the year, thanks in part to a gorgeous new box set.
And now, games! After beating Persona 5, I tried Wolfenstein: The New Order, but sadly found that it is not to my tastes, being a methodical shooter more in the vein of Call of Duty than the classic high-octane Wolfie I had been accustomed to. However, I found myself absorbed into Puzzle Quest, enchanted by Theatrhythm Final Fantasy: Curtain Call, and mildly amused by Mountain. I also played a pair of mediocre sequels in the forms of Elebits: The Adventures of Kai and Zero and Tales of Symphonia: Dawn of the New World, the latter of which was not nearly as bad as I’d been led to believe. There were also a few short Steam games—Quest of Dungeons and the two LostWinds adventures—which were okay. Then, there is the beautiful mess of Nier.
Nier is about a doting dad and his sickly daughter living in the far future of what is heavily implied to be our own world. It also stars a cynical magic talking book, a foul-mouthed huntress wearing the most ridiculous outfit in video games this side of Star Ocean: Integrity and Faithlessness, and a sweet and dangerous boy. It’s considered to be one of the best works to come out of the late cavia inc., a studio that was generally known for average-to-bad games with crazy plots. All the best parts of Nier involve spoilers (or, at the very least, things worth discovering for yourself), and I’ve only played the first ending so far, so I’ll just say that cavia doesn’t disappoint and I’m sure there’s a lot more to come. In addition to its entertaining storytelling, Nier has a striking visual aesthetic that strongly recalls ICO and other Fumito Ueda games, a soundtrack that absolutely deserves its stellar reputation, and some excellent voice acting. However, it also has some janky animations, alternately fun and annoying combat, meh sidequests, forgettable farming, and bad fishing. It is not a great game, but at the same time, it is. Nier is a weird, wonderful exemplar of gaming’s B-tier and I’m looking forward to getting the rest of the endings, even the one which erases your save and prevents you from playing it again (well, at least with that one account…).
Aside from Nier, I’m currently playing NotGTAV, a crudely-drawn, humorous, and extremely British variant of Snake. I’m also playing my first Nintendo Switch game, Mario Kart 8 Deluxe. One of my greatest regrets in not ever getting a WiiU was missing out on Mario Kart 8, so I was delighted when this Switch port, which includes all the DLC, was first announced. It’s a damn good Mario Kart game, with an unbeatable spread of both new and old levels, including a great Bowser’s Castle, a pair of killer F-Zero-themed courses, and personal favorites such as Music Park and Grumble Volcano. My only real complaint so far is that the new Rainbow Road is somewhat underwhelming. It’s also still a little weird to see non-Mario-themed elements, like the characters Link and Isabelle (and those F-Zero tracks), in a Mario Kart. Otherwise, the little tweaks they’ve made are mostly great, and I’m having a good time. I’ve recently started the 150cc Grand Prix, after clearing 50 and 100cc, and will devote my attention to those courses whenever I’m not diving further into the craziness of Nier.
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