I posted a review at the ComicBookBin (which has free smart phone apps and comics).
Monday, March 17, 2014
Blue Exorcist: Mephisto's Ramblings
I read Blue Exorcist, Vol. 11
I posted a review at the ComicBookBin (which has free smart phone apps and comics).
I posted a review at the ComicBookBin (which has free smart phone apps and comics).
Sunday, March 16, 2014
I Reads You Review: 300 #1
DARK HORSE COMICS – @DarkHorseComics
STORY/ART: Frank Miller
COLORS: Lynn Varley
EDITOR: Diana Shutz
32pp, Color, $2.95 U.S., $4.15 CAN (May 1998)
Chapter One: Honor
With the recent release of the new film, 300: Rise of an Empire, the sequel to the worldwide smash hit film, 300. I decided to re-read the comic book upon which 300 is based. That would be 300, a 1998 five-issue, full-color comic book written and illustrated by Frank Miller with painted colors by Lynn Varley. 300 was initially published as a monthly comic book, cover dated from May 1998 to September 1998.
Historically inspired, 300 is Frank Miller’s fictional retelling of the Battle of Thermopylae and the events leading up to it. Miller tells the story from the perspective of Leonidas of Sparta, but a fictional version of this king.
300 #1 (Chapter One: “Honor”) opens in 480 B.C. in the middle of a march by a group of Spartans. We learn that King Leonidas of Sparta gathered 300 of his best men and marched them towards what is likely a suicide mission. King Xerxes leads a Persian invasion towards tiny Greece, and Leonidas may have provoked Xerxes. Now, Leonidas and his 300 march towards the “Hot Gates.”
300 was controversial upon its release and seems to remain so. It was criticized for being historically inaccurate (by Alan Moore, among others), racist, and homophobic, to name a few. I found it chauvinistic and a bit xenophobic, and perhaps a little racist. However, I think the 2007 film adaptation is shamefully and gleefully racist, and it makes a sham of history simply to be racist. I have decided to reread the comic book series, but to put some space between reading each issue – perhaps a month or two. The reason is that I want to see how I feel about and what I think of each issue individually.
If anything, I think 300 is more about personal expression of ideas and of art than it is a political, ideological, and social statement, although I think that the series does all three to one extent or another. Miller has apparently said that the 1962 film The 300 Spartans inspired 300, which he saw as a young boy. I cannot help but wonder to what extent did it affect and shape his ideas and also his relationship to the world as a cartoonist, artist, and a creator in a medium that the wider American public views as children’s entertainment. That was true even more so when Miller became a professional comic book artist in the late 1970s.
I think back to the early to mid-1980s. Frank and few daring (or at least they think they’re daring) creators take a low brow, outsider art form viewed as pabulum for children. They bring in ideas from other low brow or outsider genres (crime fiction) and creators (Mickey Spillane). They introduce concepts from movies, television, and comics produced outside of America (samurai films, manga). They take on the style and storytelling structure and arrangements of classic comic book creators (Will Eisner, Steve Ditko). Suddenly, Frank Miller is producing the kind of comic books that have not been seen in the states, and his new comics are more explicitly violent, with stylish and striking graphics and visuals.
Suddenly, the big bad system, the media, and those concerned people, parents, citizens, etc. are against complaining about Miller’s work. So I wonder if 300 is also about Frank Miller the artist and free speech advocate (absolutist?) versus all the people that want popular culture and, in Miller’s case, comics to stay the same. Hmmm?
Anyway, 300 had some of the most beautiful art seen in comic books at the time of its initial release, and that art remains impressive 16 years later. Until I read it at Wikipedia, I did not realize that every page of 300 is composed as a two-page spread. Frank Miller’s graphic style in 300 is similar to what he used in his 1990s series of comic book miniseries, Sin City. However, this two-page spread format really shows off Lynn Varley’s lush and sumptuous colors. I don’t know how she did muted and opulent at the same time, but she does. Honestly, Varley’s colors are what really bring this story to life with a sense of passion, turning Miller’s personal/ideological/historical screed into a story that resonates.
A-
Reviewed by Leroy Douresseaux
The text is copyright © 2014 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.
Saturday, March 15, 2014
Manga Review: HAYATE THE COMBAT BUTLER Volume 23
HAYATE THE COMBAT BUTLER, VOL. 23
VIZ MEDIA – @VIZMedia
CARTOONIST: Kenjiro Hata – @hatakenjiro
TRANSLATION: John Werry
LETTERING: John Hunt
ISBN: 978-1-4215-3906-5; paperback; (February 2014) Rated “T+” for “Older Teen”
192pp, B&W, $9.99 U.S., $12.99 CAN, £6.99 UK
Hayate the Combat Butler is a Japanese shonen manga (comics for teen boys), written and illustrated by Kenjiro Hata. The series debuted in the Japanese manga magazine, Weekly Shonen Sunday (October 2004), where it is still being published as of this writing. Hayate the Combat Butler has yielded an anime film and several anime series, with the most recent airing in 2013.
Hayate the Combat Butler is about a boy who starts a new job as a butler and the events he experiences with his employer. Hayate Ayasaki’s degenerate parents sold their son’s organs to the yakuza to cover their gambling debts, just before they disappeared. Hayate worked various part-time jobs to pay off those debts.
Then, fate brings Hayate to teenaged heiress, Nagi Sanzenin a/k/a “Ojô-sama.” She is the frequent target of kidnapping plots and various schemes by people trying to get her money. Hayate becomes Ojô-sama’s butler, zealously protecting her, while she falls in love with him.
As Hayate the Combat Butler, Vol. 23 opens, Hayate and Nagi and their friends: Hinagiku, Isumi, Ayumu, Segawa, and Nishizawa continue their Golden Week vacation in the Greek Isles. For Hayate, the vacation gives him an opportunity to reunite with Athena Tennos a/k/a “Ah-Tan,” a childhood friend. He reveals his love for Ah-Tan to Hinagiku, who is actually in love him.
Hayate finally gets a chance to reunite with Athena at her estate, but standing in the way is her combat butler, Makina, and he can kick ass. Hayate finally enters Athena’s mansion, but there is more fighting to do. Hayate will have to make some tough choices regarding women and a giant skeleton hand.
It took a while, but over the last year, I have become a fan of the Hayate the Combat Butler manga. Created by Kenjiro Hata, Hayate the Combat Butler spoofs, mocks, and also gently makes fun of the conventions of anime and manga. Everything in the otaku wheelhouse is up for some “joshing.”
I consider this latest graphic novel, Hayate the Combat Butler Volume 23, to be a reward for all my reading efforts. Strictly in the context of the story, Hata summarizes Hayate’s relationships with Nagi Sanzenin and Athena Tennos and how these relationships work. There are responsibilities and consequences and ties-that-bind to the past. This series that doesn’t take itself seriously is seriously good. Readers looking for comedy that pokes fun at the elements of manga and anime can find laughs in the Shonen Sunday manga, Hayate the Combat Butler.
A
Reviewed by Leroy Douresseaux
The text is copyright © 2014 Leroy Douresseaux. All Rights Reserved. Contact this blog for syndication rights and fees.
Friday, March 14, 2014
I Reads You Review: TRUTH Red, White and Black #1
MARVEL COMICS – @Marvel
WRITER: Robert Morales
ARTIST: Kyle Baker
LETTERS: JG & Comicraft’s Wes
EDITOR: Axel Alonso
EiC: Joe Quesada
40pp, Color, $3.50 U.S. (January 2003)
Part One: The Future
Published in late 2002 and running into 2003, Truth: Red, White & Black was a seven-issue comic book miniseries from Marvel Comics. The purpose of Truth was to do some retroactive construction (also known as “retcon) or reconstruction on the fictional history of one of the company’s signature characters, Captain America. The Truth’s conceit was that the United States government first tested the “super-soldier” serum that created Captain America on black men.
Back to the beginning: way back in Captain America Comics #1, we meet Steve Rogers, a young man who volunteered for “army service” but was refused because of his “unfit condition.” Basically, Rogers was too frail to serve in combat in World War II. Desperate to serve his country, Rogers agreed to be a lab rat for Professor Reinstein. The professor administered the “super soldier” formula to Rogers. The “strange seething liquid” worked, transforming Rogers into a strapping young buck and a supernaturally fit specimen of red-blooded American White male. Rogers eventually donned a flag-based costume and became Captain America.
Truth writer Robert Morales flipped the script on Captain America’s origin, and referenced a real-world situation in which men were used as lab rats, the “Tuskegee experiment.” The Tuskegee Study of Untreated Syphilis in the Negro Male was a real-life clinical study in which poor Black men were denied treatment for syphilis so that the doctors involved could study how the disease spreads through the body and eventually kills the infected person.
Morales posed the following question on Marvel Comics mythology: What if realizing that the “Super Soldier” serum was potentially so dangerous and perhaps fatal that before testing it on a White man (Rogers), the government tested it on Black soldiers. Obviously, it is hard to imagine that even a fictional version of the U.S. government and military, especially in the 1930s and 40s, would risk creating a platoon of super Negroes.
In Truth: Red, White & Black #1 (“The Future”), Morales introduces his characters and the era in which they live. The story opens in July, 1940 in Queens, New York at The World’s Fair. We meet a young Negro couple, Isaiah and Faith, who are honeymooning and enjoying “Negro Week,” the week that the Fair is open to Black people. [Remember that this is a time of segregation of people by skin color or “race.”] Portrayed as a loving couple given to bouts of witty banter, Isaiah and Faith only run into a bad time at the Fair when they are denied admittance to an exhibit. This exhibit displays scantily-clad white women and… well, Isaiah is a Black man and shouldn’t be allowed to openly lust and gaze upon the pristine, snowy flesh of a White woman, even if she is whore.
Morales next introduces Maurice Canfield, the son of well-to-do Negroes in Philadelphia. Maurice is a labor organizer, and his activities have gotten him and a friend beaten by the stevedores they were trying to organize. Next, Morales moves the scene to a pool hall in Cleveland in June, 1941. There, we meet Luke Evans, a former Army captain demoted back down to sergeant after shoving a white superior who belittled the life of a black soldier killed by cracker cops.
On one page, for the briefest moment, Morales offers a glimpse of the Japanese attack of Pearl Harbor (via a lovely page drawn by Kyle Baker), which is all that is needed to depict this pivotal and explosive moment in 20th century American history. Although many Americans lose their lives during the attack, for other Americans, this tragic event offers a second opportunity. That includes Luke Evans (who was moments from killing himself) and Maurice, who chooses enlisting to serve his racist country over spending 20 years at hard labor in prison. Back in New York City, Isaiah likely sees military service as the beginning of an adventure. Little do these three men know they are taking steps to lose themselves in the secret and hidden history of the United States of Marvel Comics.
I like this first issue Truth, which I first read about eight years ago. Morales is quite good at creating three strikingly different black men, whose only connection is skin color, but who are still identifiably black men of their time. Artist Kyle Baker’s loose, “cartoony” drawing style captures emotion through simple, yet classical cartoon facial expressions. Baker gives each character his or her own unique physicality, but I would expect nothing less from one of the great comic book artists and storytellers of the last 30 years. I eagerly look forward to reading more Truth.
[This comic book includes a three-page preview of X-Men #416 by Chuck Austen and Kia Asamiya.]
A
Reviewed by Leroy Douresseaux
The text is copyright © 2014 Leroy Douresseaux. All Rights Reserved. Contact this blog for syndication rights and fees.
Thursday, March 13, 2014
Manga Review: RANMA 1/2 2-in-1, Volume 1
VIZ MEDIA – @VIZMedia
CARTOONIST: Rumiko Takahashi
ENGLISH ADAPTATION: Gerard Jones, Matt Thorn
LETTERING: Deron Bennett
EDITOR: Hope Donovan
ISBN: 978-1-4215-6594-1; paperback (March 2014); Rated “T+” for “Older Teen”
368pp, B&W, $14.99 U.S., $16.99 CAN, £9.99 UK
Ranma 1/2 or Ranma ½ is a Japanese manga series written and illustrated by Rumiko Takahashi. It was originally serialized in Shogakukan’s manga magazine, Weekly Shonen Sunday, from September 1987 to March 1996, and later collected into 38 tankōbon (graphic novel) volumes. Ranma 1/2 spawned anime series and films and recently a live-action special.
VIZ Media is the North American publisher of Ranma 1/2 and recently began publishing the series again in its “2-in-1 editions,” which collects two tankōbon (graphic novels) in one paperback edition. Ranma 1/2 2-in-1 Edition, Vol. 1 collects Ranma 1/2 Volume1 and Ranma 1/2 Volume 2.
Ranma 1/2 introduces a 16-year-old boy named Ranma Saotome who was trained from early childhood in martial arts. While on a training mission in China, Ranma and his father, Genma, dive into some cursed springs at a legendary training ground. As a result, whenever he is splashed with cold water, Ranma turns into a girl, while hot water changes him back into a boy. His father transforms into a panda. What happens to the life of a half-boy, half-girl?
The story really starts years ago when Genma Satome promised his old friend, Soun Tendo, that Ranma would marry one of Soun’s three daughters: 19-year-old Kasumi, 17-year-old Nabiki, and 16-year-old Akane. The girl picked to be Ranma’s bride doesn’t seem to like him, and she also seems to have a lot of suitors – many of them being quite combative. Plus, an old rival of Ranma’s returns looking for revenge.
A truism about the work of mangaka (manga creator) Rumiko Takahashi is that her work mostly defies easy classification. Her manga, for the most part, don’t really belong to one genre. If I were forced to pick one, I would say fantasy, because of the various fantastical elements that permeate Rumiko’s work. In addition to elements of fantasy, Rumiko’s manga incorporate comedy, romance, and martial arts. There is a bit of an edge and a small undercurrent of darkness in her manga, just enough to let the reader know that all is not fun and games.
Ranma 1/2 is a delightful concoction of martial arts comedy and comic teen romance. It is light-hearted and free-spirited, as exemplified in the way the characters so easily leap and levitate through martial arts battles. I found myself in flight with these characters. Ranma 1/2 2-in-1 Edition, Volume 1 allows readers to experience this unique and classic manga in big chunks, and it still might not be enough, once you get hooked.
A-
Reviewed by Leroy Douresseaux
The text is copyright © 2014 Leroy Douresseaux. All Rights Reserved. Contact this blog for syndication rights and fees.
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