Everything is Oll Korrect!

An eclectic bibliophile's journal…

Tag: Dark Horse

Seraphim 266613336 Wings (75 Books – XLII)

There are three notable things about Seraphim 266613336 Wings. One is that it has the most unwieldy three-word title I’ve ever encountered. The second is that it’s another Kon Satoshi comic, but one he did with Oshii Mamoru (of Ghost in the Shell and Patlabor fame). The third is that, like the other Kon comic I’ve read this year, it’s unfinished.

Now, the story is an interesting one – the premise is that the world is plagued by a disease called “seraphim,” which causes its victims to hallucinate and to gradually grow wings out of their back. Much of the world is already dead (and Japan was apparently wiped out entirely), so the WHO sends out two men and a dog called the Magi to escort a girl, Sera, who seems to be immune to the disease and possibly the key to finding a cure, back to her homeland in central Asia. It’s fairly wordy, which is something that Oshii is known for, but everything does move at a quick pace with some action thrown in.

The main problem, of course, is that the comic just stops halfway through. In Opus, we at least have some idea of how the story was going to end, since it was almost done. Here, I have no idea, and that’s why I’m not going into a lot of depth here – I could only really recommend Seraphim to people who are big fans of the authors. Otherwise, you’re in for the frustrating experience of half of a story. A very good story, admittedly, but it’s not a satisfying experience.

Dark Horse’s edition does include two essays at the end of the book. One is just a page by Watanabe Takashi, editor at Animage when that magazine originally serialised Seraphim in 1994 and 1995, which gives some background on how the comic was originally conceived and why it was discontinued. The other is by Carl Gustav Horn, editor of the English edition, which is just under thirty pages and gives a lot of background on the creators, the publisher, the setting, and so on. It’s well-written and certainly interesting to anyone who’d like to know about the manga publishing industry, Oshii and Kon, or some points about the work itself, but it feels like overkill for a half-finished graphic novel.

In any case, if you’re a Kon or Oshii completist or just don’t mind never finishing a story, Seraphim is worth checking out. Otherwise, you’re perfectly safe sticking to their better-known, finished works.…

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Opus (75 Books – XXXV)

I imagine all of my readers already know Kon Satoshi, but if you haven’t seen his films (Perfect Blue, Millennium Actress, Tokyo Godfathers, and Paprika) and TV anime (Paranoia Agent), go watch them. Even if you’re not especially interested in anime, they’re excellent and worthwhile for anyone interested in film. Before he started working in animation, though, he did comics, including the unfinished Opus, published late last year by Dark Horse.

The story starts with an artist working on the climax of a comic he’s making, when a character he’s about to kill off manages to break out of the fictional world and drag him from the real world into the comic. From there, it goes back-and-forth between the two worlds, in a style similar to what Kon would later do in Millennium Actress. There are, of course, a lot of stories with similar premises about people finding themselves in the world of movies, games, or fiction generally, so while it’s not totally original, Kon’s treatment is solid throughout, and one gets the feeling that there really is a fully-developed world in both the real world and the comic world, or at least the parts of the comic that the protagonist, Nagai, got around to drawing. Kon uses similar themes in his later work, and though Opus isn’t as fully developed as his animation, it is interesting to see him start thinking about things that will later show up in Millennium Actress, Paprika, or Paranoia Agent.

One problem that emerges from mixing these two worlds is that the tone of the story shifts wildly from scene to scene. For example, near the climax there’s a joke when Nagai is speaking to the protagonist of his story, Satoko, about how he based her design off of his girlfriend. A few pages later, and we get to a scene in his comic about a child-murderer who kidnaps and molests (and quite likely worse – we don’t see everything he does) little girls. Part of the joke in this story is that Nagai is a stereotypical comic artist, slightly nerdy, not especially strong or brave, who doesn’t fit in at all with this dark, gritty setting he’s created. So, the tone goes back-and-forth throughout the book, but the whiplash from at least this moment is too much.

The art is decent, but nothing to write home about, really, and the panel layouts are mostly conventional. Those primarily interested in comics as a visual medium can safely skip this one.

I should also point out that Kon left Opus unfinished when he began work on Perfect Blue, and never did go back to complete it. Dark Horse did include his draft for what seems to be almost the final chapter, which is interesting because the story gets even more meta and goes right through the fourth wall, but there’s still no real conclusion, which makes the story frustrating to read. It’s still worthwhile, though, for those interested in this type of story, and a must-read for those interested in Kon’s work.…

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FLCL – Ueda Style

FLCL colour illustration by Ueda

FLCL colour illustration by UedaDark Horse just released Ueda Hajime’s comic adaptation of FLCL in omnibus form, and though I already own Tokyopop’s old two-volume release I went ahead and double-dipped on this. The comic holds some nostalgic value for me, since I actually read it long before I saw Gainax’s original anime version. Dark Horse did include some extras to make it worthwhile, and it’s a unique enough comic that it’s well worth the purchase.

The most noticeable thing about Ueda’s adaptation is the art, which doesn’t quite resemble any other comic I own. Most of it seems to have been done with a pen in sharp, straight strokes. So, character outlines are unusually dark and, except for the faces, angular. Backgrounds don’t have much detail, which forces the reader’s focus exclusively onto the characters. Between that and the small panel sizes, the comic nearly induces feelings of claustrophobia, which isn’t necessarily a fault on the author’s part since some of the characters feel trapped in a town “where nothing interesting ever happens.” It doesn’t make for pleasant reading, though.…

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Akira Club Art Book Review

While browsing around Amazon the other day, I saw a recommendation for Akira Club, which I hadn’t heard of before. Since I like the Akira film and loved the comic, though, I figured I’d check it out.

The book collects Otomo Katsuhiro’s preliminary sketches, promotional art, title pages, and other odds and ends from the Akira comic, along with a couple things for the film adaptation, with many short comments from Otomo. Kodansha originally plublished this in Japan in 1995, and Dark Horse released it in the United States in 2007.…

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