Book Review: Secret Comics Japan
Secret Comics Japan edited by Chikao Shiratori. VIZ Media. 200 pages.
See a grownup with a comic book in the UK and you will automatically assume that he's got reading difficulties. He's a little slow, not quite ready for big words yet. He’s special. Perhaps the next generation of Brits will see things differently. The Simpsons continues to increase in popularity; more women are lurking in comic shops (until recently a male domain) than ever before; several of the latest blockbuster movies – Thor, Green Lantern et al – are based on strips; and Viz consistently releases quality publications such as Secret Comics Japan.
Secret Comics is a labor of love from packaging to content. Editor Chikao Shiratori places the eclectic range of short sequential stories into context with his sincere comments. As to the stories themselves, some are irrelevant, some irreverent, but all are written with great care.
You can appreciate the painstaking attention to the translation and presentation of the book. Like the upheaval of the 'comics are for kids' mentality in the UK, Viz appear to be involved in a process of re-education: placing their Japanese reprints in context. Hence the articles that prelude each tale and the backwards text. This all adds to the special, secret identity of the book.
Junko Mizuno's Momongo provides a strong start to the book. Momongo is an intriguing character; the gags and art are very effective. Despite the fact that the chronology becomes confusing, and the involvement of an underage girl in nudity and sex may seem shocking to Western eyes, the story is too short. The reader is left wishing that more time couldn't have been spent with such a promising heroine.
Hironori Kikuchi's Gedatsu Man, literally translated, is Salvation Man. Apparently something is lost in this transposition, and this counts for the narrative and humor as well. The brief series of adventures seem aimed at an immature audience; the linework is nice (the artist apologizes at one point for a poor frame) but Gedatsu Man comes across as inconsequential. As such it is the weakest entry in the book.
After this, Swing Shell is a godsend. The anathema of Gedatsu Man, it is beautiful to look at and we can relate to the main character. The subtleties of the central relationship are the key to the narrative, but author Yuko Tsuno still manages to use the comic book form effectively – the use of anthropomorphism, for example, as a character appears in the story as a bear.
As far as Yoshitomo Yoshimoto’s JR is concerned, some pathos is lost in the translation. That's not to say that it isn't a successful strip: some of the simply drawn frames suit the arena of a school, and the reader is left wondering why the adult hero is stuck there (he’s one of the pupils.) JR succeeds in enticing us, setting questions with ease.
Heartless Bitch and Painful Love (Kiriko Nananan) are reminiscent of Licht and Hernandez. Two stories are packed neatly into the short form demanded by the book. Again, it leaves us begging for more.
Possibly the best story in the collection, Punctures by Shintaro Kago emphasises the pressures of contemporary lifestyles in the East and West. Its themes, tied in with the modern day insecurities of the rat race, are powerfully effective. The art seems almost occidental at times.
Makoto Aida’s Mutant Hanako doesn't work so well. The art's not a problem, although at times it's hard work trying to make out what’s going on. The story is garbled – perhaps it's out of context with a wider tale.
Sexy and believable, Editor Woman (Benkyo Tamaoki) provides a good example of a pornographic comic book story created with a lightness of touch. It's easy to see why Editor Woman is popular, with its credible heroine and situations.
Finally, Usamaru Furuya's Palepoli contains more great gags and a good use of theological discussion. Palepoli includes a number of amusing spoofs, and plays with strip form – frames, perspective and the creative process. There are immature moments, but there’s also a consistent quality in the work.
Secret Comics Japan's eclectic content serves as a great taster for its writers and artists. With a good range of choices and some truly bizarre and eccentric worlds to explore, the book succeeds on almost every level. More Secret Comics, please!
See a grownup with a comic book in the UK and you will automatically assume that he's got reading difficulties. He's a little slow, not quite ready for big words yet. He’s special. Perhaps the next generation of Brits will see things differently. The Simpsons continues to increase in popularity; more women are lurking in comic shops (until recently a male domain) than ever before; several of the latest blockbuster movies – Thor, Green Lantern et al – are based on strips; and Viz consistently releases quality publications such as Secret Comics Japan.
Secret Comics is a labor of love from packaging to content. Editor Chikao Shiratori places the eclectic range of short sequential stories into context with his sincere comments. As to the stories themselves, some are irrelevant, some irreverent, but all are written with great care.
You can appreciate the painstaking attention to the translation and presentation of the book. Like the upheaval of the 'comics are for kids' mentality in the UK, Viz appear to be involved in a process of re-education: placing their Japanese reprints in context. Hence the articles that prelude each tale and the backwards text. This all adds to the special, secret identity of the book.
Junko Mizuno's Momongo provides a strong start to the book. Momongo is an intriguing character; the gags and art are very effective. Despite the fact that the chronology becomes confusing, and the involvement of an underage girl in nudity and sex may seem shocking to Western eyes, the story is too short. The reader is left wishing that more time couldn't have been spent with such a promising heroine.
Hironori Kikuchi's Gedatsu Man, literally translated, is Salvation Man. Apparently something is lost in this transposition, and this counts for the narrative and humor as well. The brief series of adventures seem aimed at an immature audience; the linework is nice (the artist apologizes at one point for a poor frame) but Gedatsu Man comes across as inconsequential. As such it is the weakest entry in the book.
After this, Swing Shell is a godsend. The anathema of Gedatsu Man, it is beautiful to look at and we can relate to the main character. The subtleties of the central relationship are the key to the narrative, but author Yuko Tsuno still manages to use the comic book form effectively – the use of anthropomorphism, for example, as a character appears in the story as a bear.
As far as Yoshitomo Yoshimoto’s JR is concerned, some pathos is lost in the translation. That's not to say that it isn't a successful strip: some of the simply drawn frames suit the arena of a school, and the reader is left wondering why the adult hero is stuck there (he’s one of the pupils.) JR succeeds in enticing us, setting questions with ease.
Heartless Bitch and Painful Love (Kiriko Nananan) are reminiscent of Licht and Hernandez. Two stories are packed neatly into the short form demanded by the book. Again, it leaves us begging for more.
Possibly the best story in the collection, Punctures by Shintaro Kago emphasises the pressures of contemporary lifestyles in the East and West. Its themes, tied in with the modern day insecurities of the rat race, are powerfully effective. The art seems almost occidental at times.
Makoto Aida’s Mutant Hanako doesn't work so well. The art's not a problem, although at times it's hard work trying to make out what’s going on. The story is garbled – perhaps it's out of context with a wider tale.
Sexy and believable, Editor Woman (Benkyo Tamaoki) provides a good example of a pornographic comic book story created with a lightness of touch. It's easy to see why Editor Woman is popular, with its credible heroine and situations.
Finally, Usamaru Furuya's Palepoli contains more great gags and a good use of theological discussion. Palepoli includes a number of amusing spoofs, and plays with strip form – frames, perspective and the creative process. There are immature moments, but there’s also a consistent quality in the work.
Secret Comics Japan's eclectic content serves as a great taster for its writers and artists. With a good range of choices and some truly bizarre and eccentric worlds to explore, the book succeeds on almost every level. More Secret Comics, please!
posted by Nick Smith at
10:08 AM
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