Tag Archives: Overthinking Things

Eat, Drink, Read Manga

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I am a foodie. You rolled your eyes just now, didn’t you? I don’t blame you. Everyone is claiming to be a “foodie” these days, from your brother-in-law who just discovered white truffle oil (Gordon Ramsay says that’s sooo last year….) to your Mom who found an ethnic restaurant in town with dishes whose names she can’t pronounce. (“Mom, it says ‘salad’.”)

I am not the kind of foodie that drifts from one trendy flavor to another (seriously, mangosteen is over) at all. I’m the kind of foodie who loves food. I mean, I just like to eat. Think less Ted Allen, more Homer Simpson.

It is often said offhandedly that there is “manga for everyone,” but until recently, that was largely not true in English. There was manga for everyone if by “everyone” you meant everyone 12-18 years old or so. Now that the manga bubble has burst, manga publishers, searching for an audience that actually has money to spend on books – and prefers books to downloads – have stumbled on the niche adult manga market. Which means we’re actually getting manga these days more suited to adult tastes. Today we’re talking four food and drink manga that can help train your mind and palate and give you an instant one-upsmanship with your non-manga-reading foodie friends. Welcome to Pretentious Gittery in Food and Drink the Manga Way.

 

Oishinbo has the be the first course. Any rube can tell you that they taste the difference between regular California short-grain rice and Koshihikari rice grown and imported from Japan, but Oishinbo will help you to discuss the difference in the more pretentious terms. Was the storage area dry enough? Where was the water used for cooking from?

Wrapped in an equally entertaining and annoying tale about rival newspapers and rival father and son food experts, Oishinbo in Japan was begun in 1983, and is now up to 104 collected volumes. Written by Tetsu Kariya, with art by Akira Hanasaki, Oishinbo is not a cooking manga. It is a food manga. It is about the experience of eating food, and often covers the subtle differences that husbandry, farming, storage, shipping and preparation can have on that experience. In America, a few select chapters have been collected into an ala carte’ selection, focused around specific food areas. Sushi and Sashimi, Rice, Gyoza and Ramen, Sake, Traditional Japanese cuisine, Vegetables, Pub Food…each volume picks and chooses from chapters published over the last 30 years. By the end of the American volumes, you’re sorely tempted to go out and try ramen at your favorite local place, just to complain about the use of food coloring and MSG.

 

If you find the tone of one-upsmanship too harsh in Oishinbo, then try a more feminine touch with Not Love, But Delicious Foods Makes Me So Happy by Fumi Yoshinaga. Yoshinaga presents this foodalogue as an amusingly insulting candid autobiography of her life and the food she eats.  Where Hanasaki’s art has improved over the last 30 years, Yoshinaga’s art starts at levels far exceeding anything you’ll see in Oishinbo. The people are drawn both beautifully (and less so,) but the food is always gorgeous. Her relationships with the people in her life are organized by their ability to appreciate food. Of all the books on food and drink that I have read, this one most closely approximates my own foodie existence.  Yoshinaga’s take on food is approachable, but her focus on texture and mingling of flavors are both things that Americans particularly, are bad at and so, become an accessible first step into pretentious gittery.

The inevitable next step after reading Not Love is to hop on over to Yelp and start reviewing your favorite restaurants.  Don’t forget to discuss the Bolognese sauce at your favorite Italian restaurant as “authentic” even if you’ve never been to Italy, much less Bologna.

 

Now that you’ve taken your first steps into being a pretentious git about food, it’s time to get ready for the big guns of pretentious gittery – Wine.

Is there any area of food or drink that has such a well-established pedigree for encouraging pretentious gittery as wine? Perhaps, but even those who don’t know anything about food or drink shudder at the thought of being seated with a person who “knows a lot about wine.”

Tadashi Agi’s Drops of God has been so influential in forming, educating and influencing the Asian wine market that long before it was translated into English, this manga had articles written about it in the Wall St. Journal and the New York Times. In fact, so grown up and pretentious is this series, that the New York Times actually deigned to allow this manga on their “Graphic Novels Worthy of Being Gifts” List this year.

Once again wrapped in a story about a rivalry, and a quest for the greatest wines on earth, Drops of God allows the audience to learn the importance of decanting, about village wines, terroir and other things that no one else at the table cares about, really, as long as the wine tastes good. If your family member or friend actually does know a thing or two about wine, don’t expect to impress them with this manga. They already know this stuff and are unlikely to be moved by a comic book. More importantly, the manga itself addresses the pressure that wine snobbery places on everyday people and provides a brilliant tip to glean the credit while knowing nothing. If you’re not a wine drinker, this manga will be a hard read. Everyone eats food…not everyone drinks wine.  But if you’re starting to get into wine and can taste the difference between a  Merlot and a Cabernet, or a family member or friend is in that space, this is a good way to bump up pretension to expertise in a fun way.

 

Last, after all of our food and drink, we turn to dessert, and back once again to Fumi Yoshinaga with Antique Bakery. Unlike the rest of the manga here, the pretentious gittery in Antique Bakery is not the actual story, it is merely decoration on the plate. Nonetheless, if you can’t stand to not be a git about the cream used in your choux à la crème (or, shu cream, if your pretentious gittery leans toward Japan, rather than France,) this manga makes a perfect ending to your meal.

The goal here today is not to bore your friends and family (although that outcome is probably inevitable) but to indulge your brain along with your tastebuds.

To end, I want to share with you a real story about pretentious gittery.

I was at someone’s house and they poured me a glass of wine that, they said, had a distinct scent of tobacco and traces of mushroom. I took a sip and said, “You’re right, it smells like an old man bar and tastes like a moldy basement.”

I may never become a good pretentious git about wine, but I’m great at being a pretentious git about manga. ^_^ These manga are perfect for the inner pretentious git in you.

 

What’s the Big Deal About Sailor Moon?

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More than 15 years after its initial debut in Japan, and just about 10 years since its debut in America, the Bishoujo Senshi Sailor Moon manga is making a comeback, with a brand new edition in English from Kodansha, Pretty Guardian Sailor Moon.

Of course there are many fans that are thrilled by this – I count myself among them. For those of us who love this series, no explanation, no reasons, no critical analysis need be applied to the series. We love it, full stop.

However, the refrain I’m hearing over and over from those people who did not catch the wave the first time around, is “I don’t “get” it. What’s the big deal?”

First of all, let me disabuse you of the notion that there is a Big DealTM about Sailor Moon. There isn’t. If you don’t like it, don’t “get” it, can’t understand what we’re seeing, you’re not missing anything critical. Let’s be honest here – if you think Usagi is annoying, and don’t like the premise, the clothes, the romance…there’s nothing I can say to change your opinion. You don’t like Sailor Moon. Own it. I don’t like Dragonball Z and nothing any one of the zillions of fans is ever going to say will change my opinion.

So…what is the big deal about Sailor Moon? Let me tell you my story.

I used to collect American comics. I still have long boxes full of Avengers, Defenders and Invaders. But honestly, by the late 80s my interest was waning. Janet hadn’t killed her asshole husband Hank yet and the Valkyrie still wasn’t lesbian, even though she obviously was. There were fewer and fewer good female characters. When Storm joined the Avengers, and the Legion of Superheroes couldn’t tell that Quisling was the traitor among them, I knew I was done. Although I stopped collecting, I didn’t get all anti-comics. I just left comics and stopped filling the longboxes. I kind of missed the stories, but not enough to go back. Indie comics were too full of themselves (and had no women either) so I just…stopped.

In the late 1990s, anime and manga were starting to become popular here in the US. Cartoon Network used power anime series Dragonball Z and Sailor Moon to spearhead an afternoon anime block. It broke all records for animation in America.

I knew of it, of course. By then I was already making tentative steps into derivative fan work, with some fanfic of Xena: Warrior Princess and, for the first time in many years, found my interest in comics returning…only this time, it was all about manga. Friends came to the house with anime; we watched popular series like Ranma 1/2 and Tenchi Muyo and it was all laughs and fun and games.

So when my wife was home unemployed, and she started watching this series on TV called Sailor Moon, I wasn’t all that surprised that we liked it. I’ve told this story many times, that the first episode I watched was titled in English “Cruise Blues” and when Amy asked Ray if she noticed that they were the only ones on the ship without boyfriends and Ray replied that they didn’t need boys to have fun, I turned to my wife and said, “We are watching two different cartoons. You are watching the pre-pubescent little girl cartoon and I am watching the one with tremendous lesbian subtext.” And so, we were both hooked.

I started to research this Sailor Moon and instantly encountered the fact that two of the Sailor Senshi were a lesbian couple (and this outside of the not subtle lesbian subtext between Usagi and Rei, Minako and Makoto, later Ami and Makoto, and in the manga Minako and Usagi and Rei and Minako. It was actually kind of hard to avoid it, unless you worked hard at it.) And then there was the obvious, incestuous triangle of Usagi, Mamoru and Chibi-Usa. And that was only in the first two series!

Once I learned about the third season, the appearance of the “Outer Senshi” and the fact that they had what was as close to an out lesbian couple as I’d ever see in anime (this was back in the late 90s, remember,) I dug around until I found fansubs of the series. Fansubs weren’t easy back then. You mailed a blank VHS plus postage to some guy somewhere and he sent you back a VHS with a nth generation copy with subtitles manually entered and timed. If you were lucky, the guy was making copies from an LCD.

That’s how I discovered Sailor Moon Super or Sailor Moon S, as most people call it. And how I discovered Sailors Uranus and Neptune, who are indeed a fabulous lesbian couple.

As my wife and I watched Sailor Moon S in Japanese, I realized I could parse some of the linguistic patterns and since I really, really wanted to read the manga for this series (it was still years before Tokyopop would consider putting it out) I started to learn Japanese…just to be able to read Sailor Moon.

The manga was pretty sketchily drawn. Takeuchi’s feet and hands are not worthy of praise. But her characters are beautiful. Yes, they all have the same face…there’s darn few manga artists that don’t do a find and replace face. That’s exactly why hair styles and colors are so strange in shoujo and shounen manga – because otherwise all the characters have the same features. And yet, those lines are lovely, feminine and appealing. Takeuchi wasn’t afraid to dress her characters up, or play a little with their personalities.

The plot is…childish. A slightly-below average middle schooler is the leader of a group of “Guardians” from an ancient Moon Kingdom? Well, gosh that makes tons of sense, doesn’t it? I have two words for you – Dragonball Z. The plot doesn’t have to be sensible, any more than Cinderella’s fairy godmother giving her a glass slipper does. Sailor Moon is childish because it’s written for children. For girl children who want to be Princesses who fight for love and justice and who get the guy, but get to rule the Queendom, rather than adorn the King’s arm. Not for nothing is Queen Serenity accompanied by Prince Endymion. But all the characters were, at heart, girls that any girl might identify with. Girls who are a little – or a lot – different. Each Senshi reflects an archetype, a zodiac. Each Senshi reflects us.

So what is the big deal?

It was a series for girls, when little to no series took girls seriously. Like Xena, Usagi fought for good. Like Xena, Usagi gathered around her allies and enemies. Like Xena, Usagi’s allies become more than just friends. Unlike Xena, Usagi was just a regular girl. Perhaps it was the zeitgeist but for me, having Xena and Gabriel on TV paved the way for me to love cool, attractive Junior Racer Haruka and genius violinist Michiru. The anime fed into the manga, which fed back into the anime. Character qualities and experiences spilling from one into the other and back created a body of canon, fed by the deep well of fanon in the form of fan art and fanfic (many dozens of which I wrote and still ocassionally write) that created the spring with which our fandom was irrigated.

I don’t know if anyone coming to Sailor Moon now can feel that, but I do know it’s been on the New York Times Best Seller list since Volume 1 was released. I’m not surprised at all. Usagi is still annoying yet lovable, Ami is still admirable and sweet. Makoto is strong, yet feminine. Minako, when she arrives will be goofy, but a staunch leader. Setsuna will be mature and mysterious, Chibi-Usa will be 10x annoying, but sympathetic, Haruka and Michiru will be talented, cool, and deeply, obviously in love. And last, but almost never least, Hotaru will be pitiable and amazing.

What’s the big deal about Sailor Moon?

You tell me.

Overthinking Things 10/03/2011

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This article began its life as an answer to  a question on Quora, where I answer a lot of random questions about things. Publishing is one of those things. The question was, “Are Small Indie Presses Taking the Place of Literary Agents?”

TL;DR Answer – Yes.

Here’s the longer answer:

While so many people write about the death of publishing, there has been a very quiet revolution going on in the publishing industry. Webcomics, Print On Demand and other creator-driven technologies are changing the face of comics publishing. While webcomics have not yet developed into a sustainable business model for comics as a whole, they have radically altered distribution, fundraising and relationship-building for many independent comic artists.

For manga artists in Japan, printing one’s own work, or developing other’s work as a small press, is a well-established subculture and farm league for mainstream comics publishing. Larger publishers comb the halls of the major Comic Market events in Japan to discover talent already nurtured and trained by these doujinshi (which my mechanical translation tool delightfully translates  as “literary coterie magazine”) circles.

In the book publishing world, as large publishing companies pull their resources tighter and tighter, focusing on proven names and mass media tie-ins, small presses are stepping into the space willfully abandoned by literary agents; finding, nurturing and publishing young talent.

I can think of a dozen or more writers and artists I know that have had success dealing directly with small presses where agents wouldn’t give them the time of day.  It’s almost unbelievable when you see how poorly some agents do their job.

The other side of this, of course, is that many young/new writers are woefully, horribly, inconceivably ill-prepared for approaching any agent or publisher. I do my very best to write gentle, sensitive rejection letters when I have to. This does not help. People get angry and often tank any chance of ever working with me by writing enraged, irrational, sometimes incoherent replies, explaining how much I suck for not seeing their brilliance.  I’m glad to provide guidance and advice for creators, but it’s still up to a creator to get their part of the process right.

The advantage for a writer with some few publishing credits (this would be things like magazines and anthology credits, not “I have a blog” credits) under their belt is that a contract with a smaller publisher can, over time, become an entree’ to a larger audience. (Presuming one doesn’t burn bridges, which is easy in a niche field with only a few potential publishers.) The money and the promotional support is going to be minimal, so basically all a writer is getting is editorial and printing assistance – which is worth a great deal. Unfortunately most authors don’t realize that. They just see the small advance and small sales and get pissed that the company isn’t doing more. In reality, a first-time contract with a larger publisher is also unlikely to include much in the way of promotional support. The reality for first-time authors is that they are going to be almost completely responsible for their own book promotion.

Literary agents rarely have any energy or ability to take risks. Driven by market pressures, they have  to produce best sellers as quickly as possible. In the meantime, indie publishers, driven primarily by passion, have interest in and ability to develop new talent. Small indie publishers have fewer resources, but can take more risks.

Small presses, like creator-driven publishing, are definitely changing the publishing landscape.

And, no matter how I look at it, I think it’s about time that was changed.

Overthinking Things 8/29/2011

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All Roads Lead to Thermae Romae

When most people think of Japan, they have a relatively limited cultural palette from which to chose. Samurai, sumo, wacky mascots, big-eyed anime characters, shrines…and baths. Japanese baths are, to many Westerners, an exotic mix of hedonistic luxury, voyeuristic public nudity and, (because we all watched James Clavell’s Shogun mini-series when we were young,) an indication of how civilized the Japanese are.

But the Japanese are hardly the only culture to revel in the various joys of bath-taking. One of the most famous cultures to embrace and refine the architecture of bathing was the Romans. Roman bath structures have been found everywhere the Romans themselves held sway. At their peak of power, this meant that Roman bath-taking was a cultural relic being spread over huge swathes of Europe, the Mediterranean and North Africa and AsiaMinor.

 

Roman baths are amazingly sophisticated things. In the north of Britain I visited a bath substructure that had survived many millennia, more invasions than you can imagine and was still in good enough shape that you could see how water was brought in, heated, circulated and drained. I find Roman baths amazing and fascinating. And, clearly, so does Yamazaki Mari, creator of one the strangest, yet most charming manga I have ever read, Thermae Romae.

Thermae Romae is set in 129 AD, during the reign of Emperor Hadrian, when the Roman empire was at relative peace, under an Emperor who saw building and economic expansion as a better use of Roman money than war. Lucius Modestus is an architect of baths. His friend Marcus is a sculptor and they are both moderately successful men. Lucius is young enough that his reputation has room to grow.

While Lucius and Marcus are relaxing in a public bath, Lucius finds himself drawn under the water, through a water tunnel deep underground, only to rise out of the water once again…in a public bathhouse in 21st century Japan. If this seems wackadoodle to you, that’s only because it is. And it makes a rollicking good yarn every time.

In every chapter, Lucius is confronted by a conceptual problem – how to make an outside bath, how to create a better atmosphere in a public bath, how to please a wealthy, but aesthetically challenged patron, how to create a bath for soldiers in camp with no running water? And in each chapter, Lucius dives under the water, finds inspiration in a Japanese bathing concept and returns to Rome where he blows the Romans out of the water, as it were, with his amazing ideas.

In between chapters, Yamazaki discusses and shows photos of actual ruins of Roman baths that contain these concepts – everything from posters of popular gladiators on the wall to makeshift bathing contraptions in military camps.

The art in Thermae Romae is part of its charm. Lucius is drawn to resemble a Roman statue of a mature man. Rome itself is rendered with accuracy and sophistication.

Japanese characters are drawn with slight caricature, but recognizably to Western eyes as “Asian,” which sets this manga apart from the big-eyes crowd.

The art is attractive, but what keeps me reading is the fact that Lucius is a fantastic character. As his experiences in Japan become more normal to him, he begins to seek out the stimulation and bring home more ideas. But he’s still human and his fame and fortune comes at a price – he loses his wife, who is tired of being left behind. (And those rumors that Emperor Hadrian favors him aren’t helping any either….)

Thermae Romae runs in Enterbrain’s Comic Beam, a magazine that has the tagline “…a MAGAZINE for the COMIC FREAKS” in English on every cover. This comic is for a sophisticated, adult manga-reading audience. Comic Beam is most notable here in the west for publishing Wandering Son by Takako Shimura, currently published by Fantagraphics. Appreciation for Yamazaki’s eclectic story is not limited to comic freaks, she has won the 3rd Manga Taisho Award and the 14th Tezuka Osamu Cultural Prize for this work. A live-action movie has just been announced for this title, as well…although it looks like they are going with an all-Japanese cast, which will dilute the visual impact of the story. The visual contrast between Ancient Rome and the Romans and Modern Japan and  the Japanese is the one of the main strengths of the art.

Yamazaki’s story, characters and art combine to create a completely unique, complex and fascinating story. At three volumes so far , Thermae Romae is the kind of manga it’s worth learning Japanese to be able to read

 

Overthinking Things 8/22/2011

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Anime and Manga, A Cultural “Acting Out”

This is an adaptation of an article I wrote on July 31, 2000 for a website that no longer exists. I was a site administrator at the time, and one of the conditions of my position was to write…publish or perish, in fact. I was cranking out quite a few anime and manga reviews…and no one had a clue what I was writing about at the time. Anime was for creepy guys who wore t-shirts with Lum on them (it’s always Lum….) two sizes too small. Manga was unheard of.  As a result, I received many questions about this “anime” stuff.  Mostly “what the hell are you talking about?” In the past 11 years, quite a bit has changed; manga and anime blew up in global popularity, then the market blew up because it couldn’t sustain itself and now the industry is reconfiguring for a new century.

This essay was my answer to the most common question I received in 2000 and I think it’s worth revisiting once more. It’s applicable to most comics, in fact. Enjoy.

***

Of course, as I rant and rave about all the anime and manga I consume, I’m eventually asked, “what *is* it about this stuff that you like so much?”

I love that question.  ^_^

For one thing, if there is a single quality that exists in anime/manga that nearly completely lacks in Western animation and comics, it has to be consistent character development. How many times can we see the gang in Scooby-Doo find that the bad guy wears a mask and was really the old caretaker, or have a new team, new costume, new continuity for our fave superhero, before we start to crave something more?

Over the course of a 26-episode anime series, or a 20-volume manga, the one thing I can practically count on is the emotional growth and complexity of all the characters – not just the hero/ine, but also the bad guy/girl, all the secondary characters and frequently tertiary characters as well.

But that’s not what this article is about. ^_^ This article is about all the *other* things I love so much in anime and manga – the qualities that make it so popular, and why it was inevitable that anime and manga be created specifically in a culture where there is a tremendous social pressure to conform.

1) Anime/manga heroes are usually “different.”

It is an axiom here in the west that we are all unique. Not so in Japan, where those who stand out are frequently pressured to conform by schoolmates, coworkers and family. “Pounding in the nail” is the OMG-overused-to-death phrase that is meant to express the collective desire to keep everyone at the same level. Very often the hero/ine of an anime or manga series is different – too tall, too short, bad at schoolwork, a complete brain. It doesn’t matter much – as long as the character stands out. Conversely, (and somewhat perversely) the character is occasionally average, but the circumstances of the series make them unusual – these series usually are filled with gags as the unwitting hero/ine attempts to seem “normal” as things around them fall apart. And, of course, many series portray a perfectly average hero/ine surrounded by many people of extraordinary looks and/or powers…frequently of the opposite sex.

 

 2) Taboos are not.

Many people assume that anime/manga series are all pornographic. That is not at all the case.  While Americans are obsessed with violence, but complete hypocrites when it comes to sex, the  opposite is the rule in Japan – they tend to be more sqeuamish about violence than sex. Many of  those things that we consider taboo are dealt with in a less Victorian manner in anime/manga.

Up until recent social pressures began to affect the laws of Japan, teenagers in Japan were  assumed to be (or about to be) sexually active, and thus series’ directed at them often deal with sex and love in a reasonably direct way. Mind you – this doesn’t mean it’s realistic! From what  I’ve seen,  it pretty much ends up doing what western series do, portraying it as all violins, flowers floating by and hazy lighting, OR nasty, dirty, demonic sex. There rarely seems to be a happy medium.

Anime and manga often have gender-bending characters. Cross-dressers, gays or lesbians – some of the coolest characters in anime and manga are the bent ones. This does not mean that Japan is more accepting of these qualities in real life – just that it’s less threatening in *theory.* Plus, let’s face it – women look good in ties.  ^_^ Also, strong emotional, even sexual relationships are considered relatively normal for Japanese kids – relationships that are left behind as part of their childhood when they get older and get married. It goes back to the sex thing – it just isn’t a scary concept.

3) Magic and the occult are everywhere.

Another sticking point for many Westerners – Japan is not a Christian country. Their religion is primarily a shamanic one, centered around fertility and harvest festivals. Does this mean that the average Japanese salaryman believes in magic? No. No more than the average American office worker. But they like to see it in their entertainment! And so do I.

***

To sum up, from my years watching anime and reading manga, I’ve noticed that many of the themes dealt with in these media are *not* what the average Japanese person wants to cope with. The pressures of remaining in conformity with societal norms are rather enormous. I believe that many of the things that make anime and manga so popular are those very things that make life difficult. In effect, anime and manga are a giant cultural “acting out” of things that can’t be dealt with easily in real life.

For me, these qualities are some of the most attractive things about this particular form of entertainment.

***

Note: All pictures used in this article are from Tenjo Tenge, by Oh! Great, Shueisha and Viz Media. I picked them because I thought it would be amusing to do so as it embodies all of the qualities discussed and great heaps of violence.

Overthinking Things 7/1/2011

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A Open Letter to Rob Tapert and Sam Raimi.

Dear Messrs Tapert and Raimi –

I hear that you’ve gotten the greenlight to create a live-action version of the Noir anime series for Starz. While I admit to trepidation at the idea that an American TV (premium cable, but still,) channel is interested in one of my favorite anime series, nonetheless, as the driving force behind Xena: Warrior Princess, I am willing to trust you both. (Not entirely indirectly, it was because of Xena that I now write here at HU, so I believe I owe you some thanks for the impact you’ve had on my life.)

Before I explain a little bit about Noir and what we, the fans, are and aren’t willing to tolerate, let me start with: 

Elements That Made Xena Great.

1 – “Strong Female” leads that actually were.

2 – Female team-up that acknowledged, but did not collapse because of, romantic entanglements with guys.

3 – Unresolved Sexual Tension between the leads – this is a critical point and I’ll get back to it in a moment.

4 – Xena smiling when she gutted people. Maybe it’s only me, but this was a key selling point for the show.

5 – The comedy. The jokes were always horribly corny and usually pretty stupid, but it meant that viewers never forgot the show was not to be taken seriously. This is a *very* important element when dealing with fans.

6 – Fighting – lots of it.

All of these, except the comedy should also be part of Noir. The anime Noir takes itself very seriously, so cornball humor would seem out of place for those of us who know the series but, again, I’m willing to give you some leeway here. Make it dry humor, rather than corny and I promise to behave.

Element That Did Not Make Xena Great

Joxer

I realize that he’s a relation, but if Ted Raimi shows up in Noir I will hate you, probably irrevocably. The one exception is if he shows up as one of the intended victims, is given a moving monologue, then Kirika shoots him. That is acceptable.

***

Having established some of the key concepts that should and shouldn’t be carried over, let’s talk Noir.

Noir is the first of a trilogy of “girls with guns on the run” anime series, all of which have certain elements in common. It would probably be a really terrific idea to translate at least one, hopefully several, of these elements to your new series.

Elements You Should Have in your noveau Noir

I’m going to assume you’ve got the whole older, worldly mature woman / younger, naive woman pairing thing down. You nailed it in Xena and something similar should work just fine for Noir. I won’t beat this one to death. Go with your guts.

Conspiracy

In the Noir anime, the shadow organization that pursues the leads is an occult, Medieval, secret society; in the second series Madlax. it’s a magic-driven gun-running, war-mongering organization and in the third series, El Cazador de la Bruja, it’s a scientific conspiracy to resurrect and co-opt a magical culture. As you can see, the anime director really liked to have his women running from a shadow organization. And so did the fans. I insist you must have a conspiracy. Because the original shadow organization was not only incredibly silly, but random and unevenly developed, fee free to handle it however you like…as long as there is conspiracy of some kind.

Professional Assassins

This is a no-brainer, honestly. Both Mirielle and Kirika are professional assassins. In Madlax. Rimelda was an assassin and in El Cazador de la Bruja, Nadie and Ricardo were assassin/bodyguards. So, please, don’t make them ex-soldiers, or ex-CIA gone rogue. It’s okay to just make them professional killers.

Unresolved Sexual Tension

You did this great in Xena. Just do the same exact thing in Noir. I don’t need them to get together…there just has to be the plausible possibility that they might.

UST, as we called in back in the day in the anime and manga fandom, is a common and popular element in team-up stories. I know it’s cable TV, but don’t give into the temptation of having them fake kissing, or going undercover and having to pretend to be girlfriends or anything else embarrassing and in bad taste. Start with respect that is returned, that maybe becomes something more.

Music

I’m throwing this out, knowing that you probably can’t do anything about this, but if you have actually watched Noir at all, you’ll realize that the music is practically a character in the story. The chances of you actually being able to license Salva Nos or Canta Per Me are slim to none, I realize, but if you can bring *one* thing over whole from the anime, choose the music.

 

Element from Noir Anime You Can Lose and No One Will Cry

The watch. Lose the watch, the watch’s musical theme, the watch’s 800 appearances as repeated footage. The watch isn’t the deal-breaker Ted Raimi is, but honestly, no one will miss the watch.

 

Bonus Fan Points

If you want the already-existing Noir fans to love you, (and we are poised and willing to love you!) please don’t pointlessly Americanize the names into Michelle and Karen or some such idiocy…we’re adults, we *know* there are other countries with names that are not in English!

It’s true that there are people who have never watched the anime, and have no reason to know what the character names are but, there are also people who are already fans of the series, who could specifically subscribe to Starz *just* for the pleasure of watching you not fuck up the series we love. Just sayin’.

Here’s looking forward to the new series.

Yours Truly,

Overthinking Things 6/2/2011

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It’s Just a Comic Book, or, Judo Master has friends who are Asian

The date on the inside of Judo Master No. 96, tells me that it’s a Modern Comics (a Topps imprint) 1978 reprint of a 1967 comic.  I probably picked it up in 1978, at the local newspaper/candy/tobacco store, because that was where I got my comics until I became an adult and bought them for inflated prices from skeevy dealers at comics “shows” in the meeting rooms of Holiday Inns or in overfull, slightly tattered comic stores.

I remembered very little about the story, the title just popped into my head one day recently. I had to clean out the office to find it and there it was, looking as fresh as the day I bought it…maybe a little yellower. Judo Master is, along with a few other unfortunate comics, the overlap of two of my passions – comics and martial arts. (The very first book that I paid for by myself out of my allowance was “Teach Yourself Judo.” I was seven years old. I think my little sister has never forgiven me.) I remembered having really enjoyed the translation of each technique Judo Master uses. I remembered very little else, except the casual racism of the superior Caucasian man who not only is better at a Japanese Martial Art than any Japanese, but defeats evil, dismissively titled, Asian foes with their own martial arts.

Judo Master 96, 1978 reprint by Topps

I haven’t the vaguest clue what the story is, I only have this one volume and I have no interest in “doing the research.” I can tell you this, Rip, the manly, western (he causally makes references to football, baseball and other wholesome American activities,) “Judo Master” is allied with a group of anti-Japanese Japanese on an island…somewhere. Joining them is Suzi (short for Suzikawa, but conveniently American-sounding, as “Susie,”)  Rip’s love interest, who wears something similar to a cheongsam, but definitely unrelated to a kimono. Eh, girl’s clothes, who cares what country they are from, it’s all so impenetrable to men, you know.

When they are discovered by The Acrobat and his evil “Jap” henchmen, I couldn’t help but notice that our square-jawed hero is a Master of a Martial Art, while our bad guy is merely an acrobat – clearly no one worth taking seriously. (According to the first page, Rip previously defeated the Red Crusher – guesses as to what country he was from?)

With a masterly series of shimewaza and osotogari, Judo Master defeats his opponent and, in an Arthurian moment, unmasks his opponent with “It’s time we took a peek under that falseface [sic] of yours and see what you really look like!”  The Acrobat turns out to be none other than Suzi’s misguided brother!

After Suzi realizes that her brother (who remains nameless) will never care that he was used by the “Imperial warlords,” Rip ends the chapter by comforting Suzi. “Suzi, someday this war will be ancient history! Who knows how things will be changed by then? …But in the meantime…”

What Rip? What in the meantime? There’ll be more “Japs” to kill in the name of freedom, or was that meant to be an overture to Suzi to celebrate his heroic efforts in their island bedroom? We’ll never know, because the story ends there and I never found another issue.

Now, here’s the thing about  Judo Master. He’s not racist, right? He has a Japanese girlfriend (okay, with Chinese clothes and a vaguely Chinese and vaguely American nickname, but still,) and he fights with a bunch of Japanese guys…so…? And it’s a WWII-era comic, right, so we have to forgive the propaganda, right? Well…no. Remember the dates above. The original book was published in 1967. I was two. This is *in my lifetime.* This is not a relic from a war-era comic. This is a cheesy recreation of a war-era comic feel. (Many of the comics I read as a young person were similar to this. Just post-Vietnam, it was obvious that comics were flailing to get back that good-guy flair. Lots of Nazis were defeated in comics when I was a kid. It was easier then, we were the clearly the good guys.)

Judo Master isn’t racist – look, he’s got friends who are Asian. He’s got a “Jap” girlfriend. He does Judo. He’s not fetishizing elements of Japanese culture and appropriating them for his own use or anything.

But, hey, this is just a comic, right? We shouldn’t take it so seriously. That’s what readers said in Noah’s discussion of racism in The Priest, and what commenters said in Colin’s comments about the exhaustingly awful use of sexual violence by DC in Flashpoint. Oh, and don’t forget Asians are getting all uppity about Akira. But then, I’m told to take Chester Brown’s Paying For It seriously, because it’s a serious work, with a premise worth discussing.

So, readers, is Judo Master racist? Was it racist in 1978? How about in 1967? 1942?

When do we take racism and sexism in comics seriously, because it’s a serious issue, with consequences worth discussing? When do we look at comics writers, artists and publishers and say, enough with the aggressive cluelessness. Enough racism, enough sexism, enough with the “it’s just a comic book.”  If comics are indeed an a form of serious artistic expression, then we have to stop dismissing the bits of it we don’t like, the parts that make us squirmy and uncomfortable. If it’s just entertainment, then let’s stop pretending it’s anything other than pubescent fantasies and utterly banal writing.

“We didn’t mean it that way” Does. Not. Work. If someone is offended at a thing, it is offensive. That feeling cannot be wiped away with “it’s just a….” If anything, that kind of casual denial of offense serves to heighten it.  Words and images have meaning – those meanings have consequences. If we acknowledge the power of words and images, the we have to acknowledge the consequences, too.

When will it be time to stand up and recognize the racism, the sexism, the denial and the pathology embedded in the words and images in comics for what it is?

I’d kind of like that moment to be now.