British Culture, Anime, Corto Maltese, and Reefer Jackets

I followed a link on Journalista (required reading, every day) that lead to yet another Guardian article on comics culture. This time it was about manga, well more specifically anime based on manga. The article is called Why is anime invisible on British TV? and it looks at the cultural differences between Britain and Japan that might help explain why Britain's TV schedule is now devoid of manga - after the demise, of course, of Anime Central. The premise of the article seems to be that animation aimed at anyone other than children is doomed to fail in the UK because we are Disneyfied. I'm going to call shenanigans on that.

The article lacks any depth or insight into why British TV has such a paucity of anime, save for the quote from Emily Man from Orbital Comics, who says "The UK censorship laws have made it extremely hard for the networks in the UK to show Japanese anime on TV too, our societies' tastes and cultural history are different." This is definitely a truism, but the "cultural history" that has disconnected some adults from appreciating animation, including anime (remember one hell of a lot of adults in the UK watch The Simpsons, South Park, and King of the Hill), had nothing to do with Disney (a point made in the article), and everything to do with the stranglehold a couple of British companies had on the indigenous British comics industry.

The success of the Japanese anime industry is inextricably linked with the popularity of manga, and as we have discussed here in a number of posts in the past, the Japanese manga industry has thrived because of the method of production and the primacy of the manga creator. The Japanese public have grown up reading comics, and have progressed through the ranks of the different genres targeted at males and females and children, teens, and adults. It is actually difficult to imagine an occupation, a way of life, a hobby, or a past time, that is not reflected in manga's broad range of subjects, from adventure, romance, sports, history, comedy, science fiction, horror, business and commerce, fishing, tennis, football, basketball, being a teacher, a wine critic, a butler, a shop owner, a baker, every gamut of society is catered for, and almost nobody is excluded.

I've written before about the organic way that much manga finds its audience. A serial like Monster or Death Note, begins in a manga magazine fighting for its audience alongside a lot of other stories, and its success leads to the collected chapters of the story being republished in book-form ( Tankobon). If a manga series is popular enough, as both Monster and Death Note were, it may be animated, and the process that leads to this stage practically guarantees financial backing because the readership or viewing figures are already proven.

I'm not going to suggest that had the British comics industry mirrored that of Japan we would also have manga cafés, where people can drink coffee and read manga all night. In that respect I suspect our cultural differences do matter, but I am going to suggest that if it had mirrored the Japanese model, British TV would not only be airing a lot of anime today, but it would also be airing a great deal more British animation. I'm convinced that with a different British comics industry, anime as good as Monster and Death Note, and animation on a par with King of the Hill and The Simpsons, would have been made and produced over here.

Anyway, there I was thinking about the different methods of comic production in different countries, and I happened upon the French magazine, Monsieur; which caught my eye because it had a Hugo Pratt drawing of Corto Maltese on the cover. Those of you who read my article on Corto Maltese on the Forbidden Planet UK blog, will know that I just had to pick the thing up. Also, and you may not know this about me, I'm a bit of a clothes horse (I'm wearing blue deck shoes and a stripey pirate top at the moment, and my Reefer jacket has anchors on the buttons) and since I know that all things nautical are de rigeur for men, currently, I didn't need to call on my very poor French to work out that Corto Maltese was being featured here as a fashion icon. looking at Monsieur, I just couldn't help thinking that this sort of love affair, with Bande Dessinee, or graphic novels, evidenced in the illustrated review of Piscine Molitor and the gorgeous Hugo Pratt reproductions, just wouldn't happen over here in the UK, with any degree of heart-felt honesty.

A quick update, Spirtofcorto left a message and I nipped over to the site and there is some great Corto Maltese info over there (really nice blog), including the new edition of Celtiques and a good look at the Corto Maltese line: Spirit of Corto.

The Last of the Great Manga?

Before we go any further let me just make it clear that there are certain aspects of manga that do make me feel uneasy. Firstly, the excessive gore and violence in MPD Psycho, both in the manga and the TV series (I have some details in this older blog post) is certainly not going to be to everyone's liking and I'd have to admit, might be fodder for a certain type of individual to put forward as an influence for their own dark deeds. Having said that, I like the mood of the thing and whilst I'm not advocating censorship, I do find it difficult to envisage the sort of youngster the work would appeal to. However, as the work comes clearly labelled "adult content", I feel that should be enough of a heads-up for the average supervising adult. I'm telling you this so that you are aware that I didn't just read the series and watch the TV show without registering some disquiet - I'm not ever what you would call a passive viewer.

Even more disquieting for me though, on a personal level, is not the violence in some manga, or even the porn manga, which I personally don't bother with, much, but a technique used in a lot of manga to signify embarrassment or belittling, literally, by drawing the adult characters, or one of the adult characters, as children or a child. I find this very unsettling when it happens in a story where I've accepted the characters as adults. Oh, I know it's a technique some Japanese illustrators use, but I personally dislike it very much, especially if it happens in a manga that includes, er, bodily interaction or those frequent up-skirt angles. Heck, I don't even like it in the more mild knicker-showing stories like Change123 - which is otherwise fun.





Hopefully it's clear then that I do find fault with some manga, and I'm not blind to the fact that there is as much pap-manga as there is superpower-pap indie-pap and pap-graphic novels.

Anyway, that said, I got to thinking about the amount of posts out there hypothesizing about the death of manga, or at any rate those suggesting that there is no new great manga being created. The posts reminded me of a phenomena that the poet and critic Tom Paulin pointed out at the turn of the Millennium, when quite a lot of writers began to produce a lot of work that focused on sleeping. It is sort of zeitgeist moment, coupled now, as it was then, with a sort of quasi-New Testament panic about a possible end-of-days. It struck me that such thinking is understandable, because we do seem to have come to the end of a particular cycle, with the likes of Death Note, and Monster, and MPD Psycho, completely finishing. After all, in one form or another, whether available only from Japan or as scanlations following their publication in the weekly or fortnightly or monthly Japanese comics, these titles were around, literally, for decades. And now, having finished their run in Japan, and having been removed from scanlation sites as they appeared in full volumes here in the West, there is something final about their disappearance.

Not that the genius behind Monster, Naoki Urasawa, has stopped producing work, he has followed 20th Century Boys and Monster and Pluto, with Billy Bat, which I wrote about at some length on a post below. I've been keeping up with the story and there is little doubt in my mind that "the god of manga" has created another classic, although it was a safe bet that he would. In a sense, although it is, strictly speaking, less so than than the current manga that explore the job of working as a mangaka, it is also very self-referential in that it is a story based around a fictional comic book character, and a manga creator.








Just as Urasawa has a new title that is developing nicely, so to does the team behind Death Note, Tsugumi Ohba and Takeshi Obata. Unlike Billy Bat, Bakuman deals directly with the business of aspiring to become a mangaka, bringing us the story of Moritaka Mashiro, a high school student and the nephew of a man who was himself a mangaka.

So, exactly why, with new titles by some of the leading figures in manga really getting into their stride, and with some great new titles out there, is there so much gloom about the art form? Well, I suppose, at least partly, it has something to do with the self-referential nature of some of the stories. Manga is often very, very, imaginative, very out-there, and seeing so many titles looking inward may have caused a sense of panic in some circles - maybe. And of course there is the steady decline in manga sales in Japan, that might have added to the sense of foreboding; but then surely that downward trend is counterbalanced by the increase of sales of manga on phones and handheld readers. Then there is the increasing cherry-picking by some publishers who seem to conduct their research and development by hanging around the scanlation sites and the comics scene, to find out what is hot. As soon as they step in and option a title, the thing gets pulled from the scanlation sites (a gentleman's agreement that most scanlation groups adhere rigidly to) and so the reader who has already gone to some lengths to find the thing ends up with a hiatus between the most recent scan, and the first western publication which covers the story the reader has already consumed, and invariably the interest in the title drops. I mean to say, how long have we had to sit and wait for the Kurosagi Corpse Delivery Service volumes to trickle out?

I suppose, to be honest, that there must also be a certain amount of disenchantment involved in these posts. After all, many of these writers discovered manga like Death Note years before it appeared in the West, and then became ubiquitous as merchandise and anime and as live action movies, and they wrote a great many posts extolling its virtues and the virtues of manga in general. And perhaps there is no need to do so now, or at least they may feel there is no longer any need to do so, now that the mainstream press is sniffing around. It is, perhaps, not so much that there is no new great manga being produced, but that there is no longer any great need to try to impress upon the reading public that manga is great. They are preaching to the converted, not only that but they are preaching to those whom they themselves converted, and the converted have all gone their separate ways.

Whether you or I think it is a great manga or not, a title like Antique Bakery deserves its place in the manga firmament. It is a popular manga, and it is well drawn and to be honest, it is just another one of those ideas that at first glance seems unlikely to appeal to us in the west, and actually turns out to be a complete joy. To dismiss work like this out-of-hand because we don't like the way the eyes are drawn or for some equally idiosyncratic reason, is just plain silly, it is clearly work executed by an expert hand.

What I'm trying to say, in a round-about way, is that it is no coincidence that the much-missed titles are all Seinen manga, and what the writers who miss some of this Seinen manga seem to forget is that a diet of nothing but Seinen manga may not be everybody's cup of tea. The reader may well have have been turned on to manga by one gateway Seinen title, like Death Note or Monster, but they may well, by now, have moved on and decided that they prefer Shonen titles. In fact I'm sure we all hope they have moved on and discovered what a broad church manga is.

The fact that the much-missed titles all seem to be Seinen manga, actually got me thinking that this worry, that the really great manga has come to an end, might actually just be a perceived problem for male readers of a certain age - of which I am one (both a fan of Seinen manga and a male reader of a certain age). After all, one look at my previous manga-related posts over the years, is a clear illustration that I veer toward Seinen titles:

http://rodmckie.blogspot.com/2008/03/monster-will-astonish-you.html
http://rodmckie.blogspot.com/2008/03/work-of-jiro-taniguchi.html
http://rodmckie.blogspot.com/2008/03/ykk-alpha-at-end-of-world.html
http://rodmckie.blogspot.com/2008/03/kurosagi-corpse-delivery-service.html
http://rodmckie.blogspot.com/2008/06/takeo-saitos-golgo13-kimonos-and-bad.html
http://rodmckie.blogspot.com/2008/07/death-note-re-post.html
http://rodmckie.blogspot.com/2008/09/astro-boy-mighty-atom.html
http://rodmckie.blogspot.com/2007/07/where-to-begin.html

However, if you are familiar with those old posts, or if you clicked them, you'll know that I don't just read Seinen and horror manga, and that is what has given me, I think, a particular perspective on these events. For this perspective, I give the credit, or blame, to Dirk Deppey's deep knowledge of manga, and his championing, in particular, of Ashinano Hitoshi's dream-like, post-apocalyptic, sci-fi, romance, manga, Yokohama Kaidashi Kikou (YKK). My exposure to this story, created over a period of 12 years and still not optioned in the west so the scans are still available (here), helped position me, I think, to appreciate a wider range of work like Nana, Honey and Clover, and Walking Man, and brought me to a slow appreciation of manga's huge sweep and broad canvas. It also helped me to realise that the titles some of the critics' miss so much, are not necessarily the titles that the majority of manga readers actually read. In fact the current "crisis" has probably not even registered with the readers of manga that coexists in both the East and the West, such as Nana. And those who have just started reading manga titles like Soul Eater, or Spray King, or Moyashimon, or Oshinbo, or Astral Project, have probably never seen or read anything so exciting.

No, the great manga has not stopped, it continues in an unbroken chain that eventually winds its way to our shores, and it takes different forms and slips between genres of manga. YKK is a great manga, a great voluminous sprawling epic that meanders peacefully towards its final chapter. It is nothing like Monster, which is nothing like Death Note, which is nothing like Nana which is nothing like Billy Bat which is nothing like Homunculous which is nothing like Mushishi which is nothing like Until Death Do Us Part (UDDUP) which is nothing like Moyashimon: Tales of Agriculture. In other words the great manga is still out there, if we don't recognise it that says more about us, than it does about the state of manga. I mean, be honest, if someone suggested that you might like a manga called Tales of Agriculture, you would be a little skeptical, until you actually caught a glimpse of the fantastic artwork and then started to read the thing that is.










To be honest, I also think there is something else going on, an undercurrent if you will; a subtext, perhaps one that the authors of the pieces are themselves unaware of. It just might be that Tom Paulin's observation can be applied here, and the blog writers are all displaying a end-of-days style panic, based not just on fact that a few great stories have come to an end, but also on the fact that printed comic books are being replaced by digital comics. To people of a certain generation, and again I am also one of those, that really does represent the end of an era. There was always something elemental about making marks on pulped wood with a liquid that itself came from deep beneath the earth. Perhaps, and I'm only surmissing here, the bloggers concerned cannot with any certainty look 10 years down the line and see any future at all for comic books, let alone "great" status for a title like Detroit Metal Blues.

Then again, perhaps I am just reading too much into it. After all, I noticed a reply to a post on the TCJ forum that more or less suggested that the "big-eyed manga", as the poster called it, is the wrong kind of manga. Which informs us that the poster is either completly unfamiliar with manga classics like Black Jack and Astro Boy, or has probably only ever read a limited amount of Seinen manga, and decided that is the only style of manga that counts. It is, I think, to be sure, befuddled way thinking, but it may be no more than a failure on the part of some people to embrace titles that look a little different from the ones they usually pick up. Perhaps, it really is no more than that.

20th Century Boys Movie Rocks and the Sunday Times is Clueless.

Let me explain, the Sunday Times has, in the last two weeks, published two tiny reviews of 20th Century Boys and both reviews rubbished the movie; proving only that the Sunday Times critics' Damascene conversion to fans of graphic novels, manga, and all things cartoon is just a further example of grandad trying to dance.

To be fair, the Sunday Times is a serial offender with its reviewers declaring themselves fans of "graphic novels" because they watched Persepolis, and creating lists of "must have" graphic novels with no mention of Shaun Tan's Arrival, in the year that it swept all before it. In fact, this week's Sunday Times Culture section must have proved deeply embarrassing to the paper's TV reviewer A.A. Gill, because it featured Tina Fey on the cover and a large article on Fey and her brilliantly funny creation, 30 Rock. It's embarrassing for Gill because he rubbished 30 Rock and heaped praise on the much inferior Mathew Perry vehicle, Studio 60 on the Sunset Strip; which had actually already been cancelled when Gill lauded its superiority.

So anyway, I digress, back to comics, sort of, the first Times review of 20th Century Boys was by far the funniest of the two reviews because apparently the reviewer was bewildered by the flashbacks in the movie - honestly, the thing opens at a future date with a man jailed for drawing a cartoon; the movie pleasingly ends back in that time in that cell. The flashbacks back briefly to the release of T.Rex's 20th Century Boy, and then back to the major kernel of the story, Kenji's childhood, are not just not bewildering, but pretty darned straight forward and expertly handled. As for the reviewer's belief that the acting in this adaptation of Urasawa's hugely popular award-winning manga is sometimes "over the top" well that must have floored fans of Japanese cinema. Honestly, where do they get these people?

Okay, for the benefit of people like Cosmo Landsman, the chaps in the poster up top, were once the children in the picture above, and the story actually begins here, and using kinematographic effects, we are miraculously transported back to that time as an illustration of the central character's memory - this is actually a fairly common technique.

The "bewildering" jump forward at the opening of the movie, where a cartoonist has been imprisoned for drawing an innapropriate cartoon, clearly drawing parallels with contemporary matters and hinting at an authoritarian regime, is pleasing cleared up when the movie ends, sometime in the future, in that same prison. So that's so not "bewildering" is it, unless you didn't actually watch the entire movie?

This page, from the manga the movie was based on, and the subsequent pages below, show how the story moves backwards and forwards in time as the plot is revealed over several volumes, and in the case of the movies, over the trilogy.

>

In my opinion, Urasawa's legion of fans will love this movie, and like me they will be astonished at how like the illustrations a lot of the characters are, and how faithful most of the story and sets are to the original story which ran in Shogakukan's Weekly Big Comic Spirits magazine. I can't recommend it highly enough. But I don't think you need to be familiar with the manga to enjoy the movie, as long as you are not as easily bewildered as the Sunday Times reviewer that is, and as long as you like Japanese movies, comic books, sci-fi, mysteries and a rollicking good adventure. I'm pretty sure also, that the non-linear nature of the plot will not cause nearly as much confusion as it apparently did for the critic concerned.



Not that the movie would struggle if the easily bewildered stayed away, and the only people who placed their bums on the seats where those who bought the 20 million copies of the 20th Century Boys manga that have been sold in Japan, and the many people in the West who have read the scanlations, and have gone on to pick up the newly translated manga. Urasawa's fans alone will surely bring the movie, and the subsequent DVDs, a level of financial success few movies attain these days.

I can hardly contain my excitement, the trailer for 20th Century Boys 2 is out, and it's tacked on to the end of the trailer for 20th Century Boys, below. Unlike the Sunday Times reviewers, I'm very much looking forward to the rest of the trilogy - bring it on.

20th Century Boys (part 1 of 3)

Certificate 15
Cast

Toshiaki Karasawa

Etsushi Toyokawa

Takako Tokiwa
Directors

Yukihiko Tsutsumi
Screenwriters

Yasushi Fukuda

Takashi Nagasaki

Naoki Urasawa

Yûsuke Watanabe