Graphic Novels

By Martha Cornog and Steve Raiteri -- Library Journal, 5/15/2007

One of the richest women in Japan is no heiress or industrial magnate's sweetie: Rumiko Takahashi is a manga-ka—a cartoonist. Like her closest Western sister in fame and fortune, J.K. Rowling, she has created lively fantasies that attract countless fans worldwide of both genders and across generations. No stranger to librarians, Takahashi and all her stories belong in teen and adult collections.

Takahashi created dojinshi (amateur manga) in high school and later studied with Kazuo Koike, who was lionized for Lone Wolf and Cub (LJ 1/03). Choosing a manga career against her parents' wishes, she went pro with several short stories and the teen comedy Urusei Yatsura, known in the United States as The Return of Lum. Running 34 volumes, the series follows the volatile romance of girl-chaser Ataru with extraterrestrial cutie Lum in a hilarious havoc of classmates, relatives, aliens, and supernatural beings. Some episodes shine with surreal lunacy, as when the protozoas in the school's swimming pool grow to a giant size and battle the students. This skill at slapstick became Takahashi's calling card. Unfortunately, only nine volumes of Lum have been published in English, and the first volume (Lum*Urusei Yatsura Perfect Collection) is out of print (try online used book sources).

Her second series, Maison Ikkoku, centers on lackluster college student Yusaku's infatuation with his newly widowed landlady. As he matures postgraduation, Kyoko grows past her grief. The two develop a mature love and finally marry despite complications and plot twists. This 15-volume adult work has considerable character development and serious emotional (and some sexual) content, interweaved with Takahashi's now-trademark comic relief.

Takahashi began her most famous comedy, Ranma ½, about teenage martial artist Ranma who becomes a girl when splashed with cold water owing to a magical curse. A battle of the sexes in several senses, the 36-volume saga has become incredibly popular domestically since the early 1990s. It was also the first popular gender-bender story. The U.S. publication wrapped up just last year with Ranma about to tie the knot with his feisty fiancé, Akane.

Shortly after starting Ranma ½, Takahashi began her supernatural "feudal fairy tale," InuYasha. Schoolgirl Kagome's magical adventures with the cute demi-demon boy have become almost as well known as Ranma's hijinks. Up to 49 volumes in Japan and 29 here, InuYasha features more elegant and detailed art, plentiful action, less comedy, and touches of horror.

Her shorter works are regrettably lesser known. The four-volume Mermaid Saga showcases her skill with the horror genre (see review on p. 75). One-Pound Gospel stars a cheerful young boxer who can knock out opponents but not his voracious appetite—or his passion for demure Sister Angela. Unfinished in three volumes for a decade, this briefer romantic comedy concluded recently with a final volume in Japan (Takahashi's U.S. publisher, Viz, will probably reissue the series as now complete). Takahashi has also penned numerous quirky short stories, only five volumes collected in English as Rumic World Trilogy and Rumic Theater.

As the beloved "Princess of Manga," Takahashi has won three Shogakukan Manga Awards and the Inkpot Award at San Diego Comic-Con. Of the thousands of girls reading manga in bookstore aisles and checking out their library's InuYasha, surely somewhere among them is an American Takahashi, eh? (For much more about Takahashi, see www.furinkan.com.)

This harrowing, almost wordless two-part nonfiction drama depicted in beautifully realized charcoal-like drawings begins with Africans torn from their home by slavers and forced into supporting American industry and domestic life before the Civil War. Nat Turner's mother is among those captured and confined in unspeakable conditions during the ocean passage. Turner himself grows up a self-educated, deeply religious slave who becomes a heroic, tragic figure when he leads the only effective sustained slave revolt in U.S. history. The rebels succeed in killing some 60 white people before the rebellion is quashed and Turner captured. After a lengthy interview with his lawyer that was later published, Turner is tried and hanged, his body mutilated. Baker's suspenseful and violent work documents the slave trade's atrocities as no textbook can, with an emotional power approaching that of Maus and expressive black-and-white art. Winner of an Eisner Award and several Glyph Awards, Nat Turner is suitable for ages 12+ and recommended for teen and adult collections, as well as African American collections. This is an excellent candidate for academic libraries and curriculum support at varying levels. Includes a short bibliography.—M.C.

This volume collects prequels to the "Civil War" series, Marvel's major crossover event of the past year, in which a law is passed requiring costumed heroes to register their identities and powers with the U.S. government. The superhero community splits between those who register and those who become outlaws by refusing. The lead story here reveals that some of the world's most influential superbeings—Iron Man, Mr. Fantastic, Professor X, Dr. Strange, Black Bolt, and the Sub-Mariner—have been meeting in secret for many years to discuss the worst of the threats they face. Such a continuity implant must be deftly handled to keep longtime readers from crying foul, and unfortunately Bendis's characterizations do not entirely convince, and Maleev's static artwork brings dullness to drama-filled meetings. In a superior story by Straczynski, Tony Stark (Iron Man) and his new employee, Peter Parker (Spider-Man), go to Washington, DC, to forestall passage of the registration act and engage in intelligent debate. As a necessary though flawed prerequisite to last year's worth of Marvel comics, this is recommended for all collections.—S.R.

An archaeological team assisted by genetically enhanced dogs struggles through snow and stumbles onto the ruins of a strange, ornate building filled with artwork. What could it all mean? A clue: De Crécy is one of four artists chosen to promote the Louvre in comics format, and his mischievous humor envisions a society post global weather catastrophe, centuries in the future, with no memory of the world as we know it. Just when you think this is standard sf, the artworks come to life and collaborate in deciding their own fate. We chuckle at the archaeologists' absurd misinterpretations and the send-up of academic lingo, but the future humans are not unlike us: quarrelsome, egomaniacal, and sidetracked by romantic rivalries. So while an amusing conceit (how many famous paintings do you recognize?), it's a sad story as well but with a hopeful ending as the art breaks loose from its frozen enclosure. Working with subdued colors for the "real" people, De Crécy reserves the full palette and realistic treatment for the artworks themselves—surely in deliberate irony. An appendix lists all the artworks pictured, with their Louvre locations. A great find for academic and large public libraries.—M.C.

Plainclothes detective Dick Tracy, hero of radio, film, TV, and comic books, made his debut in newspapers in 1931. On the day Tracy proposes to Tess Trueheart, robbers kidnap Tess and shoot her father dead. Tracy, with no apparent experience or training, joins the police force to track down the culprits—and after accomplishing that, he begins striking fear into the underworld. In this first volume of a proposed complete reprinting of creator Gould's tenure, the brave, impetuous, and independent Tracy gets shot, gassed, drugged, framed, fired, nearly drowned, and more—but he always survives to get his man. Tracy quickly finds a kid sidekick in street urchin Junior, who brings some heart to the strip. Grotesque villains such as Flattop and inventions such as the two-way wrist radio are still years into the future here, and his distinctive cartooning style is only beginning to develop. But these influential crime-fighting adventures—leavened with humor and romantic melodrama—retain their compelling excitement. Recommended for all collections.—S.R.

Whimsical and charming, Moomin's (mis)adventures suggest an Alice in Wonderland dream world with odd beings, unexplained connections, and events that freewheel out of control—almost. Moomin and his family are hippopotamus-like trolls, and this strip from the late Finnish artist appeared in the London Evening News from 1953 to 1959 and was syndicated in 40 countries. She always resolves matters with happy endings, but like the best all-ages comics, her gentle humor can be read on multiple levels. Moomin is beset by freeloading guests (which he attempts to drive off in increasingly ludicrous ways), endeavors to win the love of a girl troll, and journeys to the Riviera with his parents. Throughout, foxlike opportunistic sidekick Sniff supplies a slightly edgier counterpoint to Moomin's bewilderment in the face of life's challenges and his joy in ordinary pleasures of nature and family. The deceptively simple black-and-white art invites readers to try drawing their own imaginings. The Moomin saga began as Swedish-language books, then became wildly popular internationally in the 1990s, especially in Japan, and inspired animated and theatrical adaptations—even a theme park and museum. Jansson won numerous prizes for her work. For all ages.—M.C.

The planet Deloca takes pride in its School Trains, moving academies for 15-year-old students. Reiichi and his childhood friend (but not girlfriend) Liae arrive on the planet intending to board the general studies train. But when Liae accidentally insults an alien and Reiichi stands up for her, the two of them are saved by the intervention of sword-wielding runaway girl Arena, who is determined to board the Special Train despite its bad reputation. An enforcer sent by Arena's grandfather captures and tortures her, and during the resulting fight, Arena and Reiichi are handcuffed together. So suddenly Reiichi is on the run as well, as Arena drags him onto the Special Train. This action-oriented manga, accurately rated ages 13+, has potentially interesting ideas and a good character in the brash Arena, but it's let down by too-convenient plot points, so-so character designs, and a ridiculous encounter on the Special Train with a nun student who worships a god of death and attempts to "baptize" Reiichi by violence. Mediocre.—S.R.

In this touching romance set in late 19th-century England, shy orphan Emma has worked as a maid since she was a young girl for retired governess Mrs. Stownar while receiving an education and good treatment. Emma and Mrs. Stownar's old charge William have fallen in love—but William is from a rich, respectable family, and his father refuses to let William marry a common maid. In this second of seven volumes, the aged Mrs. Stownar dies, and Emma must return to her home village, where she tries to see William once more to say goodbye forever. The wide-eyed facial designs reveal that this is manga, but Mori's heavily researched and gorgeously rendered costumes and settings (including the famous Crystal Palace) feature an exceptional level of realism and sumptuous detail. The story's serious tone is enlivened by William's freewheeling Indian friend, Hakim, who also loves Emma. Rated T+ for "suggestive situations," the series so far only deserves that rating for an implication that Emma would have been sold to a brothel as a girl had she not run away. This gem of a series is highly recommended for teens and adults.—S.R.

Having previously unearthed Schulz's obscure 1950s strip It's Only a Game, About Comics here shares other single-panel cartoons that Schulz produced between 1955 and 1969 for Youth magazine and other publications of the Church of God. Most feature teens looking like stretched-out versions of the Peanuts gang, often in gags involving youth groups, church going, or Bible study. There are also more general-interest cartoons on dating, driving junky old cars, and other aspects of teen life. Some punch lines here have shown up elsewhere, including the "I think I'm allergic to morning!" lament that has adorned many Snoopy coffee mugs. Most of the gags are light, but a few are particularly Charlie Brownian: "I wonder if there's such a thing as a spiritual dentist? I think my whole personality is full of cavities!" This book collects everything from the five earlier, out-of-print books of Youth material, plus every other Schulz cartoon in the original publisher's archives, including some very Peanuts-like work from the book Two-by-Fours, which concerns preschool children and religion. Recommended for Schulz enthusiasts and fans of that other church-friendly panel, The Family Circus.—S.R.

Eating mermaid flesh can grant eternal youth, but the flesh is a deadly poison, turning most people into monsters ("lost souls") or killing them. Those who do survive as humans may well become monsters of a different kind. These seven macabre tales follow surviving immortals and soulmates Yuta and Mana as they meet others who have sought—and sometimes found—merflesh immortality. A little boy, now young for eternity, searches for an equally eternal mother, only to see candidates become monsters when he feeds them the flesh. A mother who must live forever steals her grown son's little boy and tries to feed him the flesh so she will have a child to care for always. A crew of pirates dines on a mermaid, with no sane survivors. Through negotiation or hair-raising, bloody conflict, Yuta and Mana usually bring some sort of closure to these nasty situations. Many of Takahashi's fans may be unaware of her skill with the horror genre, and these intricately plotted stories will appeal to those who seek something beyond Pet Shop of Horrors (Vol. 10, LJ 3/15/05) but less extreme than, say, the Hino Horror series. Minor nudity; for ages 18+.—M.C.

For its first non-Tezuka publication, Vertical has chosen this three-volume, 1977–80 sf epic by Takemiya, one of the "Magnificent Forty-Niners" group of female creators who brought maturity and sophistication to shojo manga in the 1970s. In the future, pollution has made the Earth nearly uninhabitable, so the human race has temporarily left its home and established a genetic and social engineering program designed to raise young people as proper stewards for the planet. But a few of these children develop psychic powers, and despite the efforts of the authorities to wipe them out, some of these psychics (called the Mu) have escaped and formed their own underground society. The story focuses on 14-year-old Mu newcomer Jomy, unsure but immensely powerful, who becomes leader of the Mu on their quest to reach Earth and be accepted there; and on Keith, an elite human student aboard an educational space station who begins to question the system that raised him. Takemiya's artwork is Tezuka-esque but softer and less cartoony, with impressive mecha illustrations. She gives the story a strongly emotional focus centered on humanity's longing for its home world. Recommended for teens and adults of both genders.—S.R.

The excellent Bluesman (Bk. 2, LJ 7/06) touches on the lives of hobos riding the rails in the 1920s; this earlier work from the pair delves deeper into them. Tucker's father used to hop trains and disappear for months at a time, and eventually he failed to return, which forced Tucker's family to move in with his father's sister, a mean, old widow. When Tucker is 13, the widow, unbeknownst to Tucker's mother, sends him packing. Tucker, determined to begin providing for his family, catches his first train and finds himself talking for the first time to a black man, the kind old hobo Elijah, who takes the boy under his wing and teaches him the differences among hobos, tramps, and bums and makes sure he gets on the right train. Callejo's heavily outlined cartooning contrasts Elijah's deeply craggy brow with Tucker's fresh face, and Elijah's dialog is colorful and wise. When first published in 2002, it was nominated for an Eisner Award for Best Single Issue or One-Shot; this edition features new blue-gray toning and an eight-page epilog. Not inappropriate for teens but more likely to appeal to adults; recommended for all collections and for readers of Bluesman and Kings in Disguise.—S.R.

Old King Cole and Snow White are the head honchos of Fabletown, an underground society of fairy-tale beings ("Fables") who relocate to New York City when driven out of their homeland of legend by the Adversary. Many manage to pass as human with spells and contrivances; those who cannot must live on a farm upstate. This series saga twists and turns unpredictably—and often disturbingly—around characters' tropes. Cole and Snow's right-hand man is the Fabletown sheriff, the Big Bad Wolf, now reformed as a Humphrey Bogart type under the name of Bigby Wolf. Bigby is in love with Snow, and the emotional tension between them underlies the overall plot through the ninth volume. Finally in Wolves, their romance becomes mutual, and a satisfyingly fairy-tale (literally) wedding ends the book. The unnumbered 1001 Nights prequel fills in backstories during the time of Adversary attacks, starting when Snow visits the Arabian Fables to gain a defense alliance. Unexpectedly, she is forced into the Scheherazade role, which serves as a frame for tales about Snow's past and the trials of other Fables characters. All story arcs and tales in this series are inventive, edgy, sometimes amusing, and—with nudity, sexual subthemes, and strong language—distinctly not for children. For example, the Seven Dwarves are revealed as rapist goblins, not Disney darlings, and Snow takes her bloody revenge. While the art is uneven—a number of artists have collaborated with Willingham—the series has won numerous Eisner Awards and is recommended for adult collections for wonderfully skilled plotting and characterizations.—M.C.

Nana meets Nana when a bubbly bundle of insecurities teams up with a tough but vulnerable rocker chick. Sharing first names and Tokyo newbie status, the two decide to share an apartment while they search for Love and Meaning. Charming, self-centered Nana Komatsu has followed her rebound crush to the Big City but can't commit to him or settle into a job; while Nana Osaki, rebounded from her great love with a rock bassist, hopes to make it big singing with a rival band. By Vol. 5, Nana O. has reunited with her beloved ex, Ren, and Nana K. has begun an affair with Ren's bandmate Takumi, object of her fangirl obsession. This is Japanese twenty something chick lit at its best, bursting with relationship drama, parties, good humor, cute fashions, romantic-sexual entanglements, and beautifully expressive art. Beneath the drama run serious messages about loyalty, friendship, and maturity in a complicated world with changing rules. Nana is still coming out in Japan, where it is the best-selling shojo title, winner of the Shogakukan Manga Award, and inspiration for an anime and a live-action film. With discreetly portrayed sex, it's best for ages 18+. Highly recommended for young women now grown past "teen shojo" titles.—M.C.

With graphic novels suddenly a legitimate art form and a hot ticket in publishing, much needed books about creators have begun to proliferate. (See In the Studio: Visits with Contemporary Cartoonists, LJ 3/15/07, and U•X•L Graphic Novelists, below) These 11 profiles include some longstanding grand masters (e.g., Will Eisner, Stan Lee, Art Spiegelman, Neil Gaiman), plus more recent notables like Trina Robbins, Kyle Baker, Dwayne McDuffie, Ho Che Anderson, and Marjane Satrapi. There's a good bit of comics history in each profile, with details on life and work as well as quotes from lengthy interviews done for this collection. The result is a competent, entertaining, and serious look at the industry and some of its stars, belying the cheesy, overblown title. Kaplan is a writer and entertainment journalist frequently published in MAD magazine. With a few black-and-white examples from each creator and an index, this set of profiles is suitable for teen and adult collections. For longer comics industry profiles, see the "Conversations with Comic Artists" (Univ. Pr. of Mississippi), the "Comics Journal Library" (Fantagraphics), and—for younger readers—the "Library of Graphic Novelists" (Rosen) series. For manga, see Timothy Lehmann's Manga: Masters of the Art (LJ 3/15/06).—M.C.

These biographical profiles introduce 75 notable creators of popular graphic novels in genres spanning superheroes, manga, and "other." Of these, 24 were interviewed for the entry. Profiles range from five to 11 pages, each with a sidebar on best-known works, an illustration or two, and a short bibliography of books, articles, and web sources. Introductory matter is made up of a glossary and a publishers' directory. Naturally, one can quibble about inclusion: Ho Che Anderson (King) but not Aaron McGruder (Boondocks); Rumiko Takahashi (Ranma ½) but not Akira Toriyama (Dragon Ball). But, obviously, no such reference can be comprehensive. Sadly, because the set focuses on work that interests younger readers, the irreverent R. Crumb doesn't appear either. While much of this information is already on the Internet or in other books, these volumes offer far more user-friendly synthesis and presentation. This well-done set is most suitable for teens and young adults but could be helpful for scholars as a starting point. Numerous comics creator biographies and several collections are available but apparently nothing of similar size and scope.—M.C.

Japan's J.K. Rowling