Sakumi, a bereaved older sister who is drifting through life, falls on snowy steps, hits her head, and loses much of her memory. Her friends earnestly remark that she seems like an entirely different person.
But what does that MEAN?
Sakumi tries to live without her full memory, though this is stressful. Meanwhile, she continues to mourn her dead younger sister, support her struggling young half-brother, and find her way to BE. In time, she finds ways to appreciate the world’s beauty while interacting with an odd collection of friends, relatives, and acquaintances who are each trying their best to enjoy life on their own terms.
While Sakumi takes time to appreciate the way lacy curtains look in the sun or to deeply feel the suffocating presence of ghosts who died in battle on a tropical island, her reconciliation with her situation and ability to enjoy life by being fully present in the moment give the book an ultimately soothing vibe.
The Water Dragon’s Bride by Rei Toma published in English by Viz / Shojo Beat (complete – 44 chapters) 2017 – 2019
Unable to resist the gorgeous drawings of Toma’s most recent manga, The King’s Beast, I eagerly sought out her earlier work, The Water Dragon’s Bride. Here we can see Toma’s gorgeous men, with beautifully shapely eyes and long, flowing hair, represented with special elegance by the Water Dragon God.
Asahi is a little, contemporary, beloved girl, who is grabbed by the water in her parents’ garden pond (!!) and spirited away to another era. A boy of similar age named Subaru finds her in the forest near the lake (her pond’s ancient form) and takes her home to his village, where Asahi realizes something is… different. No, everything is different. No wires? No phones? No train station?
Subaru’s enthusiastic mother wants to take her to a special ritual, which, Asahi realizes too late, involves tying her to a rock and returning her to the lake.
Unlike the other girl-child sacrifices, Asahi is lucky: the Water Dragon God is… just bored enough to keep her alive (with tips from friends).
But she is still just a lost little girl, and her survival from this event would be suspicious to the superstitious villagers. Can she survive? Can she make it home to her own time and loving parents? Can Subaru hide her from his family? Importantly, can she hold the inhuman and generally indifferent Water Dragon God’s attention long enough to get his help?
This is a story of survival, friendship, politics, rivalries, ancient forest spirits, greed, war, community, superstition, spiritual darkness, hope, water-doors between worlds, years away from home (!), personal development, and Love with a capital L. I have a soft spot for stories about little girls falling into other worlds, which was my favorite genre as I was learning to write (though I included a frivolous number of talking animals in my stories, but still). Our favorite characters evolve, though the villages of humans… continue to disappoint in a way I find realistic. I got misty-eyed at the very end, which I didn’t expect.
Toma’s especially beautiful Water Dragon God and his special effects are lovingly drawn. I love this story (with serious stakes) and charming art, including the little round illustrations near the beginning of each chapter. I recommend it!
Rumiko Takahashi is a famous and prolific manga author, who I have been a fan of since our various California anime fans brought the animated comedy Ranma 1/2 to club meetings (back in the 80s/90s). I especially love her Mermaid Saga, which is dark and ambiguous. I’ve written previously about the anime based on Takahashi’s Inuyasha series, and have mentioned RIN-NE in passing; she structured these manga ingeniously to be easily serialized as anime.
Nanoka is a contemporary girl in Japan, being raised by her kindly grandfather and strange housekeeper after surviving a gruesome freak accident which killed her parents during her childhood. One day, near the scene of the accident, she takes a turn, travels back in time, and is almost immediately attacked… by monsters.
In this past, she meets the exorcist, monster-killer, and part time doctor to nice spirits, Mao. Distinctive-looking Mao, who bears a facial scar and fears he may be immortal, has been through some traumas he doesn’t recall clearly. A day of tragedy hundreds of years ago led to his friends trying to kill him, the destruction of a temple/school, and the death of the girl he loved – and he worries that he may have killed her himself.
Nanoka isn’t sure why she is in this past with Mao, but when trouble strikes and she picks up Mao’s cursed sword, she isn’t struck dead. What gives her this power to resist the curse, and what is her connection to Mao?
I’m 200 chapters in (!!!), and while Takahashi’s serialized-for-television structure persists, there is a sense of tangible progress on solving the mysteries that worry Mao. Yes, there are side quests, and a very large number of characters, but most connect to the mysteries Mao is attempting to solve. As a Takahashi fan, I’d say that MAO has more focused story-telling than Inuyasha (which had more side quests than goal resolution), and is more serious than RIN-NE (which is a school comedy about death and regrets – no, really). The tragedies that strike, and the cruelties that the characters experienced are serious, and they are marked by them – in many cases literally scarred, but also emotionally harmed. Answers to the mysteries that haunt them bring some relief.
This is an interesting story, and Takahashi keeps it progressing with more intensity than some of her other popular works. I am enjoying it.
Dawn of the Arcana by Rei Toma published in English by Viz / Shojo Beat (complete – 53 chapters) 2011-2014
I’m reading the still-being-released manga, The King’s Beast, which is so gorgeously drawn… and then realized that the author has older works that are complete for me to enjoy! This is one of them, and appears to be set in the same world as TKB.
Nakaba has had a rough life: she was orphaned young, kept isolated in a tower, has been avoided or abused by relatives, has an unacceptable haircolor, and ultimately is married off to a prince in an enemy kingdom for political reasons. Ignorant stereotypes about her kingdom are used to insult her. Aside from her loyal Ajin servant (a completely devoted man from an oppressed ethnic group identified by their animal-like ears), she has no one in the world who cares what happens to her.
And then, to top it all off, she starts to see the future.
Perhaps… she has more options than just running away after all. Perhaps she can turn her situation around… and change the world. If she doesn’t kill herself trying to look at the future!
The art style is much less elaborate than TKB, but familiar in a pleasant way. The heroine is optimistic and good-hearted, which gets her far. There are many characters, multiple countries, plots, family dramas, bitter rivalries, lost loves, and appropriately unexpected plot twists. I enjoyed it all.
Demon Love Spell by Mayu Shinjo published in English by Viz / Shojo Beat (complete – 6 volumes) 2012-2014
Miko is a shrine maiden who is terrible at detecting spirits, but she is game to cure a guy who appears to be possessed as he cheats on every girl at school. Her prayer works – but she winds up with a handsome man-demon the size of a doll.
Kagura, the incubus demon whose power comes from women’s desire, is vulnerable to attacks by other demons in this state. Those rival demons swarm him – and are tempted by Miko’s beautiful spiritual energy to attack her as well. Miko can’t even see them, unless she is touching Kagura – and oh, how he wants her touch and affection, so he can have the power to fight them off!
This comedy involves over-protective, spiritually powerful parents; a sexy, sexy demon; dreams of steamy passion; scary and/or sexy demons; lots of posing; and frustration for both characters as their conflicting needs (Miko needs to remain a ‘maiden’ and Kagura needs her not to) lead to silly situations as they fend off danger together.
Demon Love Spell is light-hearted and slapstick, and completely unlike worrying about my job. Part of its charm is that it is complete (no waiting!) and concludes tidily at the end of volume 6 – ‘will they or won’t they’ suspense is best kept brief!
Light & Shadow Original novel by Ryu Hyang, Comic by Hee Won published by Tappytoon.com (complete – 103 episodes) 2019
Prince Eden has a secret: his mother is raising him as a boy to protect him from the fate of women in feudal society, and so she can retain some safety as mother of the heir to the throne, rather than as the mere mother of Princess Edna. The prince is a great student, and a great swordsman to boot! But when the profoundly corrupt king is overthrown, Eden must die along with the rest of the royal family… But the queen throws Edna out secretly, to live as an anonymous woman who escapes only with her life.
Then things get complicated.
Edna is abducted, sold into servitude, abused, and sent off as a substitute bride for a soldier with Butcher in his nickname…
This has all the things you want from a Korean drama: Cross-dressing! Secrets! Murderous royals! Plots! Scandals! Rough-on-the-outside, kind-hearted, misunderstood men with amazing abdominal muscles! A heroine who is good at literally everything! The threat that the people who you’ve fallen in love with could you will kill you if they discover your bloodline! Romance between battles! Weird scars! Good hair!
The idea that heroines of these stories are so good that people would die for them soon after witnessing their kindness is a bit alarming (how desperate are people for signs of kindness, exactly?). It does makes for good comedy scenes from otherwise hardened characters that softens the stories with humor.
I am excited that I finished reading all 155 chapters this month!
Terrifying monsters with superhuman strength roam the land, often stealing the appearance of specific people to hide in a community and (secretly) feast on their family and neighbors. The only defense: hiring a Claymore, a silver-haired, silver-eyed woman warrior who can detect and defeat such creatures. The Claymores themselves are spooky, can survive terrible physical harm, and don’t appear to need human companionship. They are held to a strict (but not visibly moral) code, and if they violate it, their peers track them down and brutally execute them.
This is the dark story of several of these warriors, who work at the behest of their governing body, The Organization. The Organization ranks them to engender competition, and won’t let them intervene in human affairs even when it would be ethical to do so. The Organization also appears to send small groups of them on suicide missions for unknown reasons. What is really going on? Why are there so many monsters? And why is the Organization so obsessive in controlling the Claymores?
This tense and very violent story (not for kids!) unfolds at different speeds, with increasing battles and characters, but also increasing mysteries about the motivations of the Organization and the increasingly coordinated (!!) monsters. The origin of the Claymores themselves and the apparent leaders of the monsters are slowly revealed, with some secrets kept until the very last chapters.
The monsters range from simple to extremely complex and fanciful designs. The Claymore warriors themselves look somewhat Eastern European to me, and the artist distinguishes the matching-armor-wearing women with distinct hairstyles. The reason they are all women is explained over the course of the story, and the limited female nudity is intended to make some of the creatures more terrifying – I think it works well.
Great story, old-school drawings, great monsters, great comrade-in-arms bonding, solid (grim) story. I enjoyed this story very much.
Here’s a webtoon/manga for the goth kids. :). This doesn’t follow the Tappytoon themes I’ve described earlier (a modern person wakes in a video game or novel), but instead this is a straight story.
Ophelia’s beautiful mother, Isolde, has married yet again! This time, rather than watching her stepfather die of a mysterious ailment like his predecessors, Isolde dies with her new husband in a tragic – and very strange – carriage wreck.
Ophelia is bereft. Alec, her young step-brother, asks Ophelia to to stay in his family home so he won’t be completely alone, and while the household is unfriendly, she may not have any better options. But when investigators come about the carriage crash, and people start turning up dead, Ophelia wonders what she’s gotten herself into, and whether she can keep her mother’s secrets.
This is a drama, a murder mystery, a story about self-absorbed parents, a tale of vengeance, and possibly a warning about trying too hard to attract romantic attention. It is 50 chapters long, the story is complete, the period costumes from [some European period setting] are pretty, and the images of Isolde float charmingly in a halo of her daughter’s affectionate memories. I enjoyed it.
The first time Ayoola calls her doting older sister, Kerede, to say that she’s in a bad situation and Kerede finds her covered in blood, it is stressful. The second time Ayoola insists another man had scared her tiny self, and that this man is dead, Kerede helps her unquestioningly.
But the third time?
No one could possibly think ill of angelic, beautiful Ayoola. No one would even believe Kerede if she told them – surely they would say she is mean due to jealousy, because she is so plain-looking! So Kerede pours her heart out to a comatose man at the hospital where she works.
But now Kerede wants someone who isn’t comatose to believe her, because Ayoola is going out of her way to attract the man Kerede cares about most.
This is a lively tale of family dynamics, trying to survive the patriarchy, loyalty, workplace crushes, the societal currency of being attractive, and the many uses of bleach. I was completely engrossed!
This collection of Kenya Hara’s essays provide examples of Japanese design principles and customs, and suggests that Japan’s (and other local cultures’) values can shape unique products and experiences in ways that differentiate themselves in global marketplaces.
My copy of Hara’s book is filled with little book darts marking ideas I especially like. His optimism that design itself can inspire better decision-making and life choices is appealing. I find the idea that our lives are so crowded with objects that we can’t see and appreciate them individually feels fair. (I feel that the near-minimalist ideal this implies has been superficially transformed here into a different sort of materialism, seen in the vast spaces spotlighting curated “conversation pieces” within the enormous homes of the rich.) Hara’s planning and execution of exhibitions is interesting to read about, and his suggestion that novel demographic changes likely have design solutions is intriguing. His examples of rural support with mobile infrastructure is a lovely example of very democratic, well-designed approach.
Hara has numerous timely insights, such as on the decluttering fad: the problem isn’t just with the individual who has accumulated useless things. “It is not jettisoning the object that is mottenai (shameful waste), but rather the series of efforts conceived and executed with the goal of manufacturing a useless object destined for disposal.” YES YES YES!
I am tempted to delicately reword comments about historic Japanese sensibilities being “diluted” by external influences, due to my sensitivities toward current American xenophobic euphemisms. External influences can be dire, (I write here in the language of people who enslaved many of my ancestors, so I have feelings on this topic), but external influences CAN also bring ideas that can be transformed by the culture that consumes and reworks them. Japan has produced great innovations, including innovations on technologies that originated elsewhere. I fully acknowledge that industrialization (which I don’t conceptualize as a cultural product) specifically has proven both beneficial in raising basic living standards AND highly problematic in environmental impacts.
This is a thoughtful collection. I enjoyed the clarity of the language used, and the mix of theoretical discussions with specific examples of how these theories have been communicated for international exhibit audiences.