S.Q. Eries's Blog, page 16

Graphic Novel Review: The Night Witches

I never had much interest in war narratives until I came across Tanya the Evil. It’s a completely fictional isekai, but its war nerd creator did such a wonderful job dramatizing the varied aspects of military conflict that it completely hooked me. Since then, I’ve checked off titles such as Tom Hanks’ Greyhound and the Ken Burns documentary The War from my viewing list. On the graphic novel front, I recently reviewed The Night Witches. Read on for the review!

Back Cover Blurb

As the German Army smashes deep into the Soviet Union and the defenders of the Motherland retreat in disarray, a new squadron arrives at a Russian forward airbase. Like all night bomber units, they will risk fiery death flying obsolete biplanes against the invader–but unlike the rest, these pilots and navigators are women. In the lethal skies above the Eastern Front, they will become a legend–known to friend and foe alike as the Night Witches.

The Review

History, and war chronicles in particular, tend to omit or diminish the contributions of women. In recent years, there’s been a push to bring to light the forgotten stories of women in the military. Thus, we have The Night Witches, a graphic novel about female Soviet pilots who fought the Germans in World War II. The Night Witches, as Dead Reckoning Press presents it, is a collection of three 3-chapter graphic novels, all of which focus on the Soviet pilot Anna Kharkova. Like many historical works set to this era, Anna’s experiences aren’t based off those of a single person but are a compilation of the exploits of several individuals.

A word of warning. The Night Witches has no rating, but it is definitely in the 18+ category. The creators have not shied from showing war’s awfulness, so the pages contain graphic depictions of violence, disembowelment, and rape.

And a slightly different word of caution. The graphic novel offers no background for what’s happening. It simply begins with a German squad inside Russian borders, and Anna and her fellow female newbies arriving on a Soviet air base. Except for a couple date stamps, the text is entirely dialogue with a bit of internal monologue. Meaning we are limited to the knowledge and viewpoints of the characters. Thus, readers are expected to know who’s invading whom, the toll to date, and the political and social forces at work as a matter of course. They’re also expected to know war slang as well as weapons by nickname and name, and only rarely does the narrative hint at the broader scope of the conflict.

In short, if you’re not a World War II nerd, this graphic novel probably isn’t the best place to start learning about Soviet female pilots. However, if you’ve got at least some history under your belt, The Night Witches will bring to light lesser-known facets on historical events.

The first of the three works, The Night Witches, focuses on the parallel journeys of two new recruits, the German infantryman Kurt Graf and the Russian pilot Anna Kharkova. Although the two don’t meet until the third chapter, they’re constantly interacting throughout as Anna’s bomber regiment is tasked with harassing the German forces of which Kurt’s squad is a part. On Anna’s side, the creators do a pretty good job depicting the prejudices against the women and how their ingenuity allows them to hold their own despite their woefully obsolete equipment. The storytelling’s much more muddled on Kurt’s side. His squad members are introduced as a lengthy list of names applied to an indistinguishable group of men. When Kurt interacts with squad individuals during the story’s progression, I can’t recall who’s who. But while the German cast’s confusing and largely forgettable, the horrors and atrocities Kurt witnesses are not.

The second work, Motherland, begins with a now battle-hardened Anna transferring from her bomber unit to a fighter squad just before the Battle of Kursk. The Soviet strategy boils down to throwing soldiers at the Germans to overwhelm them by numbers, and that’s clearly illustrated by the pitifully young and untrained pilots assigned to Anna and the arrogant commissars who bear no compunction about sending poorly equipped soldiers to certain death. There is a lot of discussion about different aircraft in this arc, and because my knowledge of German and Russian planes is nil, most of this went over my head. Additionally, action in the massive ambush on Anna’s squad is very difficult to follow, although the illustrations do convey the battle’s epic scope.

The final installment, The Fall and Rise of Anna Kharkova, “lacks any direct historical precedent” (as admitted by the writer), and the latter half of its third chapter “very nearly qualifies as fantasy.” Although individual Russians certainly suffered as prisoners of war, stood before counterintelligence tribunals, supported North Koreans in the Korean War, and got condemned to punishment camps, it’s highly unlikely anyone experienced them all. In addition, Anna’s final ploy, though inspiring, is beyond the realm of possibility. What these chapters do illustrate, however, is the Soviet Union’s post-war activities and the evolution of their aircraft technology.

While I appreciate how this book celebrates the achievements of women in World War II and the Soviet Union, I wasn’t enamored of Anna as a heroine. She is depicted as big chested and adorably petite, and she’s the sole blonde among a cast of drab women. She winds up lover to her superior officer in The Night Witches, similarly catches the eye of her superior officer in Motherland, and despite suffering multiple injuries in a crash behind enemy lines, charms the guy attending her in the POW hospital with her beauty. (And none of these supposedly romantic encounters have the least bit of chemistry.) Having this Barbie doll as the female elite of elites makes her less a figure of inspiration for young girls and more of a male fantasy.

Extras include Afterword and a collection of sketches.

In Summary

The Night Witches is the fictional account of a female Soviet pilot during World War II. This book is not fodder for the lighthearted; it’s graphic in its depiction of World War II atrocities and the brutalities of the Soviet government. While the conclusion is improbable, the first two-thirds of the book is grounded in actual events and pays tribute to women’s achievements in the face of discrimination and incompetent leadership.

First published in The Fandom Post.

Manga Review: Saga of Tanya the Evil Vol. #11

The Saga of Tanya the Evil anime was a surprise favorite for me in 2017. With a title like that, I was almost too scared to give it a try, but conniving little Tanya turned out to be nothing like I anticipated. Yen Press has released Volume 11 of the manga adaption, and you can read on for the review. (For my reviews of other Tanya the Evil works, click here.)

Back Cover Blurb

After a successful exercise with the Norther Sea Fleet, Tanya leads her battalion to the nostalgic, blood-soaked skies of the Rhine front lines for another mission…Only this time, the mission includes babysitting new recruits?!

The Review

It’s been a while but Tanya returns to the Rhine front, this time with her elite battalion. The narrative’s mostly dealt with ocean battles of late, so to reintroduce the world of trench warfare, Tojo-sensei skillfully brings us back to that battleground alongside new recruits. We get a quick glimpse of Lieutenant Grantz and his fellow rookie mages leaving civilian life, and then the focus shifts to a group of footsoldier newbies following the vets for their first taste of combat.

The new recruits are woefully undertrained. In addition to demonstrating how bad the situation is, their ignorance provides an excuse for the experienced soldiers to explain the what, why, how, and where of trench warfare. Even if you’re not a war nerd, explanations are easy to understand and increasingly engaging as the troops get backed into a corner. Plus, they allow Tanya’s 203rd Battalion to make a heroically impressive entrance.

Tojo-sensei does a stellar job with this volume’s artwork. From the chaos of ground fighting to the diagrams detailing the movements of different units to the breathtaking images of Tanya and her mages, all the illustrations are delightfully on point. Speaking of illustrations, I’d previously complained about the over sexualization of preteen Mary Sue. Well, at the very least, Tojo-sensei demonstrates gender equality in this department with Lieutenant Commander Vianto providing tons of eye candy in a Parisii bath.

The volume closes with the bright eyed, bushytailed new mages joining the 203rd, much to Tanya’s dismay. The dialogue does a great job explaining why the rookies are liability, and the rookies themselves drive that point home with their haphazard introduction to their new commander. Getting stuck with annoying assignments is an ongoing theme for Tanya, and she’s got her work cut out for her having to babysit clueless subordinates on the front lines.

Extras include world map, battle log thus far, character introductions, country profiles, and detailed glossary of terms between chapters. Unfortunately, the font on the character introductions and country profiles is so small (4 point? 3 point?) that reading it feels like an eye exam.

In Summary

Tojo-sensei delivers an excellent installment with Tanya’s return to the Rhine. The chapters don’t contain any game changing maneuvers for this theater as a whole, but we get plenty of action, thrilling illustrations, and new characters. In addition to reintroducing the world of trench warfare, the narrative lays the groundwork for trouble to come, both in the form of a scheming commander on the enemy side and impossibly green additions among Tanya’s ranks. It’s never a dull moment for Tanya!

First published at the Fandom Post.

 

 

Manga Review: A Bride’s Story Vol. 12

Kaoru Mori is best known for  Emma, an exquisite romance/slice-of-life set in Victorian England. Her latest work to be released in the United States, A Bride’s Story, is also a historical/slice-of-life but is vastly different than Emma. Set in Central Asia in a rural town near the Caspian Sea during the early 19th century, A Bride’s Story revolves around a young woman, Amir, who arrives from a distant village across the mountains to marry Karluk, a boy 8 years her junior. Volume 12 has been released, and you can read on for the review. (For reviews of other volumes, click here.)

Back Cover Blurb

Camera in tow, Smith retraces his journey to photograph the people and places that have come to mean so much to him. Though he has vast ground to cover, the inevitable delays of travel afford Smith an opportunity to rest and reflect. On Amir and Karluk, who have since sought the tutelage of Karluk’s hardy brother-in-law. On Pariya, struggling to complete the elaborate embroideries for her dowry. On the young, energetic twin brides, Laila and Leily. On the grand mansion that is to be the first stop on his return journey…

The Review

A Bride’s Story is a slice of life manga, so some sections are slower than others. However, the opening of Volume 12 is a lot slower than typical. That probably has to do with the fact that the subject of the first two chapters is “Spare Time,” and for half the cast, “spare time” translates into “I’m bored time.” So aside from a scorpion blowing into the now-married twin sisters’ new home, there’s no excitement. However, the chapters do the trick of updating us on the lives of the brides we’ve met thus far.

Chapter 80, which focuses on the antics of Pariya’s kitten, and Chapter 81, an intimate yet humorous glimpse into Seleke’s marriage, are amusing but also fairly slow. It’s not until halfway through the volume that the pace picks up with the continuation of Mr. Smith’s venture to photograph the people he’s met on his travels. After joining in a village’s party to celebrate a pilgrim’s return home, Mr. Smith’s group arrives at the mansion of Anis and Sherine.

This leads to a fairly interesting encounter. Anis and Sherine lead segregated and secluded lives compared to Talas, so in addition to the excitement of hosting a guest in the women’ quarters, they are intensely curious about the things Talas has seen and experienced. Mr. Smith, of course, is curious about the women’s section, but he’s forbidden even to meet his host’s wives. However, Talas takes the initiative of offering to photograph those quarters, and having received permission from their host, the photographing session turns into a delightful time of sharing for the women. Not to mention, Mori-sensei showcases some lovely pieces of regional architecture.

Then Talas and Mr. Smith continue on, but the narrative lingers on Anis and Sherine a bit longer with another visit to the place they first met: the bathhouse. Whereas Anis was previously an outsider to this female community, she is firmly entrenched now. In doing so, she’s learned things from the other women (like how to find a good wife for her son), and she’s teaching them things in return (like how to write). Surrounded by these friends and her avowed sister Sherine, Anis’ story ends on a firmly positive note.

Extras include Mori-sensei’s manga style afterword.

In Summary

This volume gets off to a rather slow start with the theme “spare time.” However, after a few chapters of bored characters and frolicking cats, the narrative kicks back into gear with Mr. Smith retracing his journey. His first stop gives us an update on the lives of Anis and Sherine, and Talas’ visit to the mansion’s women’s quarters results in a delightfully lively interaction between three very different women.

First published at the Fandom Post.

Manga Review: Hatsu*Haru Vol. 12

Ah…high school romance. It is a staple of shojo manga, and Shizuki Fujisawa adds another title to this list with Hatsu*Haru. Read on for the review of Volume 12! (For reviews of previous volumes, click here.)

Back Cover Blurb

While the class trip may not have been a slam dunk for Kai, Kagura finally accepted her true feelings and confessed to her childhood friend Tora. With nothing left to hide, she’s ready to move on, but womanizer Tora suddenly finds he’s at odds with himself! Luckily for him, reformed playboy Kai knows exactly how to help…

The Review

As you might guess from the cover art, this is the volume where Tarou and Kagura finally get together. Of the four romances, theirs is the least satisfying. After Kagura’s awkward confession in Volume 11, Tarou decides within the span of one chapter that Kagura’s the only one for him and immediately drop his playboy ways to devote himself to her. The resolution comes way too quick and easy and leaves me more annoyed than anything else. After all, there was never any real obstacle to their relationship other than their own personalities.

Thankfully, Fujisawa-sensei makes up for it by throwing an actual obstacle into the path of Misaki and Ayumi. Ayumi’s dad catches them making out in his house and blows his top, refusing to accept Misaki as her boyfriend. Under the circumstances, his disapproval–though extreme–is natural, but what’s really interesting is how Misaki responds to it. Although Ayumi insists he can just ignore her dad, Misaki takes the much more difficult route of trying to win the man’s approval. While the elder Shimura’s personality does make this arc somewhat wacky, it is a wonderful episode that deepens all the relationships involved.

With everyone paired up, it is no surprise that the next volume will be the last. As Kai and Riko are the main couple and Riko’s ever-absent mom has made two appearances in this volume, chances are pretty good she’ll play a role in the series wrap up.

Extras include story-thus-far, mini-manga about Fujisawa-sensei, and translation notes.

In Summary

Tarou and Kagura finally pair up! This is a shojo manga that began with four guys and four girls, so it was inevitable the remaining singles would get together. But considering the intensity and duration of Kagura’s outward hostility toward Tarou, his sudden turnabout from playboy to devoted boyfriend is too convenient for belief. Fortunately, the narrative then shifts to a much more engaging arc about Misaki and Ayumi as they face a parent’s opposition to their relationship.

First published at the Fandom Post.

Manga Review: The Promised Neverland Vol. #16

The Promised Neverland anime was a surprise favorite of mine for 2019. Its blend of mystery, suspense, and heart grabbed my attention and wouldn’t let go. For English-speaking fans who can’t wait to see what happens to Emma and their friends, they can read ahead in Viz’s translation of the manga. Read on for my review of Volume 16. (For reviews of other volumes, click here.)

Back Cover Blurb

While attempting to locate the Seven Walls, Emma and Ray find themselves trapped in a mysterious world. Can they escape this labyrinth and make the promise that will finally bring about peace? Meanwhile, Norman has his own plans…

The Review

The creators have yet again delivered another page-turner. The previous volume had Ray and Emma going through the entrance to the Seven Walls and winding up at a topsy-turvy version of Grace Field House. Their journey continues with them blundering through a chaotic maze of warped versions of places they’ve visited. The kids have had to solve puzzles before, but now they’re physically trapped in a riddle, and they need the answer in order to get out. Interestingly, even though the means by which they arrived at the entrance to this Seven Walls has a fantasy, mystical flavor, the key to solving the riddle involves a lot of sci-fi language as space and time get crazily twisted around Emma and Ray.

Meanwhile, back at the base, Norman gives Don and Gilda a mission: find Mujika, a.k.a. the Evil-Blooded Girl. They’re not going alone though; accompanying them are Hayato and the new character Ayshe. Unlike the farm-raised children, Ayshe had been kept by a demon and speaks only the demon language. However, she is a sharpshooter and commands a trio of tracking hounds, so she is joining them for the trip.

Interactions between the Grace Field kids get fairly fraught here. Whereas before, they trusted one another and worked toward the same goal, now they’re out of alignment on the issue of the demons, and each side is hiding something from the other. Compounding that is the inability to communicate with Ayshe and therefore the inability to know what she truly thinks of the mission.

Toward the end of the book, time turns back to the original Promise and the separation between the humans and demons. Not only do we see what drove the Ratri Clan head to bargain with the demon ruler, we get insight into the being who lives beyond the Seven Walls. And with Emma approaching the same being with her own request, you can’t help but worry she’ll get shafted the way Julius Ratri did.

Extras include character profiles, the story so far, side scenes, and the creators’ notes.

In Summary

Riddles, action, betrayals, schemes… The creators really pack it in to make a gripping narrative. Although the plot goes forward and back in time (and, in Emma and Ray’s case, does both at the same time), the storytelling’s handled so well you don’t get lost. With the demon army on the move and Emma on the brink of a new Promise, things are plunging toward a head, but I can’t even guess what the outcome will be. Hats off to Shirai-sensei and Demizu-sensei!

First published at The Fandom Post.

Manga Review: Yoshi no Zurikara: The Frog in the Well Does Not Know the Ocean Vol. 1

Mangaka Satsuki Yoshino is probably best known for her country comedy Barakamon. Now she’s back with yet another rustic flavored series: Yoshi no Zuikara: The Frog in the Well Does Not Know the Ocean. Read on for my review of Volume 1.

Back Cover Blurb

Thirty-two-year-old Tohno Naruhiko has been scraping by as a manga creator for ten years, and when his latest series gets canceled, he finds himself at a crossroads. Tohno’s always had his sights set on fantasy, but this time around, his editor’s got another idea—a slice-of-life story set in a remote village not unlike the one where he was born and raised. Could a return to his roots be exactly the change of pace our reclusive manga creator needs?

The Review

The opener of this book is a little confusing. It begins by introducing four modern teenage boys who live in an extremely out-of-the-way village in Japan. After seventy pages of learning about them and their lives on the backwater island of Tonoshima, we discover they aren’t actually the protagonists of Yoshi no Zurikara. Rather, they are the creations of thirty-two-year-old Naruhiko Tohno, a mangaka who is the series’ main character.

Tohno’s been drawing manga for ten years. Despite having written a couple of fantasy series, he’s never had major success in manga. In fact, it’s safe to say he’s only scraped by as a mangaka because he’s never moved away from home. After his latest series gets canceled, his editor suggests he try writing a slice of life manga set in a remote village similar to his own, and to his utter astonishment, this new series takes off.

Yoshi no Zurikara feels like a cross between Bakuman and Barakamon. Bakuman, because the main character’s a manga artist and the narrative often delves into the process of creating manga and the demands of the publishing business. Barakamon, because it has pretty much the same kind of rustic cast and island setting. In fact, it goes deeper into country culture because the main character isn’t a struggling artist who’s an outsider but a struggling artist who’s a local guy.

So if you’ve read Yoshino-sensei’s Barakamon and want more of the same, this series delivers. However, if you were hoping for fresh material from Yoshino-sensei, this might come off as stale. Yes, the ages and occupations of the characters are different, but Tohno’s pretty much the same kind of socially inept artist that Handa was. Tohno’s older by about ten years, but he lives in his grandmother’s house just behind his parents’ place and still relies on them for food. And instead of the energetic child Naru, we have the energetic, childlike manga assistant Toshibou. By the way, Yoshino-sensei doesn’t do a good job introducing Toshibou. He enters the story in Chapter 2 and has quite a bit of interaction with Tohno, but it’s not until Chapter 4 that the narrative clarifies that he is Tohno’s paid assistant.

Extras include translation notes and four-panel comic strips.

In Summary

It’s a slow mangaka life… That pretty much summarizes the series. Tohno is a manga artist in the sticks drawing a story about life in the sticks, so if you like rustic settings and characters, you get a double dose. The parallels between Tohno’s Wakkamon and Yoshino-sensei’s previous series Barakamon are bit blatant, but this manga definitely panders to Barakamon fans so maybe that’s the point.

First published at The Fandom Post.

Manga Review: Mujirushi: The Sign of Dreams

I’ve been a fan of Urasawa-sensei ever since I saw the psychological thriller anime Monster. His stories are intricately crafted, and his drawing style wonderfully individualizes characters even when the cast is insanely large. As such, I was eager to read his latest translated work, the single-volume manga Mujirushi: The Sign of Dreams. Read on for the review.

Back Cover Blurb

Kamoda will do anything to earn a quick buck, even if it means skipping out on his taxes to take his wife on a luxury cruise. But when a random tax audit bankrupts his family, Kamoda soon discovers his wife has taken that cruise after all—only without Kamoda or their daughter Kasumi.

Desperate to provide, Kamoda invests in a scheme to mass-produce masks of controversial American presidential candidate Beverly Duncan. But a lackluster election kills their sales potential, burying Kamoda under a mountain of masks and debt. On the verge of despair, Kamoda discovers a sign that leads him to the Director, an art fanatic who vows he can make all of Kamoda and Kasumi’s dreams come true.

The Review

The story begins in modern-day Japan with Kasumi Kamoda, a little girl whose father has gotten into dire financial straits. Due to a string of terrible business decisions, he’s drowning in debt, and his wife ran off with another man. His assets are about to be seized, and he’s on the brink of committing suicide. That’s when father and daughter encounter a crow carrying a note with a strange symbol and the words: the sign of dreams.

It’s an ominous opening. The kind that made me anticipate a dark story like Monster. So it’s completely jarring when Kasumi and her father follow the crow to a creepy Western-style house and end up before Fujio Akatsuka’s Iyami.

For those unfamiliar with Iyami, he’s a character from the 1960s Osomatsu-kun franchise, which has recently found new life in the Osomatsu-san anime. Characterized as a flashy Francophile and opportunist, Iyami was, according to Urasawa-sensei’s afterword, quite popular in mid-sixties Japan.

If you are a fan of Iyami, his sudden appearance might add an element of fun to Mujirushi. But if you’re like me and have no background on him, the buck-toothed character just comes off as weird, especially from a visual sense. Urasawa-sensei’s character designs tend to be more realistic while Fujio Akatsuka’s are decidedly cartoony. As a result, I kept feeling like Iyami was an inside joke Urasawa-sensei was constantly referencing that I wasn’t privy to.

Anyway, Iyami, who only introduces himself as “The Director” to Kasumi and her dad, tells a rather sketchy tale about himself, the Louvre, and the Vermeer painting “The Lacemaker.” He concludes by proposing a rather dicey plan to restore the Kamoda family fortunes by selling a counterfeit painting. Kasumi, who is the voice of logic and reason in her family, tries to talk her father out of it, but he’s fallen under the Director’s sway so the next thing you know they’re in Paris.

By the way, this is the second recent manga I’ve read that prominently features the Louvre (the first being the somewhat incomprehensible Cats of the Louvre). Both manga were published by Shogakukan, which makes me wonder if someone in that publishing house has some connection with the Paris museum. At any rate, Urasawa-sensei’s illustrations of European artwork and architecture have always been top-notch, and he doesn’t disappoint with his depictions of the Louvre and its iconic exhibits.

As the narrative proceeds, Urasawa-sensei throws in a bunch of disparate elements, including a Trump-esque American president, an aged French singer and her Japanese fluent firemen grandson, a couple of journalists, and two detectives on the hunt for art smugglers. And, as in many Urasawa works, all those pieces combine into a final culmination that shifts the fortunes of the protagonist. However, the conclusion felt abrupt, and the President Duncan scandal revelation felt especially shoehorned in. Moreover, the Director is presented as the mastermind pulling the strings behind the curtain, but there are key things he couldn’t have been privy to, such as the journalists’ secret photos. As such, I’m not sure if the Director is supposed to be viewed as superhuman or if this is meant to be interpreted as a chain of coincidences. Or perhaps that ambiguity is the point of the story?

Extras include thirteen pages printed in color, afterword, sound effects glossary, and translation notes.

In Summary

I’m not familiar with Fujio Akatsuka’s Osomatsu-kun franchise, but if you are, you might get a kick out of this tale about a manipulative Francophile and a desperate family. Otherwise, Iyami “The Director” is visually dissonant and somewhat confusing against Urasawa-sensei’s art style. The flip side is that you get a lot of wonderfully rendered illustrations of the Louvre and its works as a bunch of amateurs attempt an art heist.

First published at the Fandom Post.

Graphic Novel Review: Great Naval Battles of the 20th Century

I never had much interest in war narratives until I came across Tanya the Evil. It’s a completely fictional isekai, but its war nerd creator did such a wonderful job dramatizing the varied aspects of military conflict that it completely hooked me. Since then, I’ve checked off Tom Hanks’s Greyhound and the Ken Burns documentary The War from my viewing list. As such, I was eager to see what sort of narrative Great Naval Battles of the Twentieth Century would present. Read on for the review!

Back Cover Blurb

In the history of civilizations, sea power has always played a preponderant role. This symbol of a nation’s scientific and military genius has very often been the deciding factor during major conflicts, putting the names of several clashes down into legend. With this collection, Jean-Yves Delitte and Giuseppe Baiguera plunge into the heart of three of the twentieth century’s greatest naval battles.

The Review

This graphic novel, which was written by Delitte, a member of France’s Academy of Arts and Sciences of the Sea, contains three fictionalized accounts of the Battles of Tsushima, Jutland, and Midway, plus a section of “Battle Histories” at the end to provide context for each of the stories. Unfortunately, the title is misleading. I expected a story like Greyhound, where the majority of the narrative is focused on actual battle/engagement. Instead, “Tsushima” begins six months before the Battle of Tsushima, “Jutland” begins a year before the Battle of Jutland, and “Midway” begins with the immediate aftermath of Pearl Harbor. In terms of page allocation, only five pages of the forty-six page “Tsushima,” seventeen pages of the forty-six page “Jutland,” and ten pages of the fifty-page “Midway” present the battles for which these stories are named.

Instead, the focus is the circumstances leading up to the naval battles as well as the lives of rank-and-file sailors and pilots, who, for the most part, have limited knowledge of what’s happening. While this does provide broader scope and gives readers characters to sympathize with, it also means the view of the actual fights are very narrow. While there are stunning illustrations of ships cruising and exchanging fire, there’s almost nothing about the overall flow of these three naval battles. It would be more accurate to title the book: Factors Leading up to the Great Naval Battles of the Twentieth Century.

Content aside, this is a wonderfully illustrated book for a military history text, but it is a very slow read for a graphic novel. Delitte relies almost exclusively on character dialogue to relay information about what’s happening politically and strategically, so conversations end up dense and info dumpy. And even though the narrative constantly refers to different geographical locations, no maps are included, and incorporating maps into the illustrations definitely would’ve helped from a storytelling and educational perspective.

Finally, this might be because the writer is French, but the book definitely has a Eurocentric bent to it, “Tsushima” especially. “Jutland” and “Midway” have primary characters representing both opposing nations, but in “Tsushima,” the main characters are the sailors on a Russian ship and military observers from Britain and France; there’s no Japanese perspective at all. Moreover, the entire lead up to the Battle of Tsushima seems like a bunch of excuses for why the Russians lost to the Japanese. Also, while the English and Germans toss a few slurs against each other in “Jutland,” an avalanche of Asian/Japanese slurs are used by Russians and Americans in “Tsushima” and “Midway,” but the Japanese don’t use any equivalent Western slurs against them. Not that I’m a fan of slurs, but if a writer is going to use insults for flavor or accuracy, those of both sides should be presented.

In Summary

It’s not so much Great Naval Battles as it is Politics and Prelude to Great Naval Battles. This graphic novel does deliver quite a bit of information with beautifully drawn and colored illustrations, but it’s less about tactical maneuvers and salvos and more about providing context for the ultimate outcomes of the clashes. Also despite the fact that Japan contends in two of these engagements, the narrative is very much lacking in terms of an Asian perspective on events.

First published in The Fandom Post.

Manga Review: I Don’t Know How to Give Birth

A couple months ago, I reviewed Little Miss P, a manga about menstruation. Now I’m apparently continuing my study on women’s health with a pregnancy manga. Read on for my review of I Don’t Know How to Give Birth.

Back Cover Blurb

A humorous and heartfelt autobiographical comic essay of a manga artist new to the challenges of motherhood! Follow her journey as she learns the ins and outs of pregnancy and childbirth—and the impossibility of finding comfy maternity underwear!

The Review

This book’s title is a bit misleading. The single-volume work is comprised of ten short chapters plus two “postpartum anecdotes,” but only two of the chapters have to do with the birthing process. Rather, the overall arc covers the more extensive journey of getting pregnant to the initial stages of parenting.

And for mangaka Ayami Kazama and her husband Azure Konno, the journey was longer than most because they struggled with infertility. Infertility isn’t a topic the general public knows much about and is often a source of pain and anxiety for those struggling to conceive. In the first three chapters, Ayami-sensei recounts all the different things she tried in order to get pregnant. If you know nothing about infertility, she lays out the information in a clear fashion that’s easy to understand. She’s also transparent about the emotional, physical, and financial impact it had on her.

At the same time, she tells her story in a way that’s entertaining and often funny. Part of it is because her husband is also a mangaka who’s extremely supportive and has a much more flexible work-life than most Japanese men. She also learns laughs by making comparisons and analogies to video games and anime/manga. (And because her husband also works in that industry, he’s right there on that same wavelength.)

The middle four chapters are about the pregnancy. Because the tone is humorous, she dedicates a chapter to the difficulties of finding properly fitting maternal underwear and another to “leveling up” her nipples for the intense rigors of breastfeeding. However, she also delves into her doubts about whether she will be in “motherly” enough. Interestingly, although she voluntarily underwent two harsh years of infertility treatment, including IVF, it wasn’t because she had an overwhelming innate desire to have a child; rather, her husband wanted one, so she was determined to make his dream of parenthood come true.

Thus, while there’s a lot of material that’s universal to all pregnancies/births, Ayami-sensei’s struggle with infertility, her particular motivation for having a child, as well as her gamer/otaku mindset adds a level of uniqueness to this tale of becoming a parent.

Extras include an afterword and translation notes. Also, every chapter concludes with a commentary from Ayami-sensei and another from her husband, so you get both spouses’ thoughts about story events.

In Summary

If you’re curious about infertility treatments, pregnancy, and childbirth, I Don’t Know How to Give Birth serves as a pretty good introductory text. Ayami-sensei’s illustrations and analogies do an excellent job of conveying basic concepts in manga/gamer terms. And the tone is pretty upbeat throughout despite the fact that Ayami-sensei clearly endured more than most women in order to have a child.

First published at the Fandom Post.

Light Novel Review: The Genius Prince’s Guide to Raising a Nation Out of Debt (Hey, How About Treason?) Vol. #03

Fantasy series are full of royalty, and those characters are often noble, incompetent, evil, or ambitious. But how about a genius prince who is plain lazy? That’s the protagonist of The Genius Prince’s Guide to Raising a Nation Out of Debt (Hey, How About Treason?). Read on for the review of Volume 3. (For my review of Volume 1, click here.)

Back Cover Blurb

After narrowly dodging a marriage proposal, Prince Wein is accosted by a messenger from the Kingdom of Cavarin, which can only mean bad news…and unfortunately, he’s absolutely right! The messenger cordially invites him to the Festival of the Spirit to celebrate the biggest religion in the western side of the continent: the Teachings of Levetia. Oh, and this event just happens to coincide with a gathering for the most influential group in the West, which is also in Cavarin. Either way, it’s not an invitation Wein can turn down easily, even though he knows he’s just begging for more trouble!

The Review

The third volume is a continuation of troublesome Western affairs that began in Volume 1. To recap, the truly despicable King of Marden ordered an invasion of Natra, and Marden wound up losing its gold mine to Natra and its remaining territory to their southern neighbor.

That southern neighbor (which was “Kavalinu” in Volume 1 and is now spelled “Cavarin” in Volume 3) gets things rolling by sending Wein an invitation to the Festival of the Spirit, a religious celebration in their capital. And this year’s festival also happens to coincide with the gathering of the Holy Elites, the top leaders of Levetia, the West’s most influential religion. Wein has no choice but to go, and unfortunately, the route to the Cavarin capital passes through an area where remnants of the Marden Army are struggling to take their territory back.

Quite a few old characters from the Marden conflict return to the story–and some with surprising jobs. But a new country coming onto the scene means new players, backstories, and agendas. While Falanya’s lessons are a blatant information dumping device, they do the trick of quickly laying out key bits of history and introducing Levetia. For the Western nations, there’s definitely no separation between religion and state. Rather the two are deeply intertwined, and much of the first half of the book is Wein trying to figure out the motivations of the Holy Elites and how he can best use them to Natra’s advantage. Toba-sensei keeps things interesting with the varied outlooks of these powerful individuals, but despite their “Holy” title, the group is sadly a corrupt bunch who twists religious texts to further selfish gains.

In addition to navigating that particular political landscape, Wein also winds up unexpectedly indebted to the Liberation Front, the remnants of the Marden Army led by a royal who survived the Cavarin invasion. As such, he agrees to sneak the Marden diplomat Zeno into the Cavarin capital by passing her as part of his retinue. Zeno is interesting and so are her interactions with Wein. However, Zeno’s perspective that the reestablishment of the Marden royal family is a righteous cause feels odd given that the last king was a terrible, incompetent ruler who abused his people, especially those at the gold mine. It’s even odder no one in the Natra contingent calls her out on it, considering MARDEN was the aggressor against Natra just a year ago. Anyway, if you can overlook this odd lack of bitterness between former enemies, all the twists and turns of these elements of international politics, religion, and military are pretty engaging.

The biggest surprise is Wein’s ultimate decision regarding King Ordalasse, the guy who invited him to Cavarin in the first place. I actually stopped to make sure I hadn’t misread the text because I was so stunned by what Wein does. It’s certainly not what you’d expect from a guy who wants to slack off his entire life. However, the treatment of a certain white-haired aide is a significant factor in this scene, and the series has already demonstrated how Wein is when it comes to Ninym. So while Wein’s response is shocking, it is also definitely in character.

The volume closes with a chase and military clashes. Some of the action scenes are difficult to follow, and the tone by which Hagal’s execution is announced immediately made me doubt its veracity. Overall, though, there’s plenty of excitement, close calls, and upsets to keep you eagerly turning the pages till the end.

Extras include the first eight pages printed in color, ten black-and-white illustrations, and afterword. The artwork, by the way, is heavy on the fan service, which, in my opinion, is completely unnecessary.

In Summary

Wein sets out to Cavarin, the kingdom that conquered the country of Marden. What begins as a trip to establish diplomatic ties with Natra’s new neighbor turns into a bizarre encounter with the most powerful leaders in the West. Toba-sensei does an excellent job of throwing Wein into tactical and strategic quandaries, large and small, that will keep you on the edge of your seat.

First published at the Fandom Post.