Manga Review: Skip-Beat! Volumes 4-5-6

Manga Review: Skip-Beat! Volumes 4-5-6 by Yoshiki Nakamura

Quick recap:  Kyoko Mogami dropped out of school and moved to Tokyo to support her beloved Sho as he tried to break into show business.  A couple of years later, the now rising star let slip that he has never liked Kyoko back, just using her as a free servant.   Enraged, Kyoko has vowed to get revenge by defeating Sho at the one thing he truly cares about, public popularity.

Skip-Beat! Volumes 4-5-6

Despite no training in the field or immediately obvious talent, Kyoko managed to get a internship at the LME talent agency, because she amused eccentric president Lory.   Kyoko and another young woman with difficulties due to attitude, Moko, have been assigned to the “Love Me” section where they do humiliating chores in an effort to get noticed.

At the beginning of this combined volume, Kyoko manages to pass an audition to acting school by flipping a schmaltzy script to let her acid tongue shine.  She doesn’t get the full scholarship, though, because Lory’s granddaughter Maria (whose home situation mirrored the script) interfered.  Maria and Kyoko bond, and Lory begins to get an idea of how bad Kyoko’s mother was.

Next up, a series of coincidences wind up placing Kyoko in a chicken suit on a TV variety show just as that show has Sho as the main guest.  When Kyoko hears Sho telling fibs to make himself sound more cool, she decides to use her anonymity to get revenge by making the heartbreaker look bad.  It doesn’t quite work out the way she planned, but does allow her to see a different side of her coworker Ren.

We also learn that Ren has deeper connections to Kyoko than she’s aware of, but keeping them a secret because of his work ethic.

The following story has Kyoko and Moko  trying out for a soft drink commercial, and we’re introduced to Moko’s self-appointed arch-nemesis Erika Koenji.  A spoiled rich girl, Erika has never forgiven Moko (real name Kanae, by the way) for getting the lead in a third-grade play over her, and has used her wealth and connections ever since to quash Moko’s acting aspirations.   This is at least partially responsible for Moko’s attitude problem and unwillingness to be friends with other girls.

Learning bits of this makes Kyoko, who has never had a female friend either, feel a connection to Moko, and their unique acting styles (plus some dumb luck) gets them the commercial spot.

The next big storyline has a cold going around the office, knocking out Ren’s manager, and since all the regular replacements are also sick, this leaves Kyoko with the job (while she’s also studying for a high school entrance exam–she really wants to complete her education.)  Kyoko isn’t very good at a talent manager’s main job duties, but her skillset comes in handy when Ren falls ill as well and needs a nurse.  Ship tease!

While Kyoko’s negative personality traits are still present, this collected volume allows her to show the positive ones as well.  The appearances of her (literal) “inner demons” are less frequent.   We also get some nice development for a few of the supporting characters, and hints of deeper backstory.  I like the balance of comedy and dramatic elements, and the romantic hints aren’t overwhelming the story.

The character art is good, but backgrounds are often sketchy or outright absent.

Kyoko’s absentee mother comes across as a real piece of work; parents of younger readers may want to discuss unreasonable expectations with their children.  Aside from that, this book is suitable for junior high kids (especially girls) on up.

Recommended to shoujo readers who like a little tartness in their heroines.

Comic Book Review: The Complete Voodoo Volume 1

Comic Book Review: The Complete Voodoo Volume 1 Edited by Craig Yoe

EC was not the only publisher putting out lurid horror comics during the brief period between the post-World War Two decline of superhero books and the installation of the Comics Code.  Others quickly followed in their footsteps.  Robert Farrell was one of those who got on the bandwagon with his company that was eventually called Ajax Comics.  His most successful horror title was Voodoo, which ran long enough to fill three of these collected volumes.  This volume covers issues 1-6.

The Complete Voodoo Volume 1

Mr. Farrell was big on recycling, so several of the stories in these early issues are repurposed from the “jungle” subgenre comics that were also popular at the time.  One of the prominent character types in that subgenre is the “jungle goddess”, a woman (usually white) who acts as guardian to her patch of tropical rainforest.  The first story in the volume, “The Shelf of Skulls” features Olane of the Banishing Islands somewhere in the South Seas.  The frame story is of a wealthy man who collects skulls; his wife (who is planning to murder him with her lover) finally gets him to show her the collection.

Mark Trent is a rather cruel person, and insists on telling her how he acquired the latest addition to his collection.  It seems he was involved in a feud between Olane and a headhunter.  Trent was given the skull of the headhunter in exchange for a promise never to return to the islands.  But there’s a twist–Trent’s got a new hobby, and his wife is not going to like this one at all!

The “jungle goddess” thing gives Olane the chance to be a much more active heroine than was the norm at the time, especially in the horror genre.    There are technically no supernatural elements in this first issue; all the menaces turn out to have rational explanations.

“Zombie Bride” in issue #2 is as close as this volume comes to actually featuring voodoo.  The zombies of Haiti are intelligent undead under the control of a master zombie, who can make more from living humans by a special ceremony.  A man must make a chilling choice when he discovers that his lovely wife has been turned into a zombie.

In issue #3, “There’s Peril in Perfection!” is a rather sexist tale about an expert in beauty who creates a robot to be “the perfect woman.”  Unfortunately, he is unable to handle it when Cynara begins to have emotions that make her all too human, and tragedy ensues.  All blame is placed on the woman, and not the men who made her that way.

Issues #4 and on were almost completely straight up horror as the inventory stories ran out.  Most of the art and writing was done by the Iger Shop, which had a factory-like approach to churning out stories for their client publishers.  Most of the credits are unknown, and two or three artists might have collaborated to finish a single tale.  Some stories come off very well, while others are uneven.

The volume ends with “She Wanted to Know…the Black Future.”  College student Lila Simmons is taking a minor in the occult, and decides to try out one of the spells in the old books she’s been reading.   Theoretically, it will allow her to see into the future.  But when Lila performs the ritual, she sees only the face of Death!  What does this portend?  Well, what do you think it portends?

Like many Pre-Code horror books, these stories are filled with women in form-fitting or scanty outfits, and some rather racist treatment of non-white people (but not to the vaudeville-level some Golden Age comics used.)

This doesn’t rise to the levels of EC stories, but is still grisly stuff to be enjoyed by fans of old-fashioned horror.  I found this copy in the library, and you may be able to do so as well.

 

Manga Review: Pretty Guardian Sailor Moon 3

Manga Review: Pretty Guardian Sailor Moon 3 by Naoko Takeuchi

Usagi Tsukino doesn’t look much like hero material at first glance.  She’s clumsy, not the sharpest knife in the drawer, and a bit of a crybaby.  But Usagi has a secret heritage, and when talking cat Luna seeks her out, Usagi becomes the bishoujo senshi (“pretty guardian”) Sailor Moon!  Now gifted with magical powers, Sailor Moon must seek out the other guardians and defeat the monsters of the Dark Kingdom to save the world.

Pretty Guardian Sailor Moon 3

This 1991 manga series was groundbreaking in many ways.  The mahou shoujo (“magical girl”) subgenre of fantasy manga and anime had been around since the 1960s, inspired by the American TV show Bewitched, but was primarily about cute witches, fairy princesses and ordinary girls who were gifted power by witches or fairies who used their magic to help people with their day to day problems and maybe once in a while fight a monster or two.  Takeuchi blended this with the traditionally boy-oriented sentai (“warrior squad”) subgenre to create magical girl warriors whose primary thing was using magical powers to defeat evil.

It was also novel for being a shoujo (girls’) manga with an immediate animated adaptation as Takeuchi developed the series in coordination with Toei.  The manga ran monthly while the anime was weekly, so the animated version has lots of “filler” episodes that don’t advance the plot but do expand on the characterization of minor roles.  Indeed, it’s better to think of the manga and anime as two separate continuities.

Both manga and anime were huge hits, though the versions first brought to America were heavily adulterated.  American children’s television wasn’t ready for some of the darker themes of some of the episodes, and the romantic relationship of Sailors Neptune and Uranus blew moral guardians’ minds.  More recently, new, more faithful translations have come out, and there’s a new anime adaptation, Sailor Moon Crystal that sticks closer to the manga continuity.

The volume to hand, #3, contains the end of the Dark Kingdom storyline.  Wow, that was quick.   Once forced into a direct confrontation, Queen Beryl isn’t really much more formidable than her minions; only the fact that she has a brainwashed Prince Endymion (Tuxedo Mask) on her side makes the fight difficult.  Queen Metallia, the true power behind the throne, on the other hand, is a world-ending menace and it will take everything our heroes have plus Usagi awakening to her full heritage to defeat it.

Takeuchi had originally planned for her heroines to die defeating Metallia and ending the series there, but the anime had great ratings, and both Toei and her manga’s editor felt that this would be too much of a downer.  After some floundering, the editor suggested the new character “Chibi-Usa” and her startling secret, and Takeuchi was able to come up with a plotline from there.

So it is that just as Usagi and Mamoru are getting romantic, a little girl who claims her name is also Usagi drops out of the sky to interrupt.  “Chibi-Usa” looks a lot like a younger version of our Usagi, and is on a mission to reclaim the Silver Crystal (despite the fact that she seems to be wearing a Silver Crysal herself.)  She infiltrates Usagi’s family, much to the older girl’s irritation.

At the same time, a new enemy appears, the Black Moon.  Led by Prince Demande and advised by the mysterious Wiseman, they seek not only the Silver Crystal but a being called the “Rabbit.”  Their initial ploy is to send out the Spectre Sisters to capture the Sailor Senshi one by one.  The Spectre Sisters are very much evil counterparts of the Senshi, each having an elemental affinity and interests matching one of the heroes.  The first two, Koan and Berthier, are destroyed in battle, but not before they remove Sailor Mars and Sailor Mercury from the board.

In a subplot, a new minor character is introduced, an underclassman of Mamoru’s whose job is shilling Mamoru and his fine qualities.  This is actually kind of helpful, as Tuxedo Mask had spent most of the Dark Kingdom arc either being mysterious or unavailable.  This allows us more insight into who this Mamoru person is when he’s not around Usagi.

Rei and Ami get some development in their focus chapters, but seemingly mostly so that the Spectre Sisters can have similar interests.

Some of this comes off as cliche now, but that’s because Sailor Moon was such a strong influence on magical girl stories that came afterward.  Here’s where many of the tropes started!

The art is very good of its kind, and again seems less distinctive now because of imitators.

Recommended for magical girl fans, teenage girls and romantic fantasy fans.

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