Shea and Derek are back for their September manga episode. (Yeah, yeah. We know it’s the beginning of October, but the guys were a little late getting last month’s show recorded.) This time they discuss two intriguing titles, each quite different one from the other. They begin with the inaugural issue of Vérité, a new anthology series out of India featuring classic alternative manga as well as contributions from contemporary Indian artists that have a gekiga feel to them. The guys were glad to see work from Tadao Tsuge, Susumu Katsumata, and Youji Tsuneyama, but they were also taken by fresh Indian voices such as those of Anpu Varkey, Shaunak Samvatsar, Nandita Basu, and Bharath Murthy, Vérité‘s editor. After that, Shea and Derek discuss Cutie Honey: The Classic Collection, by Go Nagai. This is another one of Seven Seas Entertainment’s nice hardbound collections of classic 1970s manga, other titles including Captain Harlock and Devilman. The guys emphasize Cutie Honey as a representative kind of shonen manga for its time, but they spend most of the time discussing the, at times discomforting, sexual or erotic nature of Go Nagai’s creation. What was written for a particular audience back in the 1970s may come across as gratuitous or even offensive to more contemporary readers. But both Derek and Shea point out that, despite the erotic weirdness apparent at times, the story is engaging and worth revisiting.
On the March manga episode, Shea and Derek discuss a couple of experimental works. They begin with Yuichi Yokoyama’s Iceland, released last fall from Retrofit Comics/Big Planet Comics. The plot of this book is minimal — two characters are searching for a third, they find him, and then they drive off in a taxi — and it’s something like you might find in Samuel Beckett narrative. But it’s Yokoyama’s art that propels the text. As the guys discuss, there is something kinetic, claustrophobic, and even frantic about the visuals. For Derek, futurism comes to mind.
After that they look at a book that both Shea and Derek have been eagerly anticipating, Susumu Katsumata’s Fukushima Devil Fish (Breakdown Press). The core text comprises nine short stories that provide a diversity of tone. The first two are the most contemporary, originally published during the 1980s and focusing on the dangers of nuclear power. The remaining pieces reflect Katsumata’s style from the late 1960s into the early 1970s, stories originally appearing in the legendary Garo and COM. Some of these are folklore-inspired narratives, presenting a pre-modern Japan inhabited by kappa and tanuki and reminiscent of the stories found in Red Snow. Others are instances of “I-manga,” introspective and highly personal pieces driven more by tone than cohesive storyline. Four critical and biographical essays, two written by Katsumata himself, round out the collection.