As promised, here I’ll delve into some American and Japanese manga. But first, an aside. Does it seem odd that Tim and I are digging into mostly mainstream titles? It is, a little. For my part, in some ways the obscure stuff seems easy, and I’m more interested at the moment in trying to understand the popular stuff. I really like good genre stories the way I like, say, that new Nelly Furtado song. They do something that nothing else does—it’s very pure entertainment, not to heavy, not too light. Just fun for me. And I’ve had way more fun with this stuff than with my periodic dips into the superhero mainstream. In fact, I’m kind of hooked in the same way I get hooked on shows like “24”. These comics are unvarnished, unpretentious works—they’re very well crafted and, operating on their own scale, very successful. Ultimately that’s the present appeal for me. Underground-or-whatever-we’re-calling-them comics are so often interior affairs (except our beloved Hernandez Bros. and Bagge) all too infrequent (except for Kevin Huizenga’s Or Else series, which thankfully just keeps popping up) and mainstream comics are by and large burdened by untenable ambitions, so Manga is a good middle ground. Also, unhampered by genre constraints, most manga is concerned primarily with telling plot-based stories, which is, believe it or not, rare in this narrative medium.

First up is the first three volumes of the 10-volume Dragon Head by Minetaro Mochizuki. It’s a pitch black apocalyptic story that begins with a massive underground train disaster which is survived by just three teenagers: Teru, Ako and Nobou. The first two books form a scarily meditative narrative of life underground, as psychological phantoms and physical depravation take hold of the kids. The third finds them wandering out into a blurry, decimated Japanese landscape. Despite it’s disaster-movie trappings, Dragon Head is very much about the interaction between the survivors. It’s essentially a plot-driven character study. And while I sometimes cringe at the cartoon acting here, as well as the overdone anime-style storytelling, what occurs within the story is compelling. Mochzuki manages to make convey the shattering conditions without dipping into gratuity or melodrama. The tone is just right, and it’s quite scary.

Monster by Naoki Urasawa is a wonderfully histrionic murder mystery/soap opera. Pitched somewhere between Days of Our Lifes and Alfred Hitchcock, it follows an ambitious young doctor through his up and down career, which includes sinuous ties to a string of murders and the killer himself. It’s all rather complicated, but, as with Dragon Head, addictive. I’ve only read the first volume but certainly want to continue, if only to find out what happens. Is it great comics? Not really, but it’s extremely proficient. Monster does exactly what it needs to, and the spiraling melodrama (sex, death, doctors, etc etc) is fun. It lifts you up and takes you with it. That may be the secret of this kind of storytelling: it’s insistent and immersive, demanding that you both continue reading and actively empathize with the characters.

Well, that’s it for now. I can’t quite tell how insightful I’m able to be about the stuff. It’s very pleasurable, which as Jules Feiffer made clear in his The Great Comic Book Heroes, is the appeal of so much junk. But it’s summer and junk rules. Next time I’ll try out Scott Pilgrim.

Labels: Gilbert Hernandez, Jaime Hernandez, Jules Feiffer, Kevin Huizenga, manga, Mochizuki, Naoki Urasawa, Peter Bagge, pop