Sunday, December 16, 2018

SHORT-WORKS~ HP by はっとりみつる

SHORT-WORKS~ HP by はっとりみつる is one of those purchases of mine that straddles the grey line between dōjin proper and commercial work - while its imprint seems to be a mere vanity label, this single volume collection is published by a well established author (mostly known in the West for the mediocre Sankarea and the much more enjoyable Umisho), with production values that rival that of the published tankōbon of his main series. The volume features most of Hattori's one-shot works, along with some pin ups for magazines, and a couple of logos / chara designs for brands.



The main featured one-shot, which is also the longest and split in four blocks across the volume, is the hilariously titled 'Kishizuki-san is a Graceful but Bitchy Girl', which is exactly what the title promises: pretty much rom-com fanservice featuring Kishizuki-san herself, who is in fact the school's idol, and graceful and bitchy in equal measure. The story is pretty much non-existent, but graphically it's on par with Hattori's main series - and full color, which always helps.



The other one-shots are mostly b&w, and generally fall within the standards of comedy, with a dash of yuri here and there. The highlights are definitely 'Dear Miyuki-chan', a bizarre almost-mystery with a hilariously comedical twist ending; and 'Existence Check', which is Hattori's first published one-shot ever and, graphically, far from the author's current style but still not too bad at all.



Rounding out the collection is a gallery of illustrations for various clients, from pinups for manga magazines to a mascot designed for NHK Japan, to a way-too-cute 'manatee burger' chara created to promote Mie's food industry...  I have to say it's quite nice and refreshing to see an author who's not afraid to show commercial work for hire and humble beginnings along with more recent work - as I mentioned in previous posts, the tendency is to swiftly sweep under the rug all traces of non-professional, non-manga work as soon as an author reaches some kind of notoriety. A shame, really.

Overall, a pretty good collection, which made me appreciate more a mangaka who, to be honest, hadn't impressed me much before.

Friday, November 30, 2018

Acqua - Pianeta by 結布

Warning: cover aside, the images in this review are NOT of the actual reviewed item. There are none online, and the volume is so tightly bound scanning or photographing would actually require tearing it apart. So, yeah, enjoy some unrelated eye candy!

Lately I've been trying to shift more of my (meagre) Japanese practice into actual reading and listening. NHK takes care of the former (everything still pretty much sounds like a jumble of 'u' sounds), while the former is mostly done through manga, though I've begun to tackle bits and pieces of novels here and there.

One of the best manga I have read in its original language so far is Acqua-Pianeta (awesome Itarian title by the way) by 結布, of who I had read before the excellent ゆかりちゃん, though this time around Yuu is in charge of the story, as well as the artwork.



I admit that most of my reasons to like Acqua-Pianeta boil down to the fact that I simply love slice of life, nothing-happens postapocalyptic (is eupostapocapyptic actually a word, or just an oxymoron?) stories in the vein of Yokohama Kaidashi Kikou, and that's pretty much a requirement for enjoying Yu's single volume story of people stranded on a flooded, yet surprisingly peaceful future Earth: if you expect things to actually happen, you're out of luck. The biggest adventure our girls face - yes, all of the co-protagonists are girls - is finding an old sign pointing to a long collapsed Tokyo Sky Tree. The rest of the time they go to school, fish, attend some singing practice, et cetera. The backstory on what happened to Earth is barely touched upon - apparently most of people have moved to Mars - but, honestly, that's not really the point of this manga to begin with, so all's forgiven.



The artwork, on the other hand, is all but ordinary. In full color, Yu has a painterly style that is nothing short of amazing: landscapes are rendered in a technique that almost borders into watercolors, and the anatomy and layout of each scene is invariably spot-on. She has a special flair for spanning, full -page scenes that do away with frames, letting the manga approach illustration territory.



So yes, very good stuff. I understand her most recent work is some kind of Yami no Moribito adapatation, which I'll be sure to pick up as I really enjoyed the novels too.


Saturday, November 10, 2018

Benigyokozui vol.37 by Carnelian / Yggdrasity by Soji Hisakata / Furu Machi by Yoshitoshi ABe

Triple review today because, honestly, there just isn't enough meat around these bones to flesh out a full review for each dōjinshi... one of the downsides of the medium is that, more often than not, if you're buying blind (which, even with extensive online research, is almost always the case when purchasing from abroad) you'll find yourself with brochure-sized publications that, if you're lucky, won't be a mere collection of rough black-and-white sketches...

Let's start from the best one of the three. Yggdrasity by Soji Hisakata (2011) is a very, very thin illustration collection, clocking in at a mere 20 pages... but hey, at least it's on glossy paper, and full color! He seems to be one from that score of Japanese illustrators that mostly live off working in the fantasy light novels / trading cards / magazines genre - he also has a page on 100 Masters of Bishojo Painting - and the fare displayed in Yggdrasity (what the title might be trying to convey... your guess is as good as mine) seems to confirm this. There are a couple of bizarre exceptions, such as a scene from Dante's Purgatory (yeah, that Dante); and a few action pieces dedicated to Greek mythology. Little criticism can be moved from a visual point of view: Hisakata clearly knows his way around digital painting, and his handling of color and composition puts him squarely into professional 'commercial' territory. The competition is fierce, and probably something more needs to be done to stand out, but for some this might be more than enough.



On the other hand, Benigyokozui [?] by Carnelian, fails to deliver in spite of being also on glossy paper, also full color, and a tiny bit thicker too - about 30 pages. I'm clearly in the minority in my assessment, as this is nothing less than the 37th volume put out by this circle...
A big, big whammy for me was the strange, inxplicable decision to publish each illustration twice: for each two-page spread we have the illustration - usually competently, but not amazingly portrayed shōjo - on one page; and, on the adjacent one, the same illustration about twice enlarged. Carnelian's pinups are not particularly full of details that might require magnification, so this poor choice really feels like padding. We end up with more pages, but fewer illustrations than Soji Hisakata's...



Finally, Furu Machi, one of Yoshitoshi ABe's earliest dōjinshi (1995, the colophon tells me). Now, I love ABe, or at least I used to before he descended into the KanColle / slice of life pit he still seems to partially reside into, so I was thrilled to get my hands on such a visual relic... which turned out to be quite disappointing. The rough paper is not a problem for me, I actually prefer it to glossy paper as the grain enhances ABe's wavy, sometimes sketchy tract. But the contents are quite disappointing: after a few (about 10 pages) tiny, literally two-inches-wide color illustrations - now, here we could have used some magnification! - we are graced to page after page of characters sketches, with little to no background or explanation given (I ranted about this before). We are also graced with a mock-up of ABe's web site, for no apparent reason. Visually, well... humble beginnings, certainly, and the style displayed in Furu Machi is hardly representative of what ABe's style was, even as early as Serial Experiments Lain. 



Overall, a mild surprise and two disappointments. Fortunately, my next review will focus on one of the best purchases I have ever made, so stay tuned...

Saturday, October 27, 2018

オールドレンズ擬人化少女

This one even has its own website where you can download all the illustrations from... and you can also have a second opinion on it!

As you may know from some previous reviews, I have a soft spot for anthropomorphizations - and I don't mean furry stuff, which I would gladly set on fire at any time of the day. I am referring to young girl versions of paintings, chairs... that kind of stuff. I just love the way the artist applies the qualities of an item to a fictional look and personality, keeping some design elements while discarding others.



The weirdly titled オールドレンズ擬人化少女 (literally Old Lens Antrophomorphization Girls, 2013), in this department, is as weird as it gets. The 'OldLens' circle, an alliance of dōjin-makers Garnet (illustrations) and Tetsu Sawamura (photographer) features a number of retro camera lenses... as young girls. Yup, that's right. Did you ever wonder what an Olympus Pen F Series would look like, was it a cute delicious loli? Did you, like me, have to search what an Olympus Pen F Series actually is? either way, you're up for a minor, yet entertaining visual treat. 




The rather slim (30 pages) offering is full color, in a rather nice glossy paper. The layout is quite nifty, as it works out as a series of two-page spreads, one page featuring the lens girl, and the other a series of pictures taken with that very lens. I'm no expert on photography - though, to the untrained eye like mine, Sawamura sure seems to have the chops - so I'll comment only on the illustrations, which are excellent. Definitely a bunch of cuties, and one can actually see the parallels between each girl's design, and the lens they are meant to embody. My personal favorite is the Kodak Vest Pocket Auto-Graphic 80mm, mostly because I like steampunk-donning chicks, and because I'm one of those unfortunate souls who think 70s pastel soft focus is the height of human aesthetics. 



Overall, a short but very good collection, which unfortunately seems to be the only common effort Garnet and Sawamura produced. Oh well... 


Tuesday, October 2, 2018

シャリオット by ソウマトウ

As I mentioned in other reviews on this blog, it's not uncommon for dōjin authors to eventually move into the mainstream world of mass published manga - I'm sure most readers of the medium will be familiar with stuff like CLAMP and so on. Today I'll be reviewing a short dōjinshi by one such authors, whom I have actually discovered first as a published mangaka, and then as a dōjin creator...

 シャリオット is a short (36 B&W pages) manga by ソウマトウ (under the name まよいばし), who might be known to some as the creator and artist for the 3-volume series 黒  (2014-2016) - which, if I remember correctly, has been at least partially scanlated into English.



A little girl, cheerful and caring in spite of devil horns on her head (hint hint) runs a tiny circus troupe, consisting of herself and three... malformed shadow creatures is probably the most accurate description. Her success soon rouses the jealousy of a competing youn entertainer, who will stop at nothing to steal the protagonist's spotlight. The latter, however, hides a dark secret, one that will ensure no crime goes unpunished...



Let's get the art thing out of the way first since, to be honest, there is very little to criticize. ソウマトウ's artwork is nothing short of amazing, super-detailed, dynamic, and appropriately cute even when dealing with blood, guts, and dismemberment. Given the wintery setting, the B&W works fairly well, though the artist's often excellent coloring is missed on the cover - which, by the way, is a totally different color in real life. Disregard the pic included.




The story, setting, and atmosphere... well, they're alright, I guess. If you enjoy Tim Burtonesque creepy-cute, slightly gotic, loli guro stuff, you're going to love the everliving crap out of this dōjinshi. I'm not part of this fan club, so the story kind of fell flat for me. We must also consider that シャリオット dates from 2012, and ソウマトウ has come a long way since then, as his traditionally published work demonstrates.

Overall, a stellarly drawn and decently plotted outing. If you want to check out ソウマトウ's best work, however, I really invite you to take a look at 黒 , which features the same excellent art along with a much stronger story and setting.

Monday, September 17, 2018

Review roundup - Interlude Plus by Black Cat Garage / Shenanddah vol.11 by Matsumoto Noriyuki / 璨璨七拍子 by 神山彩

So, occasionally I do this little roundup of reviews of dōjinshi that, due to length or content, don't warrant their own review - often times, this is a chance to give a few, quick impressions on impulse purchases that were meant to fill quotas in shipments.

This time, however, I also have a little screed to go along with my first two mini reviews. As I'm unlikely to ruffle any feathers in the Japanese-speaking blogsphere, considering also that I'm writing in English, I'll be pretty blunt.

Culprit: the 'sketchbook dōjinshi' thing. Either you do it right, or it needs to stop.

Some artists seem to think that the public is just eager to see their sketches as some sort of 'behind the scenes', thought process thing. They are seldom right, and often very wrong. Just as I don't go around publishing my ravaged first drafts as some kind of insider scoop, I also don't see what's inherently interesting about page after page of black and white sketches, often so rough and unpolished there is little to no semblance to the finished product.



Now, in my eyes there is only one way to do the sketchbook thing right, and that is to actually let us learn something from it. Take, for example, this thing over here: Shenanddah vol.11 by Noriyuki Matsumoto, the illustrator and designer behind masterpieces such as Miniskirt Pirates (lel), and a score of pinups for h-manga magazines. Sure, it's full b&w and a good 90% of it is rough sketches, but the dōjinka also had the grace to include rather detailed explanations of the process behind each image, taking us through the steps and outlining differences between the original sketch and the final product. Do I wish at least the final illustrations were reproduced in color? I sure do, but it's the dōjin world we're talking about, so the joke's on me.




Conversely (and I hate bringing negative examples, but this whole deal irks me a lot, so here it is), Interlude Plus by Black Cat's Garage (circle name of a certain Horibe Hiderō, mostly known in the West for character design of the atrocious Interlude, and the Letch series of OAV). A slew of sketched provided with little to no context, explanation, or guidance through the creative process. A collection of scraps, basically, and little we can learn from it as artists or fans. I bought it for the cover, in case you were wondering.



Now, screed is over, promise. Let's wash our eyes with 璨々七拍子, a not too old (2017) collective effort of Kamiyama Aya  (excellent artist, very much worth a follow), こぶ, whom I could find nothing about (please, please, please, include your links in your thank you!), and  ばなな, whose only online result seems to be this dōjinshi itself... Kamiyama Aya's short manga about a lady and her big-breasted maid is the most entertaining of the bunch, and certainly the most lecherous - a bit on the short side, but pretty a pretty funny take on the 'ladylike Japanese woman' theme. I happen to be in the flat chested camp, but when there's quality all is forgiven. Kobu offers a heartwarming story of friendship between a little girl and a yōkai, a tad cliché but good enough to prop up a few pages of very well drawn manga. Banana went for a schoolgirl-themed 4-koma that, frankly, left me a bit cold both visually and joke-wise.



Apparently, Kamiyama Aya just came out with a one-shot on Ultra Jump, and a new and longer dōjinshi too... might try get my hands on those in the near future.
Also, Nattoli's blog reviewed some Noriyuki Matsumoto too, if you'd like a more in-depth second opinion.


Wednesday, September 12, 2018

Short story - 'Meat'

English translation of a short story of mine, 2nd place in FiPiLi Horror Festival's 'La Paura fa Novanta' competition. A sort of tribute to creepypasta, you could say...


        Once I'm home from the wake, it's nearly dinnertime. I close the door behind me, I throw my jacket on the couch. It's part of a suit, which I've bought just for this occasion.
Today, it's one of the few times of my life in which I actually had to worry about my attire. First, when I was a kid, my mother took care of it; then, she did. From now on, it's my problem, and no one else's. Just like dinner.
I'm one of those people who, unless they employ themselves in some kind of useful activity around the house, better if essentially superfluous, might cave in to guilt at any given moment. In only two things I'm not the 'ideal man', whatever existential yoke that crock of shit is meant to convey. I've always needed someone to pick my clothes for me. I'm utterly unable to distinguish those many, different hues of black and gray she was so apt at classifying, and I always dress either too light or too heavy for the season. So, she picked my clothes for me, leaving them arranged over our bed in the shape of a human being. As if a person had laid down to take a nap, and the mattress had swallowed them up. Only a husk remained, that array of fabric and thread that – now I realize it – could have been me in a few years, a few decades, even tomorrow, when I'll finally join her.
I'm also unable to cook. I know, it's a commonplace statement. Can I scramble eggs? Obviously. Can I stick a fish in the oven, with chopped potatoes, or dunk pasta into a pan? Of course. That's not cooking. That's a passable way to satisfy physiological needs. Hers, that was cooking, with spices and aromas whose names I now regret not paying attention to. Just as I regret not paying attention to a galaxy of things, many of which I have a hard time giving a name to. They'll come, in time.
Now, I need to satisfy my physiological needs. I don't even turn the light on, as I make my way to the kitchen. Silence is absolute – I smashed the tv a few days ago, and now this room, in which I always felt like a temporary guest, feels all the more distant. Entering the kitchen is like diving into a womb different than the one I was born into.
The light of the fridge paints my tired features. I never imagined someone's death could become such a whirlwind of signatures, draft checks, and meetings. Turning death into a catering event for family and friends, I imagine it's one way to make the abyss manageable.
The fridge is almost empty. Yogurt, a head of cabbage in need of cleaning, a few cheese slices covered in plastic film. She loved grocery shopping, she used to say that supermarkets' lightning, their total absence of shadows, soothed her somehow. She often stopped by on her way back home from work, buying only what was needed for the evening meal. She rarely planned ahead, so the fridge was often empty.
For a moment, memories glaze my eyes. Then I see it on the counter, thawing, and I remember. That's right. I had pulled some meat from the freezer.
The freezer. That portal to another dimension above its bigger cousin, it was a stranger to me. At times, I explored the fridge in the dead of night, searching for a quick snack and often going back to bed empty handed. The freezer, never. Opening it, once she was gone, was discovering a new, remote planet of ice. Its innards were, like most things looked after by her, a triumph of order and functionality. Every item sealed and stowed away, in transparent plastic bags, the content marked with handwritten labels. A cold planet of parceled leviathans and side dishes that, from behind their curtain of ice, promised echoes of spring and summer.
I had found some bags tucked away at the bottom, marked only with dates. No indication of their content. I had pulled them out, and laid them on the kitchen table. Cuts of meat. Each cut probably had its own name, but I didn't know them. Resting on that flat surface, they reminded me of many things, most of which had nothing to do with meat. Stones, found at the bottom of a dried up riverbed. Wood shapes, the kind a child could play with. The mysterious inhabitant of the clothes she laid out for me every morning, on the bed. I had accepted that, like it or not, I'd have to eat eventually, so I had put to thaw on the counter the piece that most closely resembled a steak.
Now, it's time to prepare that meat I have inherited from her. I remove the excess water, pour a few drops of oil in a pan, and a few seconds later I lay the meat on the hot surface – it looks stringy and supremely unappetizing as it simmers and smokes like the remains of a house fire. My mind wanders, thinking back to the many, puzzling items I inherited from her. Relatives, which she had never introduced to me before. A box of jewelry and watches, hidden among her lingerie, none of which I ever saw her wear while she was alive. That meat in the freezer, her parting gift.
No side dish, I toss the steak on a plate and uncap a beer, family size. There, in the half light of the kitchen, I section the meat in tiny pieces of equal size, I divide it according to the logical paradigm of reduction to the simplest form. In some way, that small gesture makes me feel in control of my existence.
Piece after piece, the steak disappears among my teeth, then down to the deepest reaches of me, meanders that have never seen the light of day. What little flavor there is reminds me of something, it has a familiar aftertaste that I can't quite give a name to.
Just like the others, this name will come, too. In time.

Wednesday, September 5, 2018

TILTED by Akimasa

Lately I've been craving material that, visually speaking, departs from your usual hyperglossy, high contrast illustration style that is so characteristic of today's dōjinshi: while it's probably a tall order to hope for some thematic variety - if you don't like shōjo illustration, with some landscapes thrown in here and there, you're probably in the wrong subculture - there are many dōjin artists with interesting visual takes on that common Japanese archetype. I've actually reviewed quite a few, from Heikinritsu to Hirotaka Tanaka .



The dōjinshi I'm reviewing today is TILTED: The Art of Akiman 3. The 2017 illustration collection (A4, full color) is, as one could guess, the third one by artist Akiman, one of the many I first discovered first through Pixiv, then through Twitter. While they also create some very interesting aviation inspired artworkTILTED is entirely devoted to young women in urban environments. In spite of the collection's title, there seems to be nothing inherently tilted in the featured illustrations.



What we have instead is the so-typical theme of 'young, urban Japanese woman' filtered through a visual style that is reminescent, at times, of older Yoshitoshi ABe: a perfectly readable, yet somewhat 'sketchy' lineart enriched by dark, muddy colors that aim more for atmosphere, than poplike appeal. It's by design that most scenes feature rain, fog, or pale daylight, which the girl inhabits with scarcely a smile or a direct glance. A somewhat dreary, yet curiously comfy take on city life. Like I would know, sitting in the middle of nowhere.



I could probably reiterate my usual complaint that the book is simply too short, but that's true for most dōjinshi, so it's really not meaningful criticism. Overall, a pretty good collection that offers some respite from gaudy neon colors, and overworked layouts.

Saturday, August 18, 2018

ALGL-score- by Asahiro

Here is another one I discovered through Pixiv's daily reccomendations - pretty nice addition to one of my favorite site where to find new artists, which I usually end up following on Twitter for the day-to-day stuff.


I've been eyeing for a while Asahiro, active under the circle name ALGL, and I decided to purchase a random dōjinshi as a sort of sampler - I do that often, usually going for the cheapest one, and then branch out if I happen to like what I see. This one is titled ALGL - Score and it's a few years old, 2015. A4 format, full color, wery well bound. From what I understand, it acts as a sort of capstone, or 'issue 0' for a dōjinshi series, which is now up to issue 6 or 7. While later issues, from what I could gather from the artist's web site, actually have an ongoing plot involving pirates and opera (!), ALGL - Score acts as more of an intro / sampler, focusing on pinup illustrations of the various characters that appear in later 'issues'.



Visually, well... I've never quite seen anything like it. Asahiro has a very distinctive style, very painterly, super elaborate, and which reminds me more of some Western art than animanga per se - at times, in the wireframe, stylized figures I could see echoes of Ueda Hajime, though I'm really clutching at straws to find a comparison. There is such a fantastic use of shadows and color, ranging from the muted to the vivid, that each illustration really comes to life as a complete, stand-alone art piece. It's actually one of the few dōjin outputs I've come across lately that I can really classify as 'professional-level polished'.



A first part of ALGL - Score is full page illustrations of the main characters - Rolando, who in spite of the name seems to actually be female, and also an orchestra conductor, and a pirate; Mirela, a princess of sorts; and a whole cohort of characters with Spanish-sounding names, though I'm not sure how Spain-influenced the actual series is - not much, from what I could tell. It will probably become clearer as I work through subsequent issues. A second section introduces, less in depth, the whole cast that is still to appear. A final section has some average, forgettable fan art.

This is NOT such fanart.
Overall, a very nice start to an interesting, ongoing work - according to ALGL - Score, there seem to be 12 issues planned in total.

Wednesday, August 8, 2018

パスタと休日 総集編5+6+α by SAYU STUDIO / ななひめ

Yes, I am Italian and, while I lived quite a few years abroad, I have pretty much been raised on a diet of pasta. I usually go for the simple stuff: carbonara, tomato and tuna, that kind of thing. Grandma's recipes.



I have reviewed in previous posts a couple dōjinshi by SAYU STUDIO, the brainchild of Sayu Yuzuru, who is not also a dōjinka but, as the bio at the end of this パスタと休日 総集編5+6+α collection explains, a chef of Italian cuisine who has worked in various Italian restaurants from high school to university. With a few exceptions (such as the previously reviewed Sakura Report) all of his dōjinshi are essentially collections of pasta recipes - spaghetti, for the most part. A lot of the recipes are the simple, no frills kind of stuff one could easily reproduce at home - I have tried a few, with decent results. Also, as one would expect from a chef, not every recipe is traditional italian fare, sometimes mixing not only unusual ingredients, but some Japanese additions too.




パスタと休日 総集編5+6+α (2015, 48 pages) is actually a collection of two dōjinshi from 2013. Each of them collects about ten recipes, with illustrated passages and a full page, very high quality macro of each completed dish. The recipes range from the kind of recipe you could find in any Italian restaurant, such as a slightly fancier version of a carbonara, featuring asparagus; to the slightly more unusual, such as a couple of recipes which include fish roe (which I guess is kind of like bottarga, which I really happen to like); to the... exotic, to put it mildly. And I'm not talking about that one recipe with avocado, which puzzles me but have actually seen done before. I'm talking about the recipe with nattō.

Yes. Nattō. 



Great detail is given for each recipe, so that it's quite easy to follow along even if your level of Japanese is nothing exceptional. Sayu also provides his opinion on some of the brands of ingredients he uses in his recipes, some of which I am familiar with - Divella pasta, for example; some of which must be Japanese brands - never head of Gaban spices. Of course, as any self righteous Italian, I am incredibly picky as to what should go into a good pasta dish, but living abroad I also know how expensive import goods can be, so I'm willing to cut some slack... even if, I mean, Kraft parmesan cheese... like, nope.

So yes, a pretty good dōjinshi, and one that is useful too, if you're into the topic like I am. My only beef is that these two specific volumes, 5 and 6, make very little use of ななひめ's wonderful illustrations, as there's really only three of them over 40-odd pages.

Sunday, July 29, 2018

CAFELOG R3 by Bricologic

Here is another one from an artist I have stalked on Pixiv and Twitter for quite a while...

マツダ is one of Pixiv's scores of artists who seem to have carved a career for themselves in the production of, I'm sorry to say, rather generic fantasy artwork for J-card cames and such. A few years back, however, they made the rounds in the dōjin scene under the name Bricologic, with something much more to my taste - slice of life coffe shop scenes.



Yeah... the one I got my hands on is titled Cafelog R3 (2012), and it's actually an anthology that features choice cuts from two previous dōjinshi, Cafelog R and Cafelog R2. As you might have noticed I am a sucker for meaty page counts, which are hard to come by in the self-published world; and, considering this collection of two previous works is a mere 40 b&w pages, and apparently includes everything the Bricologic name has ever produced, well... not much of a chance to dig deeper into this circle's production, I guess.




This one collection, however, is one of the most visually pleasing I purchased in quite a while, displaying a distinctive visual style which, shamefully, seems to have been noticeable watered down in Matsuda's recent commercial work. As often happens with dōjinshi, the premises are barebone: a quartet of OCs, who do nothing but drink coffee at a coffee shop, all the time. Yup, every single illustration in Cafelog R3 is the blonde protagonist sitting at a table, sipping coffee. She might have an ornery suitor or a waitress friends, but it doesn't matter much - here, the main draw is Matsuda's amazing art style, far more reminescent of some more recent strands of European comics, than the standard, goggly-eyed Japanese fare. Backgrounds are painstakingly rendered, the character's poses are dynamic and natural, and the coloring job (unfortunately visible only on the cover) is top notch.




So yeah, another nice little discovery, and another well that has run dry long before such discovery. You can see more of Matsuda's recent work on their Tumblr.

Tuesday, July 24, 2018

Reblog: Classic Creep Capers (ho-lingnojikenbo)

Reblogging this interesting article from Ho-Ling Wong's excellent mystery blog, as it deals with an interesting confluence of Japanese mistery and  dōjin publication. Nemoto Shou's Kaiki Tantei is not exactly my cup of tea, so it's unlikely I'd review it anytime soon, but a few of the volumes are apparently available as e-books now, so it might be worth it to check out if you don't mind bizarre mysteries, and somewhat simpler art styles.

Saturday, July 21, 2018

灰景少女 社 by 高市

Rain and 20 degrees in July. Bizarre. And I still have to water the plants...

One little thing I included in my latest haul is an illustration dōjinshi by 高市, which I discovered first through Twitter's suggestions while aimlessly browsing a while ago. While the somewhat uncomplex drawing style wasn't exactly my cup of tea (though it reminded me a bit of みなはむ, which I actually really like), I was surprised by the vivid colors and... let's say handmade charm of their illustrations. Since most of their stuff was like 3 euros on Mandarake I figured 'why not?', and picked up a copy of their art collection titled 灰景少女 社.




Published in 2015, full color and in horizontal format, it's apparently one volume in a series, focusing on a handful of 高市's original characters. It's an imaginary travelogue of sorts as, and while the artist's three girls characters are clearly your usual moe chicks who are the standard in the dōjin world, the backgrounds seem to be reproductions of some place... which I think might be imaginary, as 青葉鉱撰 train line doesn't bring up any relevant result. There is even a little map included, but I couldn't find a match on Japan's coastline. If anyone knows better, please feel free to correct me.




Now, as I mentioned, the three female travellers that populate 高市's world are fairly standard - short haired one, long haired one, and a tanned plus light hair one who gets extra point because it just happens to be my thing. They are often portrayed in a very stylized manner, with little chiaroscuro and detail. The backgrounds, on the other hand, are very elaborate and accurately executed in what's either pastel / watercolor, or an extremely convincing digital imitation of them. There is a degree of fantasy to them (Venezia-style canals surrounded by palaces, waterway trams that look just like streetcars) which leads credence to my idea that the setting is imaginary, but again, I might be wrong. One plus is that the illustrations are full color, and the horizontal format really allows the artist not to let any space go to waste, when depicting landscapes. A minus is that, as it often happens with illustration dōjinshi, it's a bit on the short side, clocking in at 20 pages.




Overall, a worthy purchase, nothing groundshaking but still a dōjin artist to keep an eye on. 

Tuesday, July 17, 2018

ESCAPISM by Nanakawa

So, now that I finally found a suppy of dōjinshi at near-Japanese prices (one of the big surprises when I was over there, was how cheap dōjinshi actually are - rarely more than 4-5 euros) reviews should come out at a much steadier pace.



One very good find was this collection by ナナカワ of the circle Encount, titled ESCAPISM. It's from 2017, full color (and what color! one of he best printjobs I've seen in quite a while), 4A size. I was familiar through Twitter with this circle, which actually seems to be made up of a few different artists taking turns with releases - in this case, Nanakawa.




This dōjinshi has actually a lot of similarities with another one I reviewed a little while ago, RAMBLE by 田中寛崇: both feature solitary bishōjo within natural and urban environments, with a focus on vivid and, often, pleasantly clashing color palettes. Nanakawa is, perhaps, a bit on the less stylized end of things: volumes, lights, and shadows are always properly rendered, and great care is put into rendering environments and architecture. A level of abstraction is, however, is provided by the contrast between warm, summery colors, and sudden fields of cool blues and greens that is the centerpiece of almost every illustration. There is no text accompanying the illustrations: titles (already a rarity in the dōjin world, actually) and social contacts are all we have.




A very good collection of illustrations, nothing groundbreaking thematically but a very nice display of mastery over color. Nothing seems to have come out in 2018 by Nanakawa dōjin-wise yet (seems to be very active in live painting and apparel areas), though I'd definitely buy a follow up to ESCAPISM.

Wednesday, July 11, 2018

ひと、さらう風の by キトス / 鉄塔惑星 by Strawberry*kick / よしづきくみち短編集君と僕のアシアト by よしづきくみち

Top spots on my current wishlist: something by Kamo (which I've been wanting for a while) and some more Abyukyo. I have also begun using Mandarake for shopping, which has been an... interesting experience. Nothing wrong on the shop's side of things (by the way, save yourself a headache and order only from their Sahra shop), but my courier charged me 21 euros in custom fees, waited for me to pay them, then canceled them and made me wait weeks for a refund. What gives...

Anyway... while waiting for my latest shipment, I figured I'd keep this blog (barely) alive with a little review roundup of things that are either so flimsy page count-wise, or so obscure they probably don't need their own post. Two of them were random purchases, while another was something I had my eyes on for a while.

Sorry, but this is all you get. No pics online and I'm
still too afraid to scan my stuff...
So, first in line is ひと、さらう風の by キトス (2011), one of those dōjinshi I bought on their striking cover alone. I'm a sucker for subdued palettes and oil pastels aesthetics, not to mention the slice of life, Urushibara vibe the cover channeled. The joy and pain of dōjinshi is, of course, that most online shops won't let you see any of the inner pages, which can lead to some interesting surprises. Who could have guessed that, behind the peaceful cover, was a depressing story of wartime murder, drawn in a a visually aggressive style that wouldn't be out of place in ガロ? A woman fighter tries to save a child; yet, her gentleness is not repaid in kind, and the violence of war eventually has its way.
Overall, I was pleasantly surprised, as you don't often see dōjinshi tackling themes beyond cute chicks and summer days, and it's nice that someone still feels the urge to push the envelope a bit content-wise.




Moving on, 鉄塔惑星 by Strawberry*kick (2014). Another one I bought just for the cover, but at least this time I had a few pics of inner pages to justify my purchase. Another thing I've always been a sucker for are slice of life stories set in bizarre, contrieved worlds - and it doesn't get any more bizarre and contrived than a world where people live on power lines, and move from one pole to the other on wind bicycles. The story.... well, there really isn't one. Two young girls meet up, while their bikes are taken care of by a repair shop in the sky. Yeah. The visual style, on the other hand, is pretty impressive, cutesy but with a hand-drawn edge that makes it pleasantly busy, without feeling too hasty, or too alternative for its own good.

My copy is the dōjin one, and lacks all that YJC coterie.



Then, rounding up, a name some might actually be familiar with. よしづきくみち is a fairly well known mangaka in the West, as her manga have been both translated, and adapted as anime. Like often happens with people who eventually make the switch to commercial, she actually had her start (and still dabbles) in dōjinshi, including a hilarious split with とよ田みのる I plan on buying someday. The one I got, よしづきくみち短編集君と僕のアシアト , is a more mundane collection of short stories in the vein of her commercial output - slightly sappy, feelgood slice of life where friends discover friendship, young lovers discover love, and so on. As I'm faster and faster gravitating towards the more bizarre edge of dōjin, maybe this kind of stuff is just starting to feel a bit unadventurous. Visually, of course, it's Yoshizuki all the way: polished, very clean lines, with a strong 'commercial' feel to it - in a good way, fortunately. If you want to snag a copy, you're in luck: from what I could gather, this was also eventually reprinted as a digital release by Jump Comics.

So yes, some good stuff to fill in the blanks before the next haul. As always, feel free to friend me on Twitter, where I do most of my stuff nowadays.


Friday, June 29, 2018

RAMBLE by 田中寛崇

After last time's review of an actual manga - a very good one, actually, and soon to be the first full manga volume I read in Japanese! - we are back to dōjinshi, and an illustration one to boot. They're actually my favorite kind of dōjin work, the one that in my eye distances itself the most from official manga. Sadly a *lot* of contemporary dōjinshi really obsess over the hyper-polished shōjo thing, which I'm not really against but feel it's starting to be a bit overdone. So, my best purchases happen to be those that really channel a, umm, 'alternative' vibe we could say? A little example of this is one of my most recent purchases, RAMBLE by Hirotaka Tanaka.



It's a very slim booklet, A5 format and barely 16 pages, but full color - and what color! Tanaka's subject are young women, but his visual style leaves no room for googly eyes, frills, or beachside parties. His illustrations take the subject as a mere pretext for vibrant, acid colored explorations of space, depth, and contrast. His young women, drawn in a simple yet realistic style by Japanese dōjinshi standards, are pitted against mostly industrial backgrounds, enviroments the artists simplifies to their essential lines and spaces. Color, the real strength of these illustrations, foregoes all pretenses of realism, focuing instead on the interplay between complementary and constrasting hues, with a bias towards the clash between blue, and warm tints in the yellow spectrum.




So yes, another interesting purchase from an artist I'll be keeping an eye on. RAMBLE is actually a few years old (2015) and, according to a card that came with it, was a companion to a real-life exhibition, Getting Better, that took place at Fewmany, some sort of arts and crafts space in the heart of Tokyo.

Thursday, June 21, 2018

ゆかりちゃん by 綱本将也 and 結布

So, when I opened the latest shipment of stuff from Japan (my first order with Mandarake, and it was... interesting. Will retell the whole story with the next review) I realized I made I mistake I managed to skirt around up to that point - I bought two non-dōjin works thinking they were dōjinshi. To be fair, they were catalogued as such on doujinshi.org, so it's not entirely my fault.
So, two one-off manga tankōbon: one is a crappy softcore thing from the early 2000 that looks like it was made in the 80s, probably not going to review it. The other one is far more interesting, and a mistaken purchase I actually didn't regret.



ゆかりちゃん (serialized on Jump Live, 2015) falls fully into that bizarre line of... I'm not even sure there's a name for it? 'strangely special interest food manga' perhaps? And the foodstuff, this time around, is furikake, a seasoning that I didn't try when I was over in Japan, but that apparently is washoku to the max. The manga's protagonist, Yukari, happens to share her name with a brand of furikake, which she also happens to be a huge fan of - mostly because her late mother loved it, and her father cries in joy at the mere taste of furikake, be it sprinked on rice or lining a glass tequila-style.



So yes, 100% slice-of-life territory: in each chapter, Yukari prepares a new furikake featuring recipe (which is also fully explained at the end, in case you want to replicate it), while getting closer / getting to know better one of her classmates, people whom her mother cared about, and so on. Story-wise, it's not bad, but it's nothing never seen before either. People get closer, they care for each other, heartwarming moments and all that. Some cringe around this brand of over-the-top heartfelt emotional soft drama - I don't, but be warned that mileage may vary.



The real reason why I bought this in the first place (thinking it was a dōjinshi) is the artwork. The artist is Yuu, an artist I've been following for a while. Their art, especially when it comes to the human figure, is nothing short of amazing, with a distinctively semi-realistic, 'not-too-moe' style I really dig. Being a manga, the designs and tract are of course slightly simplified compared to illustration work, but this doesn't detract any from Yuu's craftsmanship and command of layout.

So, a good 'accident', though next time I'll be on the lookout for an actual Yuu dōjinshi to read up and review.

P.S: Yes, you can buy Yukari furikake. According to the insert, there was even a Yukari packaging featuring the manga's heroine, but 2015 is a long time ago, and I couldn't find a link. Shame...

Tuesday, May 8, 2018

イグナクロス零号駅設定資料集 総集編プラス by CHOCOLATE SHOP

Spring. Gardening. No longer a NEET. That kind of stuff.

A long time ago (it was actually one of my first posts!) I reviewed a dōjinshi by the circle CHOCOLATE SHOP, the hilarious pseudo-Steve Jobs bio CHOCOLATE APPLE. What I didn't know, was that Choco (the alias the circle's leader uses) also produced a proper manga, serialized on Comic Dengeki Daioh: the bizarrely titled Iguna Cross Gates Station. It probably wasn't what one would call a hit, as a single volume came out in 2000, and only ten years later the remaining four volumes managed to get published. I, for one, had never heard of it.



What concerns us, and this blog, is that CHOCO published, through the years, a slew of dōjin guidebooks to this series, whose collective page count probably rivals one of the tankōbon from the mother series itself. I have always been a fan of CHOCO's art style, so I grabbed myself a copy of the collected version, イグナクロス零号駅設定資料集 総集編プラス, which gathers in a single book all five Iguna-themed dōjinshi. I knew very little about the manga, and still do, as the collected dōjinshi is mostly a sketch / artbook affair, and requires pretty much no knowledge of the manga series.



As is the case with all CHOCOLATE SHOP releases, イグナクロス...'s production values are not too far off what one would expect from a commercial product. 146 pages of glossy paper, a good chunk of which are full color. As far as content goes, the book mostly acts as a repository of concept art for the manga series, ranging from character design files, to environmental art. Also featured are two pages spreads of the manga's tankōbon covers, a few short manga set in Iguna Cross Gates Station's world, and miscellaneous pieces of design / assets in theme with the series' aesthetics. One can even notice the evolution of CHOCO's style through time, as earlier piece have that slighty rounded, 90s look that then turned into the more angular, contemporary style that most of the original manga actually features. There is very little text; and, as I mentioned, the dōjinshi could simply be thought of as an artbook, no manga knowledge necessary.


A pretty rewarding purchase, overall, and one that made me curious about picking up the parent manga. While I'm not so keen on h or border-h dōjinshi, I have heard good things of CHOCOLATE SHOP's Gothic Lolita Viandier, which is next on my wishlist.

ひつじ雲の帰り道 by Itodome

 Another purchase entirely made on the cover alone. I was entirely unfamiliar with Itodome (いとどめ), though there is some pretty good stuff to...