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Reviewed by Matthew J. Brady Taiyo Matsumoto has a very unique style, not really fitting into the standard manga aesthetic (or at least the view we have of it in the West) but seeming weird enough that it doesn't look like any Western comics either. He throws the stylistic aspects stereotypically associated with manga (big eyes, speed lines, etc.) out the window, retaining only stuff like crazy character designs (which still don't seem too manga-ish) or Osamu Tezuka-style slanted panel layouts. Really, the characters seem more like something seen in independent American or European comics, but there are tons of crazy details that you would never seen in Western comics, like the smiley-face sun and moon that hang in the sky or the garishly decorated buildings that seem like the bright neon landscape of Tokyo turned up to eleven. He clutters up the backgrounds with tons of details, and gives the cityscapes a surreal, almost cubist touch, making buildings curve and bend at unnatural angles. It's rather offputting, but it makes for an arresting reading experience. He also defines a strange, somewhat futuristic city full of bizarrely-dressed gangsters and thugs, ruled over by a couple of wild kids who seem to have superhuman acrobatic and fighting abilities. The style could be compared to Western artists like Brandon Graham, Corey Lewis, or Bryan Lee O'Malley, but while they often use these tropes with a knowing eye or make sure to point out the weirdness of their setting, Matsumoto plays it almost completely straight, with characters acting like their world is totally normal. I'm guessing there are some cultural connotations lost in translation here, with ruminations on the changing landscape of Japan, but even if that aspect goes over the head of Western readers, it still works very well as a story. The story here is about the aforementioned two rogue kids, Black and White, who defend the futuristic Treasure Town against the incursion of violent gangsters and freaky assassins. They're an interesting duo; Black is older and "wiser", taking care of the younger, more naive White as they get in fights with troublemakers around the city. Matsumoto defines them pretty well, with Black often asserting that this is his town and he won't let anybody take it over. White, on the other hand, is imaginative and free-spirited, wearing goofy, outlandish clothes and making regular phone calls to an imaginary friend in space, reporting on conditions down on Earth. Their relationship and characters are very believable (outside of the ass-kicking and building-jumping). The main plot conflict (which doesn't really show up until halfway through the book; the first 250 pages or so are spent establishing the setting and characters) involves some gangsters trying to take over the city. They end up sending some weird assassins after the "stray cats" (as Black and White are often referred to), causing the police to separate Black and White after the latter is wounded. This causes Black to seemingly lose touch with humanity; he becomes increasingly brutal and feral, eventually manifesting his negative emotions in an evil avatar known as The Minotaur, who has a psychic battle with White for Black's soul. It sounds strange, but it makes sense (sort of). Even if this sounds ridiculous and pointless, it's a great read, mostly because of Matsumoto's expressive artwork. He does some incredible work here, packing panels with details that might or might not be "real". When the very buildings seem malleable and people walk around wearing black bodysuits or sport mohawks and tribal body paint, a vision of fish floating around the characters doesn't even seem out of place. And the fights and chases are breathtaking, putting the reader right in the middle of the action. One of my favorite of his visual tricks involves what I would call "implied speed lines". He doesn't go overboard with the use of speed lines to demonstrate movement, but he sometimes actually angles the backgrounds to imply motion. And then there's the beautiful chapter title illustrations, in which he often collages a bunch of images together in an amazingly expressive manner. Also of note is the sharp dialogue (kudos to the translators) and myriad distinctive supporting characters. It's a rich book that you can pore over absorbing at all the content; totally worth the $29.95 price tag. I really can't recommend it enough. Interested in writing for MangaLife? We're always looking for talented reviewers and columnists, so drop us a line! Charles Webb Editor-in-Chief, MangaLife.com |
1 September 2010
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