Yawara Ch. 1
Dec. 19th, 2005 10:27 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
ceruseeWow. It's not hard to see why this was so popular in its day--Yawara may have been Urasawa's first series, but it's got the same energy and excellent art as his later works. The man oozes talent. And where is my dead tree English language version of Monster, Viz? Seriously. Cough it up.
But ye gods, it's been awhile since I've read any sequential art except shoujo manga--barring only Eden: It's an Endless World! and one chapter of Yokohama Kaidashi Kikou, which are both fairly relaxed in pace and atmosphere--and it's almost a shock to see half or dozen or more panels on a page, in tight, square, busy boxes; speech ballons tucked into corners and filled with text. The whole sense of it is as different from Othello as different can be, the art aims in a completely different direction from the art of Tramps Like Us.
Mmm, I was going somewhere with that, but I'm too tired to remember what it was.
On a hilarious side note, from David Welsh's latest Flipped column, which discusses adult-oriented manga and the Florida Peach Girl story:
This would be the moment to cast a stern eye in the direction of CMX over the whole Tenjho Tenge reverse-panty raid, a dubious one over whether the edits actually made it appropriate for its intended audience, and a speculative one over what editorial depths they’ll reach as the book becomes more violent and sexual, but I don’t have that many eyes. Plus, their books are still getting shelved under “C” most of the time, so they have bigger problems.
It's so true. I work in a bookstore, and I can't get theretards people I work with to put CMX lines away in the right place, even though manga has the simplest organization protocol in the entire store--alphabetical by series title. I've taken to re-shelving Land of the Blindfolded properly every time I see it, just because I care about that one.
But ye gods, it's been awhile since I've read any sequential art except shoujo manga--barring only Eden: It's an Endless World! and one chapter of Yokohama Kaidashi Kikou, which are both fairly relaxed in pace and atmosphere--and it's almost a shock to see half or dozen or more panels on a page, in tight, square, busy boxes; speech ballons tucked into corners and filled with text. The whole sense of it is as different from Othello as different can be, the art aims in a completely different direction from the art of Tramps Like Us.
Mmm, I was going somewhere with that, but I'm too tired to remember what it was.
On a hilarious side note, from David Welsh's latest Flipped column, which discusses adult-oriented manga and the Florida Peach Girl story:
This would be the moment to cast a stern eye in the direction of CMX over the whole Tenjho Tenge reverse-panty raid, a dubious one over whether the edits actually made it appropriate for its intended audience, and a speculative one over what editorial depths they’ll reach as the book becomes more violent and sexual, but I don’t have that many eyes. Plus, their books are still getting shelved under “C” most of the time, so they have bigger problems.
It's so true. I work in a bookstore, and I can't get the
