Archive for the LGBTQ Category


Lesbian Novel: Songs From the Other Side of the Wall

October 28th, 2009

Today falls under the “now for something completely different” category. But first, let me tell you a story.

When I first started writing Yuri fanfiction, I was pretty much one of a handful of women writing in the genre and, as far as I can remember (which isn’t very far,) I was *the* out lesbian doing so. So, I got a lot of emails from people – women who were happy to see stories by a woman, not some nerdy teen boy, etc and also from guys who wanted my feedback. Many of these guys wrote to me to tell me how other people said “they wrote women well.” I almost invariably disagreed, because any writer who sees his or her characters as “men” or “women” is probably too caught up in gender roles to write anyone well.

So, when recently I received a message on Facebook from Dan Holloway asking me to read and possibly review his lesbian novel, Songs From the Other Side of the Wall, I cringed. Years of reading sad attempts at “realistic” lesbians written by men made me reluctant to read this. I told Dan that I would read the book with one upfront condition – if I hated it, I would not review it, because no one would gain from me skewering it. If I did not hate it, I *might* review it, but no promises. Dan was totally cool with that. And he never once said he “wrote women well,” so I had some hope.

Songs From the Other Side of the Wall is a *very* good book.

6 pages into it, I was really, really enjoying it. The main character was likable, real and yes, I would have her over for lunch.

The story follows Szandrine, (don’t roll your eyes – there’s a reason for her name,) a young Hungarian musician, after the loss of a dear online friend and his sister, with whom Szandrine had fallen in love at first sight.

Dan’s writing is convincing – Szandrine is mature for her 17 years, but still 17. Her poetry, songs and writing ring absolutely dead-on true for her personality and age.

The story travels in intent, and often location, all over Europe, which I quite liked. But above all what holds this book together is Szandrine; her loves, her likes and dislikes, her quirks and even her stupid skinny jeans. lol

It’s a rather complicated story, and not perfect – there about three handwaves too many to be perfect. There was one instance – one in the entire book – where the author’s voice overshadows the character’s – easily ignorable. And honestly, I didn’t love the ending. I didn’t like where it had been going, and I wasn’t thrilled with where it ended up, but I never once thought about stopping reading. Overall, a great read. Thank you Dan, for being brave and sending me this book. And for writing women well. :-)

Ratings:

Story – 8 Good story, but too many handwaves
Characters – 9 Very real people
Lesbian – 10
Loser Anything – .5, because chances are without pictures, they couldn’t follow it.

Overall – 8

Now, here’s the best part – you can read this book too. For free. Dan is offering his book as a free PDF download on his website. If you like it, I ask one thing from you – when it becomes available in print – buy it. The hard copy I received is a softcover trade book of decent quality. Definitely worth a buy.

In the meantime, I hope you enjoy Songs as much as I did.





Fleurs Bleues, Volume 1 (French)

September 23rd, 2009

Why yes, it is Wednesday.

It is my very great pleasure to introduce our newest Okazu Guest Reviewer, Marc. Marc emailed to say that he had just gotten a copy of the French language edition of Aoi Hana, sensibly titled Fleurs Bleues. Of course I was thrilled to have both a new guest reviewer and a look at a French-language Yuri title. So, please welcome Marc and enjoy his review!

The first thing I thought when I picked up my copy of Fleurs Bleues was, “Man, it’s tiny!”, but more on that later.

Editions Asuka has put out the first volume of Aoi Hana (Sweet Blue Flowers) in French as Fleurs Bleues. It compromises the first seven chapters of the story and the author’s comments.

For those of you who aren’t aware of this manga (where have you been?), it’s the story of Fumi Manjome who returns to her hometown after ten years away. Fumi was a bit of a crybaby in her youth and still hasn’t really grown out of it. Due to the kind of coincidences that seem to happen a lot in manga, she meets up with her childhood friend Akira Okudaira, who also hasn’t changed much over the ten years. She’s still as feisty as ever, and is entering high school at the prestigious all-girl Lycée Fujigaya. Fumi is attending the less prestigious all-girl Lycée Matsuoka. In their respective schools the girls each make friends and involve themselves in school activities. Akira becomes fast friends with Kyoko Ikumi, and they join the drama club. Fumi has just ended a relationship with her female cousin, and being in a somewhat vulnerable state, meets and forms a relationship with upperclassman Yasuko Sugimoto. The manga deals with the ups and downs of these relationships as well as with Fumi coming out to Akira.

I love these types of manga. No big explosions, no giant robots or girls, or giant robot girls (if you’re into that sort of thing). This is a story about relationships and their development. Fumi’s insecurities, Akira’s wanting to protect and support her friend despite not having seen her in ten years, Kyoko’s unrequited love, and Yasuko’s teasing make them feel real.

The art is simple but beautifully drawn, which is exactly what you need when you want to focus on the story. The characters are engaging and not too stereotypical for this type of manga. (Though I must say, Akira’s brother’s sister complex creeps me out.)

The translation is well done. It is in very proper French, which lends itself well to the characters and story. It gives it a sort of poetic feel, which I feel enhances the drama. Like Erica, one of my pet peeves is when sound effects or background dialogue is not translated. Thankfully, Asuka did translate all these little bits.

But that isn’t to say there aren’t any problems.

When it comes to the suffixes (-san, -chan, -kun), my philosophy is either don’t use them at all, or use them all the time. For reasons I can’t explain, the translators removed all the suffixes except for two. Yasuko is still called Sugimoto-sempai, and Akira’s original Japanese nickname of Ah-chan was changed to Aki-chan. Go figure. I think I’d have preferred if they’d dropped them all. (Not that I’m suggesting you shouldn’t buy the book because of that. How big a Fanboy do you think I am?)

Then there’s the size. As I said at the beginning, it’s smaller than the manga I tend to see published in book form. At 6.5 x 4.5 inches, it is much smaller than the average 7.5 x 5 inch English ones. It literally is a pocket book (it fit in my jeans pocket just fine). It is considerably smaller than the Japanese version (8 x 6 inches), and it sort of reminded me of a Harlequin romance paperback. I don’t think that was unintentional. However, the small size was a little off-putting for me but didn’t impact my reading enjoyment.

The Japanese cover was lovingly recreated in beautiful pastels and the left to right reading was kept in place. The reproduction of the content was crisp and clear, and the font choice made reading (even for a bifocal-wearing old man like me) easy. Nothing mimeographed here.

Ratings:

Art – 8
Story – 8
Characters – 9
Yuri – 9
Service – 1 (mostly the creepy brother)

Overall – 9

Reproduction – 9

All in all, this is a great read for yuri fans. I found myself smiling a lot while reading it. If you can read French I suggest you pick this up for your collection. I can’t wait for the next one.

Thank you so much Marc for a terrific look at another edition of this fabulous manga. I hope one day to be able to include an English-language review on the list. And please take note European Yuri fans – if you have an edition of any Yuri series in a language other than English or Japanese, please do email me – we’d love to have a review!





Lesbian Comic: Detective Comics

August 12th, 2009

What a week here at Okazu! Not only did we get to read that breathtaking interview with Nakamura Ching-sensei, but today I have a guest review written by none other than David Welsh of Precocious Curmudgeon. I’m all a-quiver with excitement at today’s review.

Some weeks ago on Twitter, David mentioned that he had gotten the Detective Comics series with the new Batwoman (zOMG a lipstick lesbian who never has a steady relationship! That’s NEVER been done!) and I asked if he’d like to review it for us here at Okazu. This may well be the first mainstream American comic ever reviewed here. History in the making. Anyway, not to delay a moment longer, David, they are all yours…)

When I consider comics, the binary that comes most readily to mind is what drives the book. Is it plot, or is it character? I tend to favor character-driven stories, where the events spring from who the characters are, and they couldn’t happen in quite the same way to anyone else. The binary is too limiting, obviously, but it generally suits my interests and priorities.

So if nothing else, Detective Comics 854 and 855 (DC) served as well-executed reminders of another category: the art-driven comic. Written by Greg Rucka, the comics serve as a proper introduction to DC’s much-ballyhooed lesbian Batwoman revamp. I think the character debuted in one of DC’s big weekly crossover series, but I haven’t picked up a DC comic since they set Sue Dibny on fire and all the heroes started crying and snapping at each other because they were all amoral failures.

Still, I’ve enjoyed many comics written by Rucka, and it’s rare that you have a GLBTQ character helming one of DC or Marvel’s flagship titles. (They generally tend to die in Marvel and DC’s flagship titles, actually.) For added interest, there’s the art of J.H. Williams III, with colors by Dave Stewart and lettering by Todd Klein. My first encounter with Williams’ art was DC’s short-lived, much-loved Chase, about an agent for the DC universe’s super-human monitoring agency. It was a neat series with a well-developed woman protagonist (look, a unicorn!), and Williams contributed a great deal to its appeal. He’s pretty much the whole show with the first two issues of Batwoman’s Detective run.

This brings me back to the concept of the art-driven comic, where the writer provides just enough of a framework to give the illustrator reign to go wild, metaphorically speaking. A fine example is Paris (SLG), barely written by Andi Watson and magnificently drawn by Simon Gane. (For added Ozaku interest, it’s about young women in love… with each other!) If a cartoonist is more illustrator than writer, he or she can give him or herself license to slack on story and character and concentrate efforts on images. That’s what I tell myself when I read manga by Arina Tanemura.

That’s what Rucka has done here, or at least that’s what it feels like he’s done. I knew very little about the character prior to picking up either issue of Detective; the New York Times told me she was a lesbian (pardon me… a “lipstick lesbian”) socialite named Kate Kane who fights crime. That’s still pretty much all I know about her, with the added details that she has difficulty maintaining relationships and some kind of troubled past that’s unfolding in drug-induced flashback.

Since everyone in Batman’s orbit has trouble maintaining relationships and a traumatic childhood experience or two, there’s nothing really left to distinguish Batwoman except for the visual iconography Williams brings to the book. Her sexual orientation is entirely equivalent in terms of relationship failure; the fact that she’s a lesbian has no more to do with it than the fact that Batman is ostensibly straight. After a rough night of beating up lowlifes in alleys, they’re too tired to commit.

It’s a gorgeous book, and instead of clumsily trying to explain why, I’ll just point you to Jog’s review of Detective 854. Unfortunately, I found it a strangely empty book as well. Nothing damaging or unpleasant happens to compromise Batwoman’s future as a character, but nothing really meaty happens either. The character is secondary to her rendering.

I had many of the same problems with the back-up strip featuring DC’s other high-profile lesbian heroine, The Question. I went in knowing a lot more about her, or at least her alter-ego, Renee Montoya. Renee did a long tour of duty as a detective with the Gotham City Police Department and played a central role in the generally excellent Gotham Central (DC). She even got a well-liked arc, written by Rucka, where she was outed to her hyper-masculine co-workers. I always found her an interesting, assertive character.

Something has happened since I last saw her, as she’s adopted the nom de guerre and most of the costume of an interesting c-list DC sleuth who wore a featureless mask and was obsessed with conspiracy theories. The featureless mask is still in place, updated with a crop top for no particularly good reason. (Crop tops seem so impractical for people who anger gun-toting thugs.) Renee seems to have left Gotham behind to wade through one of those TV-series premises where she finds people to help through a web site. At least I think that’s what’s happening, as Rucka doesn’t spend any more time on Renee’s back story or motivation than he does with Kate.

It’s competent enough, but artist Cully Hammer is no J.H. Williams. The back-up strip is welcome in the sense that it makes the comic’s $3.99 price tag seem slightly less like highway robbery.

Thank you David for what may well be the most cogent look at Batwoman ever written. And thank you for being our newest Okazu Guest Reviewer!





Interview with Gunjo’s Nakamura Ching

August 9th, 2009

You may or may not remember that my love affair with Gunjo began when I received a message on Mixi from a young manga artist, asking if I’d be interested in a non-moe Yuri manga.

Obviously, I was.

A few weeks ago I asked Nakamura-sensei if she didn’t mind, could she answer a few questions for us here at Okazu. Although she is very busy, she graciously took some time out to answer a few questions – I hope you will enjoy this interview as much as I did!

 

***

——————————————————-
Q1: Please Tell Us About Yourself
——————————————————-

I was born in June, 1985. I am 24 years old.
When I was 18 I drew my first manga, I made my debut at 20.
My favorite foods are Indian and Mexican. I like Japanese food, too.
My hobby is travel but, because I’m busy, I haven’t been able to go anywhere.
My favorite movies are The Namesake, KILL BILL, Roman Holiday, Bella Martha.
I love dogs, I have 2.
I have begun to study English, because it has become troublesome that I do not speak any English.
Recently, I have been corresponding with an older woman from America.
We discuss the joy of old age. And about things like dreams for the future, and living peacefully.

 

——————————————————-
Q2: How did you become a mangaka? Was it a childhood dream?
——————————————————-

I did not attend college, because I had no money to go to school.
When I was seventeen, I left school before graduation and took a part time job.
I wanted to obtain a job in a respectable company but, because I did not have the educational background (Japan is still a society where one’s educational record counts. I have had hardly any formal schooling) I thought I would look for a job where education didn’t matter, work that anyone might be able to get.
At first, I thought I might become an illustrator.
A friend said, “You should become a mangaka,” so I enrolled in a manga trade school for a year. (From the end of my 18th year into my 19th year.)
My childhood dream was to become a high school teacher, or be staff at a children’s home.

 

——————————————————-
Q3: Which artists are your role models?
——————————————————-

The artists who influence me most when I draw manga and write stories are neither mangaka, nor artists; they are those who write songs, are poets, novelists, and photographers.
Nakajima Miyuki, Yoshioka Osamu, Kumi (LOVE PSYCHEDELICO)…Song writers.
Mishima Yukio, Kajii Motojiro, Watanabe Junichi, Tendo Arata…Novelists.
Horiguchi Daigaku, Yoshiwara Sachiko, Taneda Santoka…Poets
Kuwabara Kineo, Hosoe Eiko…Photographers.

The artists that I think are really the most wonderful are my assistants who draw the backgrounds for Gunjo. I hold the pictures they draw in higher esteem than those by any painter. I am very proud to be working together with these ladies.

My favorite overseas artists are Eugene Delacroix, John William Waterhouse, Gustave Moreau.
My favorite Japanese artists are Utagawa Kuniyoshi, Nagaswa Rosetsu, Ito Jakuchu, Tsukioka Yoshitoshi.
My favorite manga artists are Ikeda Riyoko, Miuchi Suzue, Yamamoto Sumika, Yoshinaga Fumi.

 

——————————————————-
Q4: If you were not a mangaka, what kind of work would you be doing?
——————————————————-

Child welfare work or international welfare work.
Or, I wanted to become a teacher.
I think there’s nothing more important than raising a child with love (sooner or later, that child becomes an adult who bears the burden of society.)

 

——————————————————-
Q5: What were your motivations for creating Gunjo?
——————————————————-

I wanted to draw the keen loneliness of a lonely person.
I wanted to turn our kindness and cruelty (the kinds of emotions that we can’t control with our own wills) into a manga.
And also, because I am gay.
Living a life of hiding I was gay was unpleasant, so I wanted to give myself the chance to admit I was gay.

 

——————————————————-
Q6.1: Please tell us a little bit about your process.
How long does a chapter take to draw? What is the first step, what is the final step?
——————————————————-

The time it takes to draw a chapter depends on the content and the number of pages.

First of all, the script, story and any other ideas I have are written down on paper. (I use B4 size paper and a mechanical pencil to draw.)
I don’t write neatly. Whenever I think of something, I write single-mindedly.

After that, when the idea has been organized, it is called “Name” and the storyboard of the manga is drawn.
(The panel arrangement, script, people’s movements, 90% – 100% of these are decided at the “Name” step.)
Name is first drawn small on a big piece of paper, like a thumbnail.
This is revised many times and when I think “This can’t be fixed anymore,” Name is drawn neatly on a large piece of paper. (I draw on a piece of B4 copy paper folded into 2.
When Name is completely drawn on the large paper, it is sent to the Editor in charge of the Editorial department.
When this has been checked, I start work on the manuscript.
First, the paper is divided into the panels、and I draw the frames of the panels with a felt-tip pen.
From there I use a mechanical pencil to draw the rough sketch.
The rough sketch is inked, then screentone is applied and it’s done.
After that, the script is added, then it is passed to the editor. Afterwards it is printed and it becomes a book.

——————————————-

This ↑ Name
In the magazine becomes this ↓.

——————————————-

This ↑ Name
In the magazine becomes this ↓.

——————————————-

This ↑ Name
In the magazine becomes this ↓.

——————————————-

The last thing I do is check the work in the printed manga.
The kind of things that are checked are that the screentone was applied properly, or that the art is drawn well. Or any mistakes in the script.
Any inconvenient points or faults will be corrected when it is made into a tankoubon.

 

——————————————————-
Q6.2: (Please tell us a little bit about your process.)
How many assistants work with you?
——————————————————-

Currently, I have 3 main assistants.
(Up until now I had 5 people, but recently 2 retired.)
Nakayama Aya, Wakayama Yoshiko, Kumazawa Sayuri.
The Gunjo title page in the magazine will always list their names.
And from time to time, Nakazawa Tomoko comes to help.
Therefore, 3-4 people total.
They are women, ranging from 22～30 years old.
Without my main assistants (Regulars*), it would not be possible to finish up a manuscript.
When I’m very busy, I employ a number of freelance assistants to help out.

 

The number of assistants depends on the number of pages and the number of days until the deadline. A 32-page chapter and a 72-page chapter will need a different number of people to work on it.

* Assistants who always help out are called “Regulars” 「レギュラー」 in the Japanese Manga Industry. People you call only when you’re very busy are called “Help”「ヘルプ」.

 

by CHIEF ASSISTANT/ NAKAYAMA Aya (outline)

 

by WAKAYAMA Yoshiko (outline), NAKAZAWA Tomoko (screentone)

 

by KUMAZAWA Sayuri (outline and screentone)

 

I trust their skill and natures.
Therefore, I don’t give them much direction.
I rely on their sense.

That way, they can achieve the picture I want to see.

If reference material is needed, I do the research, take a picture with a camera, buy a book or search on the Internet.

This is a reference picture I took in Tokyo.
(東京浅草・吾妻橋／Asakusa, TOKYO, AZUMABASHI bridge)

This is the line drawing drawn by my assistant.

It’s completed with the addition of screentones.
(On this scene of a rainy day, after the tone was added, the rain was drawn in.)

 

——————————————————-
Q7: How has Gunjo been received by the Japanese audience? Is it popular? What kind of reactions have Japanese readers had to it?
——————————————————-

People who like Gunjo, love it, people who do not like Gunjo, hate it.

(Note from Erica: Ironically, the day before I received these responses from Nakamura-sensei, I had said the *exact* same thing to someone.)

 

——————————————————-
Q8: What was your reaction upon seeing the Gunjo cover of Morning 2 magazine? What did you feel when you saw it?
——————————————————-

Happy.
The readers thought there were pros and cons.
However, I also thought there were pros and cons.
When the cover went to print, the editorial office made a regrettable error in the spelling of the title.
When I saw that it had been spelled GUNJ”Y”O, I was surprised.
The correct version is GUNJO.

 

——————————————————-
Q9: Why don’t the protagonists have names?
——————————————————-

For the moment, the names of all the characters is a secret known only to me.
It will be revealed to the public in the final section of the tankoubon (probably.) However, this will be an omake.
Within the story of Gunjo, I didn’t feel that there was a necessity for the characters to have names; to the very end, they are not called by name.

When I am drawing the manuscript with the assistants, or meeting with the editors, them having no names is inconvenient so, we call BL “Les-san” and BN “Megane-san.” Because BL is a Lesbian and in chapters 1-7, BN wore glasses.

There are two reasons they don’t have names.
My Editor-in-chief said, “The characters names are an important element of manga.”
“If the character names stand out, or they aren’t good names, the manga will not become popular.”
I thought, how ridiculous, what a foolish idea. Therefore no names are used in this manga.

Also, BL’s feelings, BN’s feelings, are not only theirs.
Their feelings resemble the feelings of many people in the world.
BL’s or BN’s feelings might resemble the way you feel,
Gunjo is not only a story for BL and BN, but it is a story for you.
Therefore, BL and BN (and also BL’s former lover) in the manga don’t really need to be called by a specific name.
You only have to read to think that you are them.
When BN calls “Hey” looking for a reply, it’s not to BL, it’s you.
If BN uses BL’s name, then you won’t be able to respond.
When BL calls out “Hey,” the reply isn’t from BN, it’s from you.
If BL uses BN’s name, then you won’t be able to respond.

 

——————————————————-
Q10: What question do you have for overseas fans of Gunjo?
——————————————————-

When you read Japanese manga, how do you read it?
Can you read Japanese from the start? Or do you use a dictionary? Or do you just look at the pictures?

 

——————————————————-
Q11: What message do you have for overseas fans?
——————————————————-

If you have any impressions or opinions, absolutely please let me know.
Or, please tell me about yourself.
Where do you live, how old are you, where you work, what kind of person is reading my manga, I always want to know that kind of thing.
In Japanese, English, there is no problem with either.
If you want to use email, please send it using the mail form on my website. (http://ching.tv)
Handwritten letters are also welcome.
Kodansha Ltd. “MORNING 2”
(GUNJO Nakamura Ching)
2-12-21, Otowa, Bunkyo-ku,
Tokyo 112-8001 JAPAN
I will personally read the letters and emails you send myself.

 

***

Thank you so very, very much, Nakamura-sensei for taking time out of your tight schedule to answer these questions and share so much of yourself with us! We all look forward to the tankoubon of Gunjo. And thank you for all the wonderful pictures, that allow us a glimpse into your work.

I hope you, my dear readers, will all send letters to Nakamura-sensei and tell her about yourselves. :-)

(And some extra super sparkly thanks to Erin S who helped me out with a bit of the translation.)

 





Gunjo, Chapters 10-13

August 6th, 2009

I haven’t talked about Gunjo (new spelling courtesy of the editors of Morning 2 magazine) in a while. It’s not because it stopped running, although there was a hiatus for a bit of the spring.

It was because, simply, I couldn’t. I could not write about what is arguably the most amazing story I have ever read, bar none.

I tried to verbalize why this was yesterday to the wife and began to cry, because I just couldn’t talk about it.

I last left you after the two protagonists spend a night of loss, love, passion and pain, after we get a glimpse into the lives they’ve put behind them, and watch as the blonde’s former lover is forced by her sheer misery to come out to her parents – who kinda knew and, really kind of liked the blonde.

That’s when this story went from really amazing to sublime. And that’s when I became incapable of writing about it.

The morning after, the protagonists, whom I have given the horrible nicknames BL (Blonde) and BN (Brunette), walk away. I mean that literally. They take a look at the blood they’ve left on the sheets and the towels, and the destruction they’ve caused in the room during their various tantrums, and they drop their purses, and every yen they have on the bed…then they walk away. And almost immediately, a policeman sees them and calls out after them.

They run. They run hard, suddenly realizing that they want freedom…and, when a train nearly hits BL and BN leaves even her shoes behind to run fast enough to save her, they realize that they want to live.

They spend the night wandering in the cold rain. BN is shoeless, and getting a cold as the night wears on. Almost immediately, before they’ve even been able to taste it, their freedom swirls away down the sewer. This was a 72 page chapter – it was indescribable. I felt utterly exhausted and breathless after reading it. They are clearly at their end of their very short ropes, when BL finds a coin and uses it to make a phone call.

She calls her brother. He’s amazed to hear from her and comes to get the two of them. As it happens, it’s her nephew’s birthday so, while BN huddles miserably in the car, BL spends a few happy hours with her brother’s family, coming out to him and his wife. “What’s it like, being a lesbo?” he asks, then apologizes.

BN, filled with misery and self-loathing and a head cold wants out. But BL is driving them both – somewhere.

And here we are, waiting on what will probably be the penultimate or ultimate chapter. I still don’t know how this will end, but I have no doubt that it will be epic. And beyond that, I await – as I hope you do – the collected volume with bated breath.

This really is not Top 10 for 2009 material – this is Top Ten for my entire life material. I’ve never loved such loathsome people so much.

Ratings:

Art – 8
Story – 10
Characters – 9
Yuri – 9
Service – 1

Overall – 10