Shigeru Mizuki’s Hitler

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By Shigeru Mizuki. Released in Japan as “Gekiga Hitler”by Jitsugyou no Nihonsha, serialized in the magazine Manga Sunday. Released in North America by Drawn and Quarterly.

It saddens me to be writing this review now that Mizuki has passed on, but I am pleased that his work is still coming out to entertain and fascinate us all. Showa just completed, we have this new Hitler volume, and Kitaro finally gets a broader release in 2016. He spent his life creating works that will remain behind long after his death. And that includes this book, which was called something like Hitler: The Graphic Novel in Japan, but has been retitled here. And it fits, as the Hitler we’re seeing here feels more like Mizuki’s than it does history’s. This isn’t to say that Mizuki hasn’t done his research: everything is carefully couched in the history that we know (which is not as much as we’d like to). But as the book goes on and we dig deeper and deeper into the darkness of Hitler and the Nazi party, he becomes his own caricature.

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We start off with Hitler as a starving artist, not looking unlike what Kitaro might look if he grew up. Those familiar with Showa will know what we’re getting here, though he did this work first: a combination of historical textbook mixed with dramatized scenes. The dialogue not taken directly from Hitler’s speeches is very perfunctory and drab, deliberately so, I believe: these are real human beings deciding to commit all these atrocities in the name of power, and it wouldn’t do to make their evil more grandiose than it needs to be. As the book goes on, we continue to see Hitler’s rise to power and eventual realization, during World War II, that he’s on the losing side. Most of the major points are kept: his disturbing relationship with his niece, his failing health towards the end, his power of rhetoric swaying opinions – and when that doesn’t work, killing anyone who opposes him.

The introduction notes that Western readers might be surprised at how little the Holocaust was mentioned. I was *very* surprised – it gets one page, right near the end, but other than that and Hitler ranting about Jews a few times in the first half of the book, we get almost nothing about concentration camps or anything else – most of the WWII history is confined to troop movements and leadership positions. To be fair, there are a LOT of famous people in this book, and Mizuki wants to keep it simple by focusing on the politicians he’s sure Japanese readers will know. Still, it’s a startling gap in the book.

The best reason to read this book is Mizuki’s art, in particular his facial expressions. This has always been a strong point of Mizuki’s, but it’s almost sublime here, as his Hitler’s desperate, snorting face gives the pent-up emotion that the dry dialogue can’t necessarily carry. (Some of the funniest moments have Hitler reacting to horrible events with a simple “gyah!”.) Goebbels in particular is amazing, as Mizuki decides about 3 pages after his introduction to try to draw him like some sort of twisted Picasso face, attempting to slide off the page every time we look at it. It’s so fitting for Goebbels that I can’t help but laugh. Each caricature looks like the man portrayed, yes also exaggerates them to ridiculous heights.

If you’re looking for a good overview of Hitler’s rise to power, I think there are better books. But for a book showing us Shigeru Mizuki’s unique take on Hitler, and his ability to show off the man’s unique evil in his own style, this is a great choice. Also for amusement, try to add up the times we see Hitler doing the standard “Mizuki snort of rage” pose.

Planetes, Vol. 1

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By Makoto Yukimura. Released in Japan by Kodansha, serialized in the magazine Weekly Morning. Released in North America by Dark Horse Comics.

This title has been a fan favorite ever since Tokyopop first released it back in 2003. Now it’s rescued, with a new translation, color artwork throughout, and a larger trim size as two omnibuses. This first one covers the first 12 chapters, ending with Hachimaki’s vision quest, which is an excellent cliffhanger. Rereading it, I was reminded why I found the series so enthralling – it combines interesting and flawed characters, a political thriller plot, and of course the beauty of space exploration, and why people want to go to space, though it makes sure to note that sometimes what people do to get to space can be morally questionable.

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Like many titles, the series starts off feeling like a series of one-shots, possibly as it was – many titles are given a chapter or two before they get picked up, which also explains such glitches as Hachimaki’s hair. From the start, though, we have the basical – Hachimaki, Yuri and Fee command a debris collecting ship, making sure that the worst of the objects that litter space are removed so that there’s less risk of an accident. We open on one such accident, which weights heavily on Yuri, the first of our cast we really meet. Ironically, his character arc pretty much finishes in this volume, as he is able to let go of his wife’s death and move on. Likewise, Fee is a wife and mother whose biggest issues are trying to find a place to have a smoke in peace – she’s more of a mentor figure, as well as providing comedy through physical and verbal violence and in her spare time saving all of Earth from cosmic disasters.

No, it’s clearly Hachimaki, and later Tanabe, who are going to be the stars of our show. Hachi is really irritating in that “I am 23 and therefore know better than anyone else” sort of way, and spends much of his time angry at the world, his colleagues, and himself, not in that order. He wants to control his own destiny, but his idea of doing whatever it takes to achieve it feels wrong, especially since we get to contrast it with the creepy villain Locksmith, who is able to write off the death of hundreds in an explosion as good data for his next attempt. In contrast, Tanabe is all heart, and while she’s just as angry and headstrong as Hachi the narrative seems to be on her side most of the time. The two of them are also falling for each other hard, though Hachi finds this idea irritating more than anything else.

This is an expansive series that is not afraid to shift its focus and open up its cast. We meet Hachi’s eccentric father, down-to-earth mother and determined brother; a young girl who’s lived her whole life on the moon due to health issues; and of course various terrorists, who pepper the entire book trying to destroy everything Locksmith and Hachi are working on. No one is presented as totally right or wrong here, though certainly violence is shown to be the wrong answer in general. Towards the end of the book Hachi finally gets onto the crew headed to Jupiter, but a combination of three near-death experiences over the course of the first volume have him questioning everything about himself and what he’s doing. This reaches a point of ridiculousness at the end, when he’s able to somehow stay alive for a week in his spacesuit while having a vision quest.

Planetes is simply a great manga. It has an interesting plot, character growth and depth (Hachi is far less hotheaded by the end), and some gorgeous art. It also rewards us by showing the joys and sorrows of space travel, and why we should still strive to achieve it, despite everything. Even if you’ve already got the Tokyopop volumes, I recommended getting this spiffed up new edition. You can fall in love with it all over again.

A Bride’s Story, Vol. 7

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By Kaoru Mori. Released in Japan as “Otoyomegatari” by Enterbrain, serialization ongoing in the magazine fellows!. Released in North America by Yen Press.

I have reached the point in this series where I genuinely do enjoy the adventures of Amir, Karluk, and their family, and I’m pleased to see we’ll be headed back there for Vol. 8. But I will admit that my top 3 volumes of this series have all been the ones that venture away from the ‘main’ characters and focus on English researcher Mr. Smith… or rather, focus on where he ends up in his travels, as he also barely figures in this volume. Instead, we get a different kind of wedding, as two already married wives with young children find each other and we are introduced to a marriage ceremony between two women who vow to be Avowed Sisters, a concept that reminds me of Anne Shirley’s bosom friends.

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Our heroine this volume is Anis, a young merchant’s wife who is married to a caring husband and has a young child, but still feels there’s something lacking in her life – she *is* happy, but knows she could be happier. After talking with her maidservant, she decides to start going to the public baths, and there meets up with the shy Sherine, who is also married, and bonds with her immediate.y And by ‘bonds’, I mean ‘falls in love with’, as we see immediately that Anis is physically and emotionally attracted to the reserved Sherine. They bond really fast – something remarked on by everyone – and eventually agree to become Avowed Sisters, with a ceremony led by one of the female elders. Of course, this being a dramatic story rather than a history, the moment the ceremony is over, Sherine’s husband drops dead.

I’ve talked before about how most of Kaoru Mori’s titles deal with repressed emotions, and that’s true here as well, even though by comparison Anis is open and obvious. Sherine’s husband was poor, and with him now gone it’s clear that she may be reduced to begging. This leads to Anis asking her husband to take Sherine as a second wife – something acceptable in these times and places – and his stunned reaction. Her husband’s been presented as a good guy throughout, who has trouble reading his wife but clearly loves her. He never took another wife as he was worried Anis wouldn’t like it, and Anis agrees that is absolutely true – except for Sherine. And so the volume ends with the two Avowed Sisters living together as co-wives, planning a trip, and feeding the birds by an ornamental pond.

The mood throughout is beautiful – after the last volume’s battles and deaths, Mori wanted to have a more peaceful story, though she jokes this just led to a lot of nudity. Indeed, the bath scenes take up a large part of the book, and there’s a fold-out color illustration with even more. For all that fashion is her first drawing love, Mori adores drawing the naked female form. But overall this is about Anis and Sherine, and another example of nontraditional brides in what is thought to be a very traditional period in time. It’s well worth your time.