Wednesday, October 9, 2013

Manga Realness: "Ultra Maniac" by Wataru Yoshizumi


The last series in my favorite completed manga set is Ultra Maniac, by Wataru Yoshizumi.  This is quite possibly my favorite between the four I've recently written about, and for serveral reason.  Besides the franatic storyline underneath a schoolhouse backdrop, the artwork (or line work) is clean beyond belief.  Taken with an artistic eye (not that I'm a professional of any sort), the drawings are very clear.  Even clearer and cleaner than Naoko Takeuchi's work.  Maybe it has a lot to do with the different time periods the two series were released, but I noticed Ultra Maniac was very much on par with Absolute Boyfriend's line work.  Perhaps, a smidget cleaner and more meticulous.  Never mind, they both are nicely done.  I just notice it much more in Ultra Maniac.

Yet another manga series I followed through each English adaptation's release, Ultra Maniac also brought me comfort during some frustratingly lonely times.  Also as a note, this one of the few manga series where I own the anime version also--which is just as clean and wonderfully put together.


Ayu Tateishi.  Rei Hino, anyone?
Rei with her secret crush, Tetsushi
So those who are unfamiliar with the short series, Ultra Maniac, let me first summarize what it’s about before why I like it.  For starters, the series combines comedy, romance, and fantasy.  It’s magical, with extended emphasis on celebrating our uniqueness and the friends we gather from doing so.  The story revolves around Ayu Tateishi (who I’ve attributed has an attitude and likeness similar to Rei Hino in Sailor Moon).  As a middle-school girl, Ayu is somewhat of an inspiration to her classmates.  She has a maturity about her that many of her peers admire.  She isn’t one to let loose her emotions or super-express her feelings in concerns to school crushes and chasing idols.  Also, she firmly states that she isn’t one to believe in magic and fantasies.  Ayu has a smooth and practical personality, which I identified with from the jump on some levels.  Nevertheless, Ayu hides a lot of her feelings behind this demeanor--through a personification built mostly because of her interest in a certain student named, Tetsushi Kaji.  Much of her development comes from accepting and projecting her inner desires, trusting that she can believe in the impossible becoming possible.  And this is where Nina Sakura--the teen witch--comes in.  

Nina Sakura and her little spell-tool box
Tetsushi Kaji, the popular boy
From the beginning, Nina comes across as somewhat of a scatterbrain.  Yet, that's a part of her cute, spunky, and likeable charm.  She is like the antithetic to Ayu, or the Pippi Longstockings to Ayu's calm personality.  Nina has just about the same level of energy and gusto as Pippi Longstockings, as well as the unwavering passion for believing in the unbelievable.  However, just like Ayu, Nina hides many of her insecurities behind her jubilant personality.  Somehow attracted to Ayu’s resonablities, Nina is in distress after losing a personal item related to her witching.  It’s a big issue because Nina is in this “world” to prove she is capable of becoming an outstanding witch, considering the people from her world don’t seem to trust that aspect of her.  Once Ayu finds and returns Nina’s magic tool, Nina sees Ayu as the perfect individual to divulge her secrets to.  This includes confessing her desires to be an outstanding witch.  I suppose Nina felt she could share this with Ayu because of Ayu's smooth personality, but now thoroughly attached, Nina does anything she can to make Ayu happy.  To her, they are friends now.  However, Nina's magical antics doesn’t always turn out in Ayu’s favor.  And this is where the adventures begin.

Opposites attract, leading the girls down exciting paths encouraged by one another’s differences and inner similarities as they develop a close friendship filled with trust and adventure.  Between the two secondary male roles expanding onto the friendship, and friends from Nina’s witch world entering many chapters, Ultra Maniac makes for a comedic five-volume series. 

Tetsushi's best friend, Hiroki
As I outline Ayu and Nina’s characteristics and differences, I want to make it known that those elements are what made me love the series.  Particular because I spent my middle school years in somewhat of the same circumstances where I had to cover up myself just to survive the experience.  The funny thing is that in middle school I was more like Ayu, calm and collected.  It wasn't until the second year of high school that I became out going like Nina.  It balanced out eventually.   And necessarily so. 

Nevertheless, that's only half of my identification with the manga series.  While I wasn’t the most popular in middle school I had enough “credence” to associate myself with a few of the more popular students.  I suppose in many respects I was that in-between kid.  Nevertheless, my best friend was one of the students who was forever looked over and bullied by others.  He was the kid I would have to defend from ignorant tormentors.  It had a lot to do with him coming from a family in economic straits (like who wasn't?).  Straits that showed in his tattered shoes and daily repeating outfits.  On top of this, his family weren't that nice to him.  I remember a time when I had extra money and got us both Snicker bars out of the school vending machine.  He took his home.  The next day I asked did he enjoy it.  Sadly, his dad took it away from him and told him that he didn't deserve it.  What kid doesn't deserve candy?  I was angered of course.  Months later I bought two copies of a collection of ghost stories.  Nobody took that from him.  

Nina flagging down Ayu
Maybe because I've always tried to remain receptive to people, but I see no other way to find acceptance in yourself but through the accepting of others.  Nothing is more bonding than being genuinely emphatic and sympathetic to another.  What he and I shared was a love of Stephen King (which may say a lot) and the imagination.  Not Air Jordans or Mustangs.  Just books and some creative thinking.  We could be ourselves while everyone else was shooting to be relevant to others.  Therefore, I enjoyed his company and considered him a friend.  I needed one just as he did.  

Now, while there is much, much else to speak about in Ultra Maniacthe story of two girls who seem to support and compliment each other inspires me to remain open to people.  Have you been open to people lately?

Thursday, October 3, 2013

Mythos and Logos Revisited

Powell’s final comprehension of mythos and logos was defined by a line of others’ attempts to define the term.  According to Powell’s A Short Introduction to Classical Myth, fifth century BC Pindar defined the terms as a “difference between a tale” [mythos] and “one based on reason” [logos].  Eventually, the definition of myth and logos took on a socialistic view, described as the passing of stories and parables that provided a reasonable solution to human endeavors.  This definition insisted that traditional-style stories, or mythos, contributed to the way a society modeled their behavior.  Or as I personally believe, offered itself as a behavior correction mechanism that laid “heavy numbers” to keep some parts of society in line.  However, logos are the concepts that relies on delivering the truth, or a reasonable explanation.

Nevertheless, I found that Powell’s eventual definition of mythos and logos as indefinite as its source.  However, myth will seemingly always carry the definition of being somewhat irrational in concerns to storytelling.  Whereas logo strives for the rational.

Jones’s book, The Marriage of Logos and Mythos, begins with his supporting of Powell’s view on mythos and logos in his “Aspects of the Mythic Imagination” text.  Here he highlights four aspects of mythos and how we apply the definition of it on a personal scale of comprehension.  Like Powell, he believes mythos is a means to provide insight into an individual’s own direction, even describing its purpose as a means to shift individuals onto a “timeless learning journey.”  His views take on an imaginative, even esoteric, approach to the definition of mythos.  However, like Powell, his understanding of logo continues with the “logical” approaching concept.

The marriage between the two appears to be explained by Jones’s view of: “with the rise of the industrial economy, we found ourselves in a world out of balance.  Scientific logos quickly rose to dominance and the mythic life feels into disrepute.”  Nevertheless, Jones concludes that, in the context of leadership, both mythos and logos have to become one.  It’s this union that provides a leader with a logical--yet creative--approach to leading generations to come. 

Just revisiting some old ideas related to literature.  I wonder which do I live in most.  A world filled with mythos-like ideas?  Or the practicals of logo-like ideas?  It's fair to say both.

Jones, M. (2010). The Marriage of Logos and Mythos: Transforming Leadership. Journal of Leadership Studies, 4(3), 73-76.

Powell, B. B. (2002). A short introduction to classical myth. Upper Saddle River, NJ: Prentice Hall.

Saturday, September 28, 2013

Text Message Rant & September Reads

It’s Saturday and I’m off work!  WHOOT!  One day--real soon--all Saturdays will be like this.  At least in the context of me making money doing something I actually love to do and not being tied down to making money for someone else’s grand business.  With that aside, I’m happy to have the interest of several people reaching out to me these past weeks.  A few commission ideas have crossed my path, and now is the perfect time to get started on a few new projects.  Nevertheless, before September closes I want to do a blog post featuring my September reads.  Accompanying the post is a new video detailing these reads and my view on them.  However, a small text message rant introduces the video, so beware of language.  It was unavoidable, seeing that have yet to practice editing videos.  Nevertheless, let’s commence.



The books:

1.  A Tale for the Time Being by Ruth Ozeki  

2.  When the Night Whispers by Savanna Welles

3.  Voodoo Season by Jewell Rhodes Parker

4.  W is for Wasted by Sue Grafton

5.  The Shining by Stephen King

6.  Doctor Sleep by Stephen King

7.  Deadline by Sandra Brown

8.  Sailor Moon Short Stories Volume 1 by Naoko Takeuchi

As always, HAPPY READING!

Thursday, September 26, 2013

Subjective Term? Literary Masterpieces?

I remember a literature teacher asking the class what makes a literary masterpiece.  Of course the class had to write and share an essay on the topic.  At the time I simply thought the answer lie in how well a piece of popular literature is written.  As well as how popular some generation of culture and society thought it as, placing it on a pedestal for whatever determined reasoning.  However, I later learned that it remains a subjective topic.  What I may consider a masterpiece may differ from another's thoughts on the same subject.  And all too often I don't even use the term "masterpiece".

Nevertheless, I'd like to share a few of my thoughts.  Many literary masterpieces gather critiques as either presenting lackluster material, or the complete opposite, over-enthused writing.  Therefore, there are several combined elements that may “constitute” a pleasant reading experience, or a dull one.  As an author’s style and syntax continues to be the defining factor in a reader’s experience, other essential ingredients determine how well the message of the novel obtains reception, ingredients that work in conjunction with an author’s choice of words.  This combination of properly used elements helps the reader appreciate the context of a literary masterpiece.  
The Joy Luck Club.  I would consider it a masterpiece.

Long passages of description often cause readers to skim text, missing quality pieces of an author’s message.  Many times description merges with narrative, making it difficult for readers to separate the two.  However, description has the tendency to imply itself throughout a novel, whereas narrative has a way of giving character (often character specific) to a novel, essentially presenting itself as a secondary role in the process.  A character’s role in the pleasantness or dullness of a literary masterpiece brings success to the experience if the character creates speculation within the reader.  Characters that appear predictable to readers may become to contrive to drive a literary masterpiece, as readers are looking to explore the setting within someone he or she can identify with or grow to identify.  A careful balance of inner and outer character statements contributes to a well written literary masterpiece, as character statements create speculation of the character’s actions throughout each manner.

Characters use dialogue to relate their terms to a real life translation for readers.  As many readers skip through narrative and description, it becomes dialogue that catches the reader’s knowledge of the novel’s presence and direction.  Much of this has to do with how text appears on a page, as dialogue tends to be “easy on the eyes.”  However, dialogue is not the absolute to a literary masterpiece, as much of the message infuses into the reader’s ability to visualize the setting and inner monologue of the available characters.  This requires structure, as authors who produce literary masterpieces must maintain a balance of dialogue, narrative, and description to bring pleasure to many readers’ experience.  Character structure allows the information of a novel to become clearer while bringing passion throughout the reading and analysis.  Messages readers receives from a novel is through each passage or piece of dialogue.  It's here that we search for powerful passages to evoke our emotions, not so much to spend time decoding an author‘s material. 

Many find word choices and their meaning brings the biggest appreciation into literary masterpieces.  Though description, character, dialogue, and structure are powerful characteristics that attribute to what an author should focus on when creating a literary masterpiece, these elements are just as important in an author who chooses to explore in other genres of fiction.  Literary masterpieces become important because of the words and meaning they evoke in readers.  Because of this they explore social and personal changes.  Modern contemporary authors like Amy Tan [The Joy Luck Club] and Toni Morrison [Beloved] introduced literary masterpieces that unveil the complexity of what it means to be of an ethnic minority [Chinese, Chinese-American; African, African-American].  Then authors like F. Scott Fitzgerald [The Great Gatsby] provided a glimpse into his concerns about the corruption of the American dream.  An author such as Ralph Ellison [Invisible Man] attacks both social issues and individual conflict within many of his novels.  Then classic masterpiece of Oedipus the King [Sophocles] asks readers to question their purpose in life in modern times.  

With an author’s use of word choice and meaning, his or her messages become striking and clear.  Not understanding the careful use of the two sometimes fails an author.  There are moments when an author does not fully understanding the meaning of a word and uses it.  Granted, a single word can have multiple meanings, but literary masterpieces must use words that remain in the context of the passage.  The message obtains clarity this way because with words used properly in the context of the text, there are no alternatives for the reader to misplace its meaning.  Nevertheless, there are abstract attempts at words designed to further the reader’s contemplation of the material, but a careful use will drive the text to its clarifying end.  Possessing a strong vocabulary (combined with imagination) to draw from authenticates (as well as distinguish) an author’s voice and ability to drawing meaning from his or her masterpiece.  Operating consciously or unconsciously, the arrangement of an author’s word choice takes intuition and observation.  An author who writes to challenge a reader’s personal beliefs or social conditioning takes the advantage by introducing words, meaning, and context.  This careful use supports his or her argument for change, or insight into other cultures and ideas.

Whereas numerous elements such as character, dialogue, narrative, and description goes into creating powerful pieces of literary works, those masterpieces that challenge readers with their use of words and meaning appear to generate cross-cultural conversations.  It is these words that contribute to the greatness of an author’s character, dialogue, narrative, descriptions, and use of metaphors.  Literary masterpieces are important in the sense that they often create changes in real life, just as they gather inspiration from a life in need of change and progression.

Monday, September 23, 2013

Totally Random: Sharing Some Crazy Metaphors

Something I love to do is eat up words and language; tubular pasta mixed with Pesto sauce.  Much of it clings uneaten to the corners of my unaware, child-like lips.  But I live in the chewing, even if I sometimes choke in the swallowing.  Nonetheless, it's about the taste of words and language, similar to the extra delight of Swiss cheese sliced before laying sweet on bread.  

Sometimes you study those sweet pieces, peeking through holes that you wish to have filled as you wonder if those holes of inconsistency actually attribute to the flavor.  So on occasions I snack on words and language incorrectly, like empty calories found in a grab bag of Halloween candy.  It can be that sweet to be so wrong.  

Once a writing teacher told me that my material was convoluted.  Was it because of my misuse of words?  It didn't matter.  I told her I loved words too much to hold back, thinking maybe she was a lazy reader.  I have acknowledged that my writing is often like a cosmic, excited sun climbing over wrung rain clouds.  It glares at streets filled with puddles.  It beams its damnedest to soak up every single drop, hoping each drop has absorbed a piece of the people walking along these streets.  Absorbed, I can then fill my stories with more convoluted lives.  As well as lies.

So then I smile and keep writing.
-----------------------------
Your turn.  Be totally random.  Pick a certain topic and writing some crazy metaphors.

Tuesday, September 17, 2013

Manga Realness: "Eerie Queerie!" by Shuri Shiozu


Hi, everyone.  For those who are new to my blog, welcome.  For those returning, welcome back and thanks.  Should I tone down all the colors? (^_^)  

I made the--now titled--Comic Towel to create a space where I can promote my Zazzle store/drawings and my interest in literature, manga, and philosophies (some personal).  Sounds like a lot, but as I find myself delving into the materials that I love in each category, I can’t help but want to share and create conversations about them and how they relate to my life.  A side objective to that is to help motivate and inspire others by finding inspiration in all mediums.

With that said, I would like to find some of that inspiration in
Awkwardness of Mitsuo Shiozu
Manga Realness Number 3: Shuri Shiozu’s Eerie Queerie (the original Japanese title is Gosuto!, or Ghost!).  The English adaptation title of Eerie Queerie is more or less a play on the fact that this manga series is within the shonen-ai genre, or "Boy’s Love".  That’s Boy’s Love in the sense that it features gay characters/themes.  See, the story is about a cumbersome high school teen name Mitsuo Shiozu [uke].  His cumbersomeness isn’t pressed upon him simply because of the awkward stage we all face in high school.  No, Mitsuo just happens to be a spirit medium, meaning he communicates with the dead.  Therefore, he has every reason to be weird, soft, and many times over dramatic   He has a lot to deal with besides crushing over boys--or hiding it, rather.  Undoubtedly, the paranormal aspect drew me into the four-volume series as it appease to my love of Japanese kwaidan stories.  Of course in a severely cutesy, melodramatic manga-style fashion.  Naturally, there are better manga featuring stories of the occult and paranormal, but Eerie Queerie! ranks a little differently with its shonen-ai elements.


The Handsomely Dedicated, Hasunuma
The problem Mitsuo finds himself in lies in his ability to become possessed by the ghost that he runs across.  Usually, they are female.  And usually, they uphold a somewhat unrequited love of a certain male classmate.  Tucked within Mitsuo’s body, these ghost seek the returning affection of those who’ve obtained their attention in life.  This leads to further awkwardness and a pattern of misunderstandings that creates a love triangle between Mitsuo and the popular boy in school, Hasunuma [seme].  The third piece of the triangle belongs to the neatly handsome, Ichi.  With the romantic stage set, the battle for Mitsuo’s affections commences through this winding series of miscommunication, bad intentions, hidden secrets, and desperate apparitions.  The crux of much of Hasunuma and Ichi’s intent is to both love and protect Mitsuo.  Which also fuels Mitsuo’s desire to strengthen himself from the weedy boy he started as?  

So will Mitsuo allow one of the boys in?  Will he gain the change that
The Competition, Ichi
he seeks in himself?  It’s all whimsical, comedic entertainment at its best.  However, the magnetism of watching your archetypal bad boy (in this case, Hasunuma) fall for the likes of Mitsuo is just too sweet to turn away.  Mainly because we see it all the time in conventional romance stories where the bad boy is reformed through the admiration of the good girl.  In essence, there isn't much differences in any budding relationships, despite the sex of the partners.  This, and the slow pace of love taken in this series, is the reason I loved Eerie Queerie!


Small Japanese vocabulary lesson in concerns to shonen-ai/yaoi genres...

The Uke and the Seme.  Guess who is which?
A uke character is normally described as the fail, feminine character in the dynamics of the male-male relationship.  The seme character is the opposite.  He is the moody, brawny character that often is overprotective of his uke.




Wednesday, September 11, 2013

A Glimpse into Daniel Black’s "Perfect Peace"

"Gracie left, convinced that Mae Helen would die before Emma Jean saw her again.  Still, she was glad she had tried.  A child's hurt obviously evolves into an adult's resentment, she told herself, so after years of abuse, the possibility that Emma Jean might forgive and forget was a virtual impossibility.  Maybe she should have fought more directly for Emma Jean when they were children, Gracie considered, but what could she do about that now?  Even if she apologized, which she felt she'd done, Emma Jean's pain wouldn't decrease.  All Gracie knew to do was promise to love any child she birthed--even if, like Emma Jean, it was ugly."

Before I forget, this has to be pulled out of my “draft“ list and shared, especially after watching an amazing interview with the author on YouTube.  So I wanted to dust this work-in-progress off, share it with everyone, then let the video do the talking because what he says will blow the right mind away.  But first, in a way this passage is an extension of my Alice Walker post where I ask the questions revolving around parental guilt and our frustrating experiences finding purpose in our adult lives.  Maybe answers are here.  Please, enjoy.

Daniel Black a Perfect Peace

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