The Crimson Labyrinth

Some horror gets their scares by making you forget you are reading horror, then sneak up behind you with the big scare. Movies like “Ringu” and “Audition” are good examples. A book like The Prestige is another. Other times we are dropped into the horror right from the get-go. For example, “Tomie” and “Ju-on” don’t give the viewers much time to get settled before the scares begin.

The Crimson Labyrinth succeeds in employing both these techniques. From the opening page we know unemployed businessman turned, Fujiki, has been transported to a faraway strange and unfriendly place as he awakes from a heavy sleep.

 “He felt something hard against his spine and shoulder blades, and realized he was lying on the bare ground…
Where am I?
It was a reasonable question, but no answer came to mind.” (p5)

We soon learn that Fujiki, along with a woman he meets, Ai, are two of nine participants in an evil and deadly game. These nine Japanese participants, seemingly selected randomly, are trapped in a maze of red rock valleys. Initially they only have handheld game devices that give them instructions on how to proceed. Initially the idea is for everyone to work together, but this is a game and in a game there can be only one winner. The evil individual or group that put this game together did not have cooperation in mind…

The Crimson Labyrinth has been compared to a host of other stories – Battle Royale meets “The Running Man” meets “Lost” meets Lord of the Flies – and all of them do have factors recognizable. Like most of the stories it is compared to, the author seems to be making a statement about the state of society today. Within the manageable group of nine (easier to keep track of than Battle Royale’s forty combatants) we see different parts of society, and how decisions and promises are made and broken makes the reader think of what he or she would do if found in this seemingly impossible situation. Because of the Japanese nature to tend to create harmony rather than conflict, the game masters (and the author) have to come up with a few ingenious ways to put kinks in the already unstable trust the group builds. (Is it any wonder that the Japanese version of “Survivor" was a total bust, while the American series is still going strong? I understand there just wasn’t the fun-to-watch conflict in the Japanese version.)

The way the game plays out, through cryptic messages from the game machines keeps the story very mental and heady. But let us not forget that this is still a horror novel...

Difficult to put down, The Crimson Labrynth isn’t the deepest reading from Japan, but it is both thoughtful and frightening, a fun combination not to be missed.

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Coffin: The Art of Vampire Hunter D

There are reasons a title can stay on the lips of readers for decades without losing momentum, only to increase its growing legions of fans. In the case of Vampire Hunter D, it's because of it compelling writing and striking original artwork. Coffin: The Art of Vampire Hunter D gives us a definitive look into the second reason this series of manga, anime and fiction of has a vampire-like lifespan.

This book is massive. With almost 200 full page illustrations and paintings in a large format you can really get up close to, this will be a book that is treasured by longtime fans, and studied by students of Yoshitaka Amano. From pen and ink to full-on paintings, a range of styles can be seen.

Included among the opening pages is an original piece of short fiction by creator Hideyuki Kikuchi (presented in both Japanese and English). It sets a nice mood for the rest of the book, and it's easy to see what a great match Kikichi and Amano make.

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Plastic Culture: How Japanese Toys Conquered the World

Why does growing up mean you have to grow out of your favorite toys? According to author Woodrow Phoenix, you don’t have to. Plastic Culture: How Japanese Toys Conquered the World is a colorful exploration in the world of plastic toys in both the US and in Japan.

Now that those lovers of the very first plastic toys are all grown-up there is a new breed of designers, artists, and fans on both sides of the Pacific. Plastic Culture opens with a brief history of American and Japanese plastic playthings from post-WWII to the present day. How both toy cultures influenced each other through cartoons, movies, and comic books is reflected on the toys created. For example, we can see how not only Godzilla had an impact on the west, but how American army shows, like “Combat!” influenced the modeling business in Japan.

Plastic Culture is divided into short chapters, each featuring an influential force on the culture of toys. Godzilla, Fast-Food Toys, Event Promotions…all these cultural influences lead to the meat of the book – the modern phenomenon of Urban Vinyl Toys.

Urban vinyl is the natural evolution of toys, as the adults who played with plastic toys in their youth want to recreate the experience, but from a grown-up angle. Several influences and artists are featured. More modern roots are explored, like the explosion of the toy industry with the introduction of Kenner’s Star Wars line in 1978, and Pee-Wee Herman in the mid-80s.  We meet artists from the US, Japan and other parts of Asia and can see how this history of trans-Pacific borrowing and expanding hasn’t stopped.

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Twinkle Twinkle

Twinkle Twinkle is the charming first book by the award-winning novelist Kaori Ekuni. Between its covers are both a very modern Japanese tale and a story that crosses cultural boundaries with issues that are human, not exclusively Japanese.

Shoko and Mutsuki were victims of ambitious parents looking to make an arranged marriage for their respective children. Neither Shoko nor Mutsuki had an interest in marriage, and once they realized that, they realized they would be perfect for each other. Or so it would seem. Mutsuki is a gay doctor and Shoko is emotionally unstable and has a fancy for the liquid pleasures in life. By satisfying their parents’ desire to see them married they can “get them off their backs” and live their lives how they desire.

The fact is that the respective parents knew of their own child’s hurdles to marriage, but not of the other child's. This leads to more instability in the virtual fort Shoko and Mutsuki have built for themselves. Another source of both pleasure and strife in is Mutsuki’s lifetime lover, Kon. Although Shoko and Mutsuki live a “sexless" marriage (a popular English term in Japan), the only one without sexual desires is Shoko. Their “business relationship” grows into one of mutual dependence as Shoko and Mutsuki’s secrets start to leak out. More is complicated as Shoko develops a friendship with her husband’s lover as her own father learns of his existence. Keeping the parents happy, a desire for children, alcohol, love, and a husband who tries to set up his wife… all enough to drive anyone over the edge.

Twinkle Twinkle is written from both the husband’s and the wife’s perspective, alternating voices each chapter. What is revealed is less differing perspectives, and more a mutual desire to support their struggling partners, however they can. The book is written with a real sense of honesty and realism. Some aspects of the story are very obviously Japanese, as in the idea of an arranged marriage, but there are also some more deep rooted Japanese themes. The idea of modern Tokyoites having to create elaborate lies just to fulfill their own personal desires, when honesty is obviously the faster, but more embarrassing path, has a certain Japanese charm to it.

Certain other aspects have internationally recognizable themes. Themes of honesty and betrayal run throughout. Being gay, and fitting into society is certainly an issue people deal with all around the world. Also, where there is alcohol there is alcoholism. However, Ekuni gives us her characters without judgment or opinion. In one scene Shoko thinks to herself, "Before I got married I used to often soak in the tub with a glass of whiskey. It’s a great feeling. The alcohol goes straight to your head…I could feel all the blood in my body fizzing like soda water…” (p60). Ekuni never tries to lead the reader’s opinion, and, in turn, the idea of judgment never calls into play for the audience.

Twinkle Twinkle is a quick read and a satisfying book. It shows the struggles of two unique individuals, but the themes addressed apply to all of us. It’s hard not to feel like you are a close part of Shoko and Mutuski’s lives, maybe even sleeping between them on their steam-ironed sheets.

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In the Pool

In the Pool was a huge success upon its original Japanese release in 2002. The stories here have gone on to appear in movies and on TV since its release. In the Pool is a collection of episodes about one eccentric psychiatrist, Dr. Ichiro Irabu, the sole doctor in the lonely Neurology Dept. located in the basement of the Irabu Hospital (say, that's the same name as the doctor...). This is clever and rather hilarious collection is by former magazine editor Hideo Okuda, who credits manga as a major influence.

Five tales are told here, each one about a patient with a condition that cannot be treated by conventional methods, and each one a line on a laundry list of "ailments" that plague not only Japan, but human beings in general. Among the poor souls that find themselves consulting Dr. Irabu are a magazine editor who becomes obsessed with swimming, sacrificing work and family time to get in a few more laps; a just-over-the-hill car-show model who starts to believe every man she sees is stalking her; and high school student so obsessed with text messaging on his cell phone, even a few moments of separation create panic and cold sweats.

Although each character begins as almost a caricature of him or herself, they develop into people we may recognize in our own lives, or even aspects of our own personality.' The fun and humor of each story comes from not the ailment, but Dr. Irabus unorthodox and unexpected avenues of treatment. Often the reader wonders if what Dr. Irabu is doing is even intended for the patients benefit, and simply his own. (The dubious injections given to each patient on each visit by Dr. Irabu's sexy female nurse give us a clue.) Though in the end of each tale some sort of resolution or recovery path is reached, whether this is by accident or by design becomes clearer as the reader finishes each story. Although each tale is written from the perspective of the patient, we get more and more hints as to what kind of person Dr. Irabu really is.

Translating humor from Japanese to English is one of the most difficult undertakings a translator can expect to take. Comedy is so different culture to culture, and having it make sense and seem natural in the translated language requires real talent, and that talent shows here is the seamless English creation by Giles Murray.

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The Embedded Corporation

What is the best way to run a business corporation? What is the appropriate balance between shareholders, executives and employees? Are employees best thought of as short-term costs, or long-term assets? What impact is globalization having on distinctive national approaches to corporate organization and on the social responsibilities of employers? These are just a few of the questions Sanford M. Jacoby tries to tackle in his extensive and thorough research presented in The Embedded Corporation.

Despite globalization, the expectation that one universal system of corporate organization would rise to the top and become the standard hasn't taken place. American corporations tend to follow the lead of the shareholders, where Japanese corporations tend to look internally, and follow the lead of employees. In this book Jacoby looks beyond corporate realities into the culture and history of both the United States and Japan, finding grounds for certain corporate practices. Unlike some publications that feign legitimacy with a lot of theory, The Embedded Corporations conclusions are based in fact. Jacoby's research is clearly tracked and presented. We can see the how, what and why of corporate governance in the US and Japan.

Sanford M. Jacoby is the Howard Noble Professor of Management, Policy Studies, and History at the University of California, Los Angeles. His books include Modern Manors: Welfare Capitalism since the New Deal (Princeton) and Employing Bureaucracy: Managers, Unions, and the Transformation of the Workplace in the 20th Century (Erlbaum).

Table of Contents:

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Outlet

Like some of the best Japanese movies, Randy Taguchi's Outlet dances around several different literary genres, without committing itself to any one. It starts out like a mystery novel, as our protagonist, Yuki Asakura, learns that her estranged brother was found dead and rotting in his apartment. Was it murder, suicide, or natural causes? Or was it something else? As the only anchor in her unstable family, Yuki has to deal with taking care of the clean up and making arrangements for her brother's funeral. The stress of the situation coupled with some bizarre statements made by the funeral director and corpse clean-up service man (in a scene that reads like something out of a Chuck Palahniuk novel), cause Yuki to have a break with reality. She starts hallucinating scenes with her brother, and it is here our detective mystery starts to flow into spiritual fantasy and psychological horror.

Yuki is forced to start seeing her old psychology professor for counseling, despite the fact their relationship ten years prior wasn't strictly student/teacher. The two return to their old habits almost immediately, and Yuki begins to wonder if there isn't more meaning to her sexual appetite and power over men. And why does she suddenly start to smell "death' on people she meets? Could her brother's death and her animal attraction somehow be related? Do hallucinations always seem this real?

Outlet is unlike anything out there today. Though it is set in Japan, the ideas and themes are very universal. Outlet was translated by Glynne Walley, and it is one of the best translations of a Japanese novel this reviewer has read. Sometimes in translated fiction the dialogue can sound awkward if the translator tries to do too direct a translation. That issue never comes up in what ends up as a very smooth and fluid read. Even with some of the ethereal and metaphysical themes, the language is clear and the images easy to create in the reader's mind.

Though, not every image is one that one might want to imagine again. In places Outlet can be stimulating and revolting at the same time. The nature of the journey Yuki finds herself on requires her to mentally hit rock bottom before she can complete it. This leads to a series of dream-like sequences, where both the reader and Yuki are not sure if the experiences are real, hallucinations or dreams. Sometimes these experiences are pleasant, but often there are horrific elements involved.

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The Haiku Apprentice: Memoirs of Writing Poetry in Japan

The Haiku Apprentice is a memoir of Abigail Friedman, a remarkable woman who lived as a diplomat in Japan for two years. In her book, the journey of a woman in Japan writing, discovering and exploring the ancient Japanese art of Haiku poetry is laid out in a style accessible to any reader. I highly recommend this book for anyone with even a passing interest in haiku or Japan.

I was immediately drawn to this book simply by the title. The Haiku Apprentice conjures up the image of a remote sanctuary; the student living side by side with the teacher, exploring the depth of their self identity and their passion for their art. And though this romantic image is somewhat different when finally compared to Abigail Friedman's honestly scripted experience, I think that parallels can be drawn between the image and the reality.

One thing that I appreciate about this book was that Friedman could have chosen to write a fascinating memoir simply about her experience as an expatriate and a diplomat in Japan. Her life story seems to be very unique, full of travel and adventure and she could have chosen to write about her experience from any number of fascinating aspects. However, she chose to tell a story via her very specific experience with haiku. By doing so, she brings haiku to the reader in a way that doesn't feel like a textbook or a lecture on the intricacies of an archaic art form. In fact Friedman lets the reader know that Haiku is an art form very much alive in contemporary Japan.

Friedman meets a member of a haiku group who invites her to join the group to see for herself what it is like. Despite her uncertainty Abigail's adventurous spirit guides her. Traveling to a part of the country she has never been to before she meets Momoko, the group's resident haiku master, and discovers that there is more to this coveted art form then a 5-7-5 syllabic structure. She starts to see haiku differently than before, and her understanding of this art form takes shape. As she describes her struggles learning to find the perfect kigo, or seasonal word, to make her haiku just right, the reader passes through the Japanese landscape along with her.

The book is organized in what seems to be a series of separate, but related, anecdotes or journal entries. I enjoyed this style because it gave me a sense of the reality from which the book came, that these were real memories from a real person. And in that sense, it felt as though I was being brought closer to the writer.

The haiku that are strewn throughout the book are written by a variety of people, from the old, revered Japanese masters such as Basho and Issa to Mrs. Friedman herself; she even includes a wonderful anecdote about a caption she read on the side of the bus. She writes 'Well, I knew it was an advertising jingle, but still, wasn't it an advertising jingle haiku?' As she encounters more haiku and begins to learn more about it, Friedman also gains a deeper understanding of Japanese culture

It is intriguing to read how Abigail's first impression of haiku is challenged as she uncovers more about this once elusive poetic style. Her story is charming and relatable, with tales about her work and life with her family mixed into her account of private meetings with her haiku and calligraphy teachers. She tells us about her experiences; her joys and frustrations while living in the foreign land and her personal relationship with haiku seems to thread through all aspects of her life, grounding her experience in Japan.

Anyone can appreciate this book, having traveled to Japan or not. So, order a copy today, and then be the first one in the neighborhood to start your own haiku group!

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Scary Book Volume 1: Reflections

Kazuo Umezo, the 'Stephen King' of Japanese manga has a unique and engaging style unlike the 'traditional' look we associate with Japanese manga and anime. Initially from looking at the art of Scary Book, I expected the original to have been published in Japan a few decades ago. The cherub-cheeked characters reminded me of children from Chinese herbal medicine advertisements. They seem to hark from a more innocent time, which makes the sinister images that much more unsettling. (It turns out these stories were originally published in 2003.) Umezu's drawing style is unique, and like some traditional Japanese dolls, it is disarming in its seemingly innocent surface.

Scary Book Volume I contains two complete stories, but the title story, "Reflections' takes up over 3/4 of the whole book. 'Reflections' tells the tale of Emi, a doll-faced beauty of a young girl who grows up in a house known as the 'Mirror Mansion', named for its giant mirror, a mirror Emi has been gazing into for years. But as time goes on Emi starts getting the paranoid feeling that she is being watched. One night Emi searches for the source of the paranoia, and finds it staring back at her in the reflection in the mirror. And her reflection is not happy with her...

Emi's reflection has built up resentment for her vanity, and a crack in the mirror seems to allow the reflection to escape from the mirror, and into the real world. Her reflection takes over Emi's life, and is always one step ahead of Emi while she attempts to replace the real girl, leaving Emi without a home, friends, or family.

It is at this time we are introduced to Emi's love-stricken classmate, Wakatano, and his younger sister, Mitsuko. The brother and sister are constantly bickering for Emi's attention, and they seem to be the only people that acknowledge the real Emi's existence. Their competitive nature escalates to violent levels as they try to help and distract Emi. Wakatano and Mitsuko are a kind of comic relief, and their gestures and actions recall the humorous violence of comics and cartoons of previous generations. This brother and sister are probably the most bizarre pair of characters seen in comics, and their introduction in this story gives the reader an insight to Umezu's way-out way of thinking.

The creepiness in 'Reflections' comes from extreme contrasts of beautiful versus ugly, and vanity versus humility, in a world that is more than a bit off-center. Its frantic nature keeps the reader's blood pumping and the story's pages turning.

'Demon of Vengeance' is also a story of conflict, a good versus evil tale. However, the story is a more of a fast-paced downward spiral. Just when you think things can't get worse for our hero, Muso Kondo, another gate to Hell seems to open up and a whole new world of pain it introduced.

Like some of the other Dark Horse manga we have looked at (ex. Lone Wolf and Cub and Samurai Executioner), 'Demon of Vengeance' is a revenge tale set in the days of the samurai. A vassal of shogun Uda is assigned to protect the shogun's son, Mitsutada, during a raid on Uda Castle. Muso's son, Shogo, accompanies him on the mission. Food is scarce and tempers short as the spoiled Mitsutada harasses the young, but stoic, Shogo (who might remind the reader of another quiet but steel-eyed youngster, Daigoro from Lone Wolf and Cub). Muso tries to be patient with Mitsutada, but a father can watch only so much abuse of his son, and one day he snaps...

This is actually a tale of double revenge, as the shogun dedicates his life to making Muso's and Shogo's lives a living hell, after what happened to his son. In turn, Muso does everything he can to destroy the shogun and free his son. Powerful Uda makes things harder and harder for Muso in some rather gruesome scenes, and although usually in samurai stories good defeats evil, we must remember this isn't a samurai story, it's a horror story, and the surprising ending is sure to shock and satisfy.

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Scary Book Volume 2: Insects

Kazuo Umezu continues the frights in the book-length story "Insects", (or more literally "Grave of the Butterfly"). This story is about a young girl, Megumi, (who looks a lot like Emi from Volume 1), and her irrational fear. Megumi lives with her widowed father in a large mansion. Since birth Megumi has been afraid of butterflies, but doesnft know why or what happened to inspire this fear. One day the housekeeper tells the family that her dead mother's grave has been damaged. Compelled to visit the grave at night, Megumi has a frightening experience. Ever since that night she begins seeing a black butterfly here and there. The difference between this mysterious black butterfly and other butterflies is that no one else can seem to see this black one. And on top of that, every time the black butterfly shows up...well, we don't want to reveal too much, as Umezu's story leads to some interesting twists and turns, and an ending that Alfred Hitchcock would be jealous of.

"Insects" is much like a classic horror/thriller. It has many of the elements of older scary movies or monster comics, and yet is unique in its use of the butterfly as the symbol of fear and angst, and the butterfly is usually considered a thing of beauty. Umezu writes in the Afterward, "I was writing with the idea that even if I focused on an insect like the butterfly, which people think is beautiful, there might still be something disturbing about it simply by the fact of it being an insect." This certainly is the case in this story, although the insectoid features of the butterfly are not the source of the horror. Like Volume 1, Volume 2 is fast paced, this time without the elements of humor. There is little relief for Megumi's escalating horror...especially when we find out the source of her fear!

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Scary Book Volume 3: Faces

Each installment of the Scary Book series explores the horror in its title theme.  The first book, Reflections, explored what happens on the other side of the looking glass, and what happens when a young girl’s reflection breaks into our world. The second book, Insects, dug into a girl’s irrational fear of butterflies, and revealed a twisted tale of abuse and murder. This is the third installment in the Scary Book series and the title theme is Faces.

Two full-length stories are included in this volume, and both explore society’s attitudes about physical beauty. “Fear” is the first story and opens with the tale of two sisters. Momoko is worshipped as a natural cutie by anyone who lays eyes on her. Her plainer younger sister, Aiko, is summarily ignored into almost non-existence as they grew up. (Though, in fact, it’s hard to distinguish much difference in the two, besides hair-styles, thanks to Umezu’s art work.  All his female leads tend to look alike, which adds an interesting twist to this story.)  Just as the sisters enter high school and Momoko starts a relationship with the dreamy Takaya, Momoko trips and falls down the stairs, scarring her perfect face to an unrecognizable state. How the story plays out is shocking and sad, and it shows a richer exploration of the societal pressures (both real and created in Momoko’s head) than we have seen in earlier volumes. The extremes the sisters go to fix Momoko’s mangled mug are horrifying, but the ending is the most unsettling.

The second story, which takes up about 2/3 of the volume, is titled “The Coincidental Letter”. This story opens with the story of another young girl, Yoko, waking up late to school.  (Does Umezu ever have boys as the lead characters?) This leads to a downward spiral of a terrible day for the Yoko, and she proceeds to air all her frustrations in a letter addressed to her target of frustration, her teacher.  She writes things like “A woman like you will never get married…”, “Your legs are crippled…”, and "You’ll fall off a cliff…” among other comments of her ugliness and lack of popularity. But instead of sending the letter to the teacher, she makes up a random address in Hokkaido and tosses it in the mailbox. This leads to a series of coincidences, as the address was a real address, and the recipient, Suzuko Yamada, was actually crippled, but about to be married.  The letter throws Yamada into a suicidal depression, and her sudden disappearance becomes a national news item.  The country wants to know where Suzuko Yamada is, and who wrote that horrible letter. “The Coincidental Letter” has elements of horror, but isn’t a horror story in the same way as the earlier Umezu stories are. Like “Fear” it explores elements of the human condition we don’t often see in horror manga.

Umezu goes in a slightly different direction with Scary Book: Faces, and I think it is to the reader’s benefit. The artwork maintains Umezu’s distinctive style. He has a way of turning the cute into the grotesque with a few pen strokes, and the distinct faces of the main characters are kept under wraps for just the right amount of time, so that turn of the page will elicit a gasp as big as if each girl were standing right in front of you.

This is the third book in the Scary Book series, and, at this point, there are no future volumes scheduled to publish. We do enjoy this series, and hope Dark Horse continues bring us Umezu in English, even if just as a yearly Halloween treat.

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The Japan Journals, 1947-2004

Any English-speaking Japanophile certainly knows the name Donald Ritchie. Well known for his translations and analyses of Japanese cinema, Ritchie opened the door for Japanese movies to the Western world. He was not only able to analyze the films, understanding both Eastern and Western sensibilities, but also befriended the filmmakers, and could often speak of the film's production from a first-person perspective. However, Ritchie didn't write only about movies. He has written numerous essays and books on Japan and the Japanese people.

Now PDI is happy to present, in commemoration of over 50 years of writing on Japan, Donald Ritchie's latest offering, The Japan Journals: 1947-2004. This is a collection of writing which spans Ritchie's entire life in Japan, and how shows both the man and the country changed, grew, and adapted over the last half century.

As numerous as memoirs are in popular literature today, none can compare to the close reality of a journal done in real time. We can be assured that not only are the accounts accurate in content, but also in the perspective of the writer at the time of the writing. Even in the briefest of entries Ritchie is able to describe not only what is going on around him, but his personal take on the situation, often with a humor that is never disrespectful. Here is a portion of the entry from September 26, 1955:

'In the morning Beppu looks less garish, but also less attractive. It looks, in the new light, like a town with a hangover...When I look out I see the steamer coming in from Osaka, right on time. It will dock precisely when it is supposed to.

'The boat is crowded with school children, all leaving Beppu... to exotic Kansai. Yes, I have been there, I say when asked. I saw Kyoto live. No, the golden Pavilion is not made of real gold (this in answer to a first-year student), but it looks like it. No, I do now know how much a geisha costs (this in answer to a high school junior)-his chances of acquiring one are, in any event, slight.'

The book is wonderfully edited by Leza Lowitz. Her biographical notes add to the big picture the journal entries create, and her organization is refreshing. For example, instead of putting the entries strictly in chronological order, she sometimes orders them by other criteria. Early in the book there is a section where, thanks to his film writing which had appeared in Western publications, he was tapped to host many famous Western visitors to Japan in the late 1950s. How timely it was reading the entry about Truman Capote.

Over 70 black and white pictures are scattered throughout the text. Many of the photographs capture Ritchie with the famous names he worked and socialized with, such Akira Kurosawa, but there are also pictures of the close friends he describes in the stories he tells. Ritchi's talent as a photographer is apparant, and the pictures of writer Yukio Mishima are especially haunting.

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Japan's Business Renaissance: How the World's Greatest Economy Revived, Renewed, and Reinvented Itself

Authors Mark B. Fuller and John C. Beck want to let you in on a little secret: Japan is not an economic black hole. On the contrary, Japanese business has been slowly recovering since the burst of the bubble economy in 1989, and is stronger now than it has been in 15 years. The authors call this the 'rebirth of Japan', and in this book they delve deep into Japan's ability to renew itself and the unique methods Japan employs.

Looking at the traditions of the samurai as a model for modern Japanese business isn't necessarily a new idea, but Fuller and Beck attack this idea with the same fervor as the bushido they describe. Surveys have been given to both Japanese and American businesspeople that help mold the points they are trying to prove, often with surprising results.

The authors state the argument clearly on page 31. 'To understand Japanese attitudes and behaviors around change, we need to understand Japanese history. To understand Japanese history it is important to understand the notion of bushido, or the Way of the Samurai.'

After giving a succinct and informative history of the samurai, the authors show us how this is important to how Japanese do business in the modern world (and the connection is vital). The samurai warriors were the constant in a country of consistent flux. From war to peace and war again, the samurai was a bastion of The Japanese Spirit. Even as the needs of the samurai changed and were reduced, most famously with the arrival of Admiral Perry in 1853, the samurai adapted and adjusted, even when becoming ronin, or masterless samurai, and offering services to the highest bidder. It's not only this warrior spirit, this Sprit of Japan, that enamors the modern Japanese businessman, but his flexibility and ability to change when needed, or strengthen up and attack when appropriate. This is what the authors call 'fit or fight' and is an essential part of the Japanese business model. This technique should be a part of any savvy businessperson's cache.

And this covers only part one of this very informative book.

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Coin Locker Babies

Where can you start when describing a book like Coin Locker Babies? Ryu Murakami has been called the Chuck Palahniuk of Japanese fiction, though it's probably more appropriate to say Chuck Palahniuk is the Ryu Murakami of American fiction. Gritty and unyielding, this story pulls no punches beginning at its very first sentence. This is the third Ryu Murakami book to be translated into English, and despite his shared namesake with popular author Haruki Murakami (yet no relation), Ryu Murakami has been slowly making a name for himself in the West beyond 'the other Murakami'. With books like Coin Locker Babies this attention is well deserved. Though it is certainly taking long for his 30+ novels to find their way into English.

Though a relatively new name to Westerners, Murakami first received the Akutagawa Literary Reward for his first novel, Almost Transparent Blue in 1976. Presently only a handful of Murakami's novels are in print, the longest and deepest being Coin Locker Babies.

Coin Locker Babies is about two young boys, Kiku and Hayashi, who become brothers after being put together as babies in an orphanage. Both boys shared the same experience of being born and then abandoned in Tokyo train station coin lockers. The boys experience some unconventional therapy during their stay to keep down their rebellious manner, yet there are some strange aftereffects they are forced to deal with. As they grow older their mutual goal of finding their respective mothers is not forgotten, and, rest assured, they are not looking for their mothers to rekindle relationships. Kiku and Hayashi paths are split dramatically as a media-worthy event rocks their lives.

The book is set in a Tokyo of the near future, a dark and dangerous if not unfriendly place. A variety of interesting and bizarre characters are sprinkled throughout the book they push and pull the boys different directions as they make the transition from boyhood to manhood. The episodes Kiku and Hayashi experience are often brash and the writing is makes the surreal world they live in seem more real. Credit must be given not only to Murakami and his deep vision for this novel, but also to the unparalleled translation by Stephen Snyder. Often translating fiction from Japanese to English can be a nearly impossible task. The translator must find ways to carry over the culture imbedded in the Japanese language, but also not distract the reader. The audience should be tricked into forgetting they are reading translation and not the author's original word. Stephen Snyder achieves this goal with a skill rarely seen.

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The Midnight Eye Guide to New Japanese Film

For those not familiar with Midnight Eye, it is the premier English-language website covering Japanese film (www.midnighteye.com). The writers have not only spent over four years researching, watching and writing about Japanese film and the film industry, but have performed amazing interviews with a variety of directors, actors, writers, and other players in the Japanese film industry.

Although this book is spawned from the efforts of Mes and Sharp, these is not simply a paper version of what is on their incredibly thorough website. This guide is made up of entirely expanded and original material and is truly a useful and fascinating guide for anyone with any interest in modern Japanese cinema. Ringu director Hideo Nakata wrote the foreword.

Like the deconstruction of the studio system in the US in the late sixties to seventies, Japan experienced a similar reconstruction in the 1990s. The Guide to New Japanese Film introduces us to the directors who have gained more and more exposure in the west since this revolution has begun. Although some of the directors started their work many decades ago (i.e. Seijun Suzuki and Kinji Fukasaku) their work continues into this new era.

The guide is intelligently divided into sections by director. Each director receives an in-depth introduction with filmography, and then close-up looks at selected titles are presented. This is a perfect organizational system for both new fans and longtime viewers. Readers just getting introduced to Japanese cinema can read some interesting introductions which don't require a degree from film school to understand, and more seasoned cinemaphiles can get caught up on their most admired directors as well as learning interesting stories about their favorite Japanese movies of the last fifteen years and beyond.

The final chapter is titled "The Other Players" and has an exhaustive list of other directors and works who have not built up a large enough library to merit a chapter of their own. Many of these are the up-and-comers we will surely be hearing more and more in the years to come, and will likely have their own chapters in the next installment of this guide.

It appears that nothing gets past the editors of Midnight Eye. A few pages are even dedicated to a personal favorite, 1983's The Family Game, staring Juzo Itami and Yusaku Matsuda. This book is written for a western audience, not translated from Japanese, and essential information like DVD availability of titles are presented by country. (One of this writer's frustrations with the otherwise finely-detailed Eros Plus Massacre by David Desser was never knowing if it was possible to actually see the films so richly described.)

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The Guide to Translation & Localization: Preparing for the Global Marketplace

This is the fifth edition of this award winning publication. The Guide to Translation and Localization is useful for everyone from rookies to veterans in translation and localization. The guide opens with an introduction and essential terms list. Among other things, these terms help differentiate the difference between localization and globalization. From there the guide explains the different options when tackling a translation job. It looks at the advantages and disadvantages of everything from asking a family member or friend to hiring a multi-language translation company. The guide then goes through the step-by-step process of a translation or localization project. Specific issues are addressed and lots of examples are given making this a very easy guide to use. The case studies give the reader specific examples of challenging issues (i.e. localizing taglines in advertisements), and how the staff at Lingo Systems tackled the problems.

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The Way of Taiko

This terrific book is a thorough introduction to taiko and everything involved with discovering and practicing taiko drumming.

Don't miss the forward written by Seiichi Tanaka, founder and director of San Francisco Taiko Dojo, and the man who is credited with the introduction of taiko drumming to the U.S. This, along with the author's preface, sets the stage for understanding the book's inception, and gives the reader a more personal view of the presence of taiko in the U.S.

In an inspiring introductory section, Varian discusses the original use of taiko in Japan. She tells of how the drum came to be regarded as a manifestation of the gods. And how the drum was used in spiritual practices and in times of celebration of harvest, seasonal changes, ancestor worship, the New Year, and much more. For all of these occasions the drum was there to represent the gods or otherwise call them to the celebration. The origin of the drum and drumming in Japan is closely tied into its indigenous form of worship, Shinto. And the author makes a point of tying in the root spiritual aspect of taiko with the present day practice.

Varian goes into detail regarding the equipment used in taiko, from the different types of drums themselves to the traditional regalia worn when performing. Photos serve as great visual examples of these traditional elements. Other instruments seen and heard at a taiko performance are also introduced. And the instruments' history, as well as methods of creating these intruments and playing them, is expressed.

The most fascinating and meaty part of the book is the section on training in taiko. The physical requirements are detailed, including specifics about the importance of stance and how to properly hold bachi (drumsticks). The mental and spiritual aspects of taiko are also well covered, with emphasis on practice permeating life. This is the 'way' that the title suggests. Integral concepts, such as waza (action), karada (body) and rei (etiquette) are explained in depth with kanji characters included for those who have a concurrent interest in Japanese language. The author highlights the proper way to interact with your taiko sensei and fellow drummers, especially in regard to joining a dojo for the first time.

A glossary by David Leong is included in the end, making this excellent introductory text to taiko a wonderful reference text as well.

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The Anatomy of Dependence

The discovery that a major concept of human feeling -- easily expressed in everyday Japanese -- totally resisted translation into a Western language led Dr. Takeo Doi to explore and define an area of the psyche which has previously received little attention. The resulting essay, The Anatomy of Dependence, is one of the most penetrating analyses of the Japanese mind ever written, as well as an important original contribution to psychology that transcends the boundaries of cultures and nations.

Published in Japan as Amae no Kozo (The Structure of Amae), Dr. Doi's work is focused upon the word "amae" (indulgence) and its related vocabulary. Expressive of an emotion central to the Japanese experience, "amae" refers to the indulging, passive love that surrounds and supports the individual in a group, whether family, neighborhood, or the world at large. Considering the lack of such words in Western languages, Dr. Doi suggests inherent differences between the two cultures -- contrasting the ideal of self-reliance with those of interdependence and the indulgence of weaknesses. Yet, he finds that Western audiences have no difficulty in recognizing and identifying with the emotions he describes, and are even searching for a way to express this need.

While there is no doubt that the concept of "amae" is more developed in Japan and the feelings it engenders more profound, Dr. Doi's work is widely recognized as having a universal application. This translation of his most important essay has now been long welcomed as a major contribution -- not only as an insight into the Japanese mind, but into the minds of men everywhere.

About the Author:
Takeo Doi (b. 1920), M.D., has served as a professor at the University of Tokyo and International Christian University, Tokyo, and is one of Japan's leading psychiatrists. Born in Tokyo, he graduated from the University of Tokyo in 1942. He held a number of posts at American institutes and universities, including fellowships at the Menninger School of Psychiatry and the San Francisco Psychoanalytic Institute, and was visiting scientist at the National Institute of Mental Health, Bethesda, Maryland. He also headed the psychiatric department at St. Luke's International Hospital in Tokyo. Doi has published a number of works and contributed to many more, including The Anatomy of Dependence. (Source: publisher.)

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The Anatomy of Self: The Individual Versus Society

Like Doi's renowned Anatomy of Dependence, The Anatomy of Self addresses the question of the Japanese individual and his or her integration into Japanese society. Its approach is based on an analysis of the Japanese perception of public and private. What kind of society is made up of individuals capable of a constant traversing between behavior based on two simultaneously held, mutually contradictory modes of perception? Doi discusses this feature of the Japanese psyche, often referring to Western psychology. He compares the individual trauma that classic Western psychology believes to result from such a split, to the Japanese sense that adulthood is only achieved by acknowledging and accommodating the difference. Finally, the wide-ranging references to history and psychology serve to provoke thought on Freudian notions of the unconscious.

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A Rabbit's Eyes

A well known tale in Japan, and a favorite among teachers, only recently has A Rabbit's Eyes been translated into English. The basic story is not new: a young new teacher cuts her teeth and learns more than she teaches from her rag-tag class of elementary school students. However, the story goes much deeper and in different directions than other stories of this type. Our young teacher, Ms. Kotani, has found herself in a rather interesting first teaching position, as among the students she teaches is a small group of 'disposal plant children'. The parents of these children work at the nearby disposal plant, and their students are shunned and made fun of by their classmates. In particular is Tetsuzo, a student in Ms. Kotani's homeroom, who seems to almost be handicapped in his abilities to speak and write, but has hidden talents that Ms. Kotani slowly begins to appreciate.

Themes of insects are not new in Japanese literature (Kobe Abe's The Woman in the Dunes comes to mind), and here Haitani puts an interesting twist on a story that could have been all too typical. There is nothing surprising about children's fascination with insects (the present beetle boom in Japan aside), but the disposal plant children don't have access (or interest, for that matter) to the traditional bugs kids tend to raise, but the bugs which occupy the disposal plant, namely flies.

The use of flies by Haitani is an interesting story-telling tool, as the reader cannot help but sympathize with the young teacher's disgust at the pets these boys have chosen. However, acting on her dedication to her students, the teacher (as well as the reader) learns interesting and useful facts about a variety of species of flies, many contradicting the ideas that non-experts have held as true for generations. Despite their reputation, we learn how clean certain species of flies really are, for example.

The flies that one boy in particular, Tetsuzo, raise become a metaphor for the children themselves. As Ms. Kotani becomes more accustomed and accepting of her students and their habits she becomes an advocate for them, attempting to educate the other students, teachers, and parents about how special and important these children really are, as her students educate her about flies. As her passion and circle of influence increase, so does the level of the problems that arise. New teacher Kotani has to find strength in places she didn't know she had to help her students, but this comes with its own problems and sacrifices...

A Rabbit's Eyes starts out episodic. Each chapter is a small tale of a teacher and her students, often with some lesson learned or misunderstanding introduced and resolved. In a rather touching series of chapters, Ms. Kotani accepts a mentally challenged student named Minako into her class, and comes up with some clever ways to have her presence become an educational rather than distracting experience. The stories of Minako become some of the most touching ones in the book.

The prerequisite rebel teacher, Mr. Adachi, becomes a sort of mentor to Ms. Kotani. Loved by his students, but seen as a loose cannon by his colleagues, Mr. Adachi could have turned into a Mr. Kotter-type character, but Haitani doesn't allow him to stay simple and shallow. The author expands this character slowly as the book progresses to a very emotional and satisfying end. Despite Mr. Kotani's apparent aloofness, we see how much he really cares for his students, to a degree we all would wish we could imitate.

Despite the relatively light nature of the book, and the sometimes too-direct translations I found that the characters of A Rabbit's Eyes stick around long after the last page was read. Despite my initial expectations, through seeming simple anecdotes and episodes Haitani has created a very rich and moving book populated by a very worthy group of characters.

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The Method Actors

The Method Actors is not written by a Japanese author, but by a New Zealander, Carl Shuker, and is his first novel. In a sentence, The Method Actors accounts the story of a missing young historian in Tokyo, and the search to find him by his friends and family. But The Method Actors' near 500 pages contains much more, and in a way much less than that. Shuker writes scenes with such rich detail that it is hard for the reader not feel like he is actually there, even if nothing particularly happens in that scene. The chapters are broken up by character names, and we see sometimes the same scene from different perspectives in different parts of the book. These are written sometimes in the first-person, sometimes in third-person. Because the story is laid out non-chronologically, with close to a dozen main characters, a lot is required of the reader, which makes this book not exactly fit for casual reading, but readers that enjoy challenging and rich prose should be sucked in.

Most of the characters are well-off twenty-somethings who live and play in Tokyo. For the most part these friends and acquaintances of the missing Michael, are unlikable. Some have more redeeming qualities than others, and the stories and situations they get into are believable, if not a little disgusting. Several of the alcohol and drug-fueled scenes could have come from Bret Easton Ellis' Less Than Zero. The most interesting parts of the book are not during the lackluster search for the missing Michael, but the fascinating research Michael does about historical events and hallucinatory mushrooms. Also the solo Japanese character, former University student Yasuhiko, and his mushroom growing activities are surprisingly engaging, and his character becomes maybe the most fascinating as his story slowly unfolds. The meeting of Michael and Yasuhiko is fantastic, if not partially because it is one of the few truly meaningful events in the story.

Like a Gus Van Sant film, Shuker tries to paint a more complete picture than other authors, including sections with little more than just description. This is a risky technique, but Shuker has enough talent in his writing to pull it off, and the reader can feel like he is there, seeing, smelling, and hearing the surroundings. Choosing Tokyo as the set of this novel makes for an entire world of rich backgrounds worth exploring.

The reoccurring theme throughout the novel is mushrooms and their effects. One of the more interesting contentions in the book is the missing Michael's theory that certain events in history may have been created or distorted by rare strains of hallucinogenic fungus finding it's way into the food supplies of the participant populations. This idea is expanded into exploring the meaning of "history" itself, and the validity of what we as a society accept as givens. Overlaying this concept with the generally unmotivated attitudes of many of Michael's friends, who are more interested in scoring legal magic mushrooms and other cheap thrills, makes the reader wonder about the anti-history (reality-escaping) life choices the main characters tend to make. Shuker does a good job of recreating the survivalist-but-cool composure of mostly non-Japanese speaking ex-pats in Tokyo. Limited by language, they are also limited in the shops, bars and restaurants they can feel comfortable in. They begrudgingly depend on each other to expand their own experiences. It's unfortunate that too many of these experiences are in altered states of consciousness, but one can't feel bad about an embarrassing incident if one can't remember it. That makes their "history" questionable as well, and Michael's friends are for the most part too worried about their social status in their group, connected only by their gaijin status, than experiencing Japan or creating or remembering their own stories. Many of them are running away from something at home, and, as Michael proves, Tokyo is a perfect place to hide. This is not true of all of Michael's friends, but it is a recurring theme. Of course Tokyo being Tokyo, it can't help but seep into every part of the story, and makes for many interesting references to anyone who has been there.

Often when reading fiction I wonder who the intended audience is. It is a bit harder to tell with The Method Actors. Despite the rich descriptions, I wonder if someone who has never been to Japan would be able to appreciate the locations described without having a background there. In some places the author seems to assume the reader knows what he is talking about, mentions of Japanese retail department stores, train stations and darker dirtier districts that the uninitiated would be forced to gloss over. On the other hand, it could be this sense of disorientation is part of the author's intention. The book also contains a lot of romanized Japanese, translated when necessary, and not when not. There are even some mistakes in the translations ("se ga takai" cannot also mean "you are expensive"), but that may be on purpose to show the naivete of the character speaking.

This is a very ambitious effort, which goes in as many directions as there are characters. Some of these directions come to satisfying ends, and some do not. However, the parts that do work make the long read worthwhile. Shukar's writing is rich without being too dense, and the reader is carried along slowly, only to make sure nothing is missed. I look forward to his next work, especially if it is set again in Japan.

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Naoko

Keigo Higashino's genre-bending tale sometimes reads like a Stephen King thriller, and at other times a social satire of Japanese life. As the story opens, graveyard-shift employee Heisuke Sugita comes home from work to find his world turned upside down when watching the news he discovers his wife and daughter were in a bus accident. His wife is killed and his daughter survives...or does she? By some strange phenomenon his living daughter Monami's body contains the spirit and essence of his deceased wife, Naoko.

It is after all this is established that Higashino's novel really begins to shine. The reader cannot help but try to imagine what he would do if put in the same bittersweet situation; not knowing whether to celebrate the return of his dead wife, or mourn the sudden loss of his living daughter. Heisuke's problems do not end here, and at this point is where the dark humor of Naoko comes through. How do you interact with your adult wife when she lives in the body of your eleven-year-old daughter? Although the story initially focuses on Heisuke and his struggle with this new life, ample time is given to the even more confounding struggles of the second coming of junior high school life for the middle-aged Naoko. It is here, too, that the reader can see Japanese school and home life through the new eyes that Naoko sees them through. Treated as a child with the experience and intelligence of a grown woman creates more than a little frustration for Naoko. This makes for interesting social commentary, but at points the reader might get frustrated at Naoko's inability to "act her age".

Despite the richness of the situation, Higashino doesn't stop here and adds an interesting mystery to the story involving the driver of the bus which Monami and Naoko were riding. (The Japanese language version of the book won the Japanese Mystery Writers Award when it was released.) Just when we think Heisuke and Naoko have solved all their problems, the largest problem of all arises to a very satisfying finish. Naoko is not a complicated book, but it gives much food for thought as the everyman, Heisuke, deals with his unthinkable dilemma in a very real and human way. It's the realness of the characters (Heisuke more than Naoko/Monami) that makes the fantastic story more believable and harder to put down. As of this writing an English language film production of Naoko is in post-production and is scheduled to be in theaters some time this year under the title The Secret. The film version starts David Duchovny and Lili Taylor and is directed by Vincent Perez.

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The Japanese Mind: Understanding Contemporary Japanese Culture

Westerners who come to Japan for the first time know immediately that everything is different, but understanding how it is different is far more difficult. This book offers Westerners an invaluable key to understanding Japanese culture from the inside out. The book is a collection of twenty-eight essays that offer an informative, accessible look at the values, attitudes, behavior patterns, and communication styles of modern Japan from the unique perspective of the Japanese themselves.

A noted academic who teaches in Japan, Roger Davies explores the intellectual, spiritual, and behavioral cornerstones of Japanese culture that can help foreigners understand the people, the politics, and the lifestyle. He holds a Ph.D. in linguistics from the University of Wales, Bangor. He is Professor of Applied Linguistics at Ehime University in Matsuyama, Japan, and is Academic Director of Ehime Universtiy's English Education Center.

Osamu Ikeno holds master's degrees in linguistics and ESL from Kobe University and the University of Hawaii. He is Associate Professor of English Education in the Faculty of Education at Ehime University.

The Japanese Mind is an illuminating book for travelers, students, and anyone interested in building a familiarity with Japan.

Selections from the 28 chapter titles include:

• Aimai: Ambiguity and the Japanese
• Chinmoku: Silence in Japanese Communication
• Danjyo Kankei: Male and Female Relationships in Japan
• Giri: Japanese Social Obligations
• Sempai/Kouhai: Seniority Rules in Japanese Relations
• Soushiki: Japanese Funerals
• Uchi to Soto: Dual Meanings in Japanese Human Relations
• Wabi-Sabi: Simplicity and Elegance as Japanese Ideals of Beauty.

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Japan Unmasked: The Character & Culture of the Japanese

Despite the fact that Japan has had close relations with the West for over a hundred years, the amount of actual knowledge about Japan--as opposed to stereotypes or assumptions--is quite low. In Japan Unmasked, Boye Lafayette De Mente explores what it is that makes the Japanese "Japanese," and how Westerners can understand and deal with the fundamental differences in our ways of thinking and acting. Many of the points and issues brought up in the book will be interesting and enlightening even for the seasoned Japanophile, and is a good read for anyone wanting to increase their understanding of Japan and expand their cultural horizons.

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Japan's Cultural Code Words:
233 Key Terms That Explain the Attitudes and Behavior of the Japanese

In the maze of Japanese formalities, polite language, and culturally sensitive issues, it's easy for Westerners to become lost and confused about what exactly is "going on," and what Japanese people really mean when they say certain things. Japan's Cultural Code Words is an excellent guide to the meaning and connotation of many Japanese words that could potentially elude even Japanese-speaking Westerners. With Boye Lafayette De Mente's engaging writing style, precise definitions, and connotational background, this book is indispensable for those hoping to "decipher" the Japanese cultural and linguistic code.

Author Boye Lafayette De Mente is legend among students of Japanese culture. He published the very first book on doing business with the Japanese entitled Japanese Etiquette & Ethics in Business in 1959. He has written over 30 books on Japan, Korea, and China, with more constantly on the way. Many of his books fall into the category of tour guides and language guides (The Pocket Tokyo Subway Guide, for example), and are generally for those with little experience in Japan. Other books like culture and etiquette guides are for those with some foundation to build upon for example, Kata: The Key to Understanding and Dealing with the Japanese. He also writes at a level for those with a solid understanding of Japanese language and culture can learn from and enjoy as in Japan's Cultural Code Words: 233 Key terms That Explain the Attitudes and Behavior of the Japanese.

The structure of Japan's Cultural Code Words is made up of a collection of short essays on the nuances of the Japanese language and culture. De Mente gives definitions, the historical context, and usually an explanation as to "what this means for you" for non-native Japanese readers. The chapters are concise and entertaining, as well as informative. But make no mistake; this is not an introductory course in Japanese culture, but a broad look at over 200 "Japan-isms" that make the Japanese who they are. The target audience is readers (business people or otherwise) who have had some experience with Japan.,

The book covers a wide range of topics, and the use of "code words" in the title might imply that the book is limited to essays on language, when in reality there is much more. Some of the topics covered are more broad, like Bukkyo, or Buddhism, and Bushido, or "the way of the warrior", and some are very specific, like Kanban, the "just-in-time" parts delivery system developed at Toyota Motor Corporation.

Japan's Cultural Code Words opens with a too-brief introduction on the value of silence in Japanese communication (certainly an ironically valuable subject to cover in a book about cultural code words). De Mente's tone is of one who indeed understands the intricacies of both Western and Japanese culture and thinking. Even though there is little doubt the level of his achievement is shared by few, his approach is never condescending to those from either side of the Pacific. De Mente does not, however, reserve the right to pass educated judgments when necessary. There are historical and cultural reasons for the way Americans and Japanese behave and conduct business. For example, De Mente doesn't pull any punches in his chapter entitled "Gaijin Kusai: Smelling Like a Foreigner". Despite the clear historical and geographical reasons for Japan's attitudes towards foreigners (and Japanese that embrace foreign concepts and ideas), the attitude really is a hindrance to individual progress in this modern world. De Mente laments that "it will, unfortunately, be several more generations before [these prejudices] will finally be diluted down the to the point that anti-foreign feelings will no longer be a problem," (p70). Over a course of a few sentences he can clearly give a historical context to a given concept, say Mon or "family crests", in which he traces the modern tradition of religiously wearing company logos on suit lapels back to the traditions of the Heian Period (794-1185). To give a clear range of the topics covered would require more space than allowed here.

Japan's Cultural Code Words is not a reference guide, despite the fact that the chapters are arranged in alphabetical order. Each chapter is brief, generally only a page or two long, yet it can be read cover-to-cover or in short spurts when the reader wants a quick insight into some aspect of Japan.

One of the nicest aspects of the book is the author's occasional inclusion of personal stories to add depth and a personal touch to the concept he is addressing. De Mente has a wealth of experience, and to not include it would have been a disservice to the reader. The author's sense of humor also comes through in many of the stories. For example, the chapter "Hiru Andon: No Light in the Eyes" gives a hilarious account of the root of the term that is the chapter's title as "Daytime Lamp" and it's double meaning of an unnecessary office worker, originating in over-crowded government offices, and also as the English equivalent of a "dim bulb" (but this usage is more commonly covered by the Japanese for a florescent light, which takes longer to light than an incandescent bulb).

Overall, Japan's Cultural Code Words is an interesting, entertaining, and valuable book. People with experience in Japan who wish to expand and deepen their knowledge will find this book fascinating. Japanese associates may also enjoy discussing some (certainly not all) of the lighter topics covered, and without a doubt, some of the facts shared in the book will be new to even the most experienced Japanese native and Japanophile.

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The Japanese Negotiator: Sublety and Strategy Beyond Western Logic

Even between two groups that share a culture and language, the negotiating table can be fraught with misunderstanding and difficulty -- so how much more perilous are the negotiations of Japanese and Americans, with all the cultural and linguistic differences that reign between them? In The Japanese Negotiator, consultant and educator Robert M. March explains negotiating tactics among the Japanese and provides case studies and practical advice that can give American executives and edge at the negotiating table. This book not only looks at the Dos but also the Don'ts of negotiating with the Japanese. He highlights the cultural differences that often give way to misunderstandings, provides insight into overcoming problems, and offers helpful examples from the history of negotiations with Japan. As must-have for anyone involved in business with Japan, or those who simply wish to more deeply understand the way Japanese think and act as a people.

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Building Bridges Between the USA and Japan Workbook

For the first time ever, Pacific Dreams is making the workbook from its highly effective cross-cultural business workshop entitled "Building Bridges Between the USA and Japan" available to people who are unable to attend the workshop itself. The workbook is designed for Americans interested in learning the intricacies of business etiquette, protocol and effective cross-cultural communication techniques when conducting business with the Japanese.

The workbook starts off with an insightful comparison of American and Japanese cultural values and characteristics, perceptions of Japanese vs. American work habits, and societal differences that impact our respective relationship styles. The next section presents useful Do's and Don'ts for situations involving greeting, meeting, and eating with your Japanese counterparts. It then offers very specific etiquette tips depending on if you are a guest in Japan or if you are receiving Japanese visitors in the US.

The following section highlights the nuts-and-bolts of how to best communicate with the Japanese, whether via e-mail, video- or tele-conference. It also includes detailed seating charts for various situations, such as in a meeting, elevator, taxi or restaurant. The workbook concludes with a resource section including useful daily expressions in Japanese, a pronunciation guide and a reference list of books covering topics such as Japanese business, culture and language acquisition.

This workbook is valuable to any Westerner wanting to better understand the Japanese and their mystifying business etiquette and protocol rules. By employing the tips and techniques offered, readers dramatically increase their odds of having a more comfortable and successful business experience with the Japanese.

About the Author:

Mrs. Eileen Foster-Sakai is the co-founder and Vice President of Pacific Dreams, Inc. She graduated from Willamette University with a degree in Theater and Humanities, and she studied at the prestigious Intercultural Communication Institute here in Portland -- an intensive training course for trainers.

Eileen taught English in Japan for 5 years and has been teaching English as a Second Language for over 15 years. She has also taught business and culture courses for over 10 years, in addition to being a successful business owner. She has also served as the Assistant Director of Student & Academic Affairs at Tokyo International University of America in Salem, OR.

At Pacific Dreams, Eileen specializes in consultation and instruction regarding cross-cultural relations between the US and Japan. She has over 10 years of consulting and work experience with Japanese companies. Eileen developed the workshop, "Building Bridges between the USA and Japan", which has been presented at various companies in the US and Japan, as well as to academic groups, industry associations, and state and local governments.

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Business Passport to Japan: How to Maximize Your Success in the 21st Century

This is a unique and intriguing business guidebook that provides a lot of value for its pocket size. Whether you're going to Japan on business or working with Japanese in the US, it offers an impressive array of tips in areas that even seasoned Japanophiles struggle with, such as the fine art of gift giving in a business setting.

The book begins with a humorous quiz on Japanese famous figures, history, and food, and shows how we really do need this book and the information it provides. Clear and easy-to-use charts throughout are an extremely valuable feature and serve as a quick reference guide. There are also plenty of pertinent anecdotes that assist the reader in understanding Japanese values that we, as Americans, typically find too foreign to comprehend.

A large section of the book is devoted to 'Secrets to Business Success in Japan,' which delves deeply into cross-cultural differences in behavior and communication styles, even to the extent of how many seconds to wait before responding to a question. There is also an interesting sociological and cultural study in value shifts that are occurring in today's Japan, and a discussion on some important changes Japan is going through as it transitions into the New Economy.

This guidebook is easy to read and helps us understand the Japanese character and way of thinking. It is concise, yet informative and thoroughly enjoyable to read.

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Saying Yes to Japan: How Outsiders are Reviving a Trillion Dollar Services Market

This timely and informative book blows a breath of fresh air into the dwindling Japanese business-related genre. Like many of its predecessors Clark and Kay recount horror story after horror story of backward and bizarre business tactics employed in Japan. Their focus is on the seemingly superior service industry, but anyone who knows more than a travel guide's fill of facts about Japan knows that polite customer focus of Japan's service industry is sometimes only skin deep. What separates Saying Yes to Japan from many of the books that precede it is that instead of leaving business-minded readers saddened and looking toward China or other parts of Asia for business opportunities, the writers give a long series of examples of how savvy foreign business people have turned around the seemingly unmovable Japanese service industry, and made a profit on top of it. The writers put a positive spin on what is often a frustrating system, and as a result readers get some ideas and inspiration in ways to fix some longstanding, yet inherently poor business and service practices. The myth of Japan's seemingly closed door to foreign upstarts is handily wiped away, and we see how, in many cases, it takes a non-Japanese eye to see that things can be changed in a positive way.

The book is cleverly divided into chapters focusing on certain sectors of the service industry, along with overview chapters. There are chapters on finance, real estate, information technology, and the health care industry. The book is written in a way that a serious business mogul can glean confidence and insights, and non-business savvy individual can still enjoy the David and Goliath stories. Often times the stories are not of Westerners initiating new and original ideas, but employing tried and true techniques and practices that simply aren't used in Japan.

An example of this is the recent introduction of the baiyaazu eijento or 'buyer's agent' in a real estate purchase by American businessman, Jeff Donaldson. He was able to score below offer prices for foreign businesses looking to open Tokyo offices by representing them exclusively. Japan has always depended on 'dual agency', where the agent negotiates for both the buyer and the seller. Since the agent knows the seller's maximum low price and the buyer's maximum high price, how can he work in the best interest of both parties? Dual agency is illegal in the U.S. as well as most of the rest of the world, but it reflects the Japanese government's practice of looking out for their financial supporters over the fair needs of the average consumer. Not only do the writers describe success stories, but also introduce issues still yet to be tackled. For example he compares the ratio of new to old home purchases in Japan and the U.S. Japanese purchase five new homes to every single used home bought. In the U.S. homebuyers purchase six used homes to every new home bought. The 'scrap and build' mentality is maintained because, as a Japanese real estate broker simply states, 'Politicians don't make money off the used home market,' (p75). Used home purchases are taxed 16 times more than new home purchases to keep government supporting homebuilders busy. The writers conclude that some of these costs could be off set by taking advantage of the almost untapped home restoration and remodeling market.

The fascinating stories don't end in the real estate market. The writers open one chapter with an almost unbelievable account of the day in the technology life of a government worker from Tokyo's affluent Meguro ward. Although government workers can afford the latest computers in their homes, they are often forced to share outdated computers in the office. Regulations force government offices to buy computers only from approved, therefore overpriced outlets, when faster and cheaper machines are available everywhere. On top of that the writers dispel the myth of Japan's image of a techno-wonderland. Although they lead the world in consumer electronics, everything from cell phones to intelligent rice cookers, the Japanese have a lot to learn about business intelligence technology. The writers go into detail about the history of hardware manufacturing and how the software and it's applications were largely considered afterthoughts. The writers discuss the habits that led to the resistance to packaged software (what most of the world uses), as opposed to specially programmed software. The explanation is concise and clear and easy for someone without a business degree to understand.

Just as studying Japanese language without studying Japanese culture is largely impossible, Clark and Kay also remind us that doing business with Japanese partners also means doing business with the Japanese culture. We must remember to look at the luggage we bring with us, as no one is free from culture, business or otherwise. The book is written by Americans, and they admit they can only try to write from a unbiased viewpoint. The authors also wisely remind us to enjoy the cultural exchange with Japan as we work with Japanese partners and consumers.

Overall I found this to be a very fast and interesting read. Anyone who has lived in Japan for short time will find himself giving knowing nods again and again as stories remind him of shortcomings he thought only he had noticed. Saying Yes to Japan tells us that we don't have to shake our heads and say, 'it's this way because it's Japan,' even (in some cases, especially) foreigners can do something to help initiate changes locally and nationally. Even those not looking to do business in Japan can revel in the success stories of the Davids who did beat Goliath.

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Working Effectively with Japanese Colleagues: Cross-cultural Training for American Employees of Japanese Companies

This workbook provides the reader with an in-depth look at Japanese business culture as well as tips on how to develop positive working relationships with Japanese colleagues.

• Understand Japanese culture in business
• Learn how to communicate effectively with Japanese colleagues
• Increase your efficiency and effectiveness working with Japanese colleagues

Most books about working with Japanese are about how to sell to them--not how to work effectively inside a Japanese company. This unique book directly addresses the needs of Americans employed by Japanese firms, explaining why Japanese behave the way they do and how to improve your communications and working relationships.

The conversational style and helpful illustrations and summaries make it easy to read. It is great for use as a tool in new employee orientation. Those who have recently joined a Japanese company as well as veterans will find this book invaluable.

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The Rice-Paper Ceiling: Breaking Through Japanese Corporate Culture

Clashing communication styles and differing attitudes about work are a major reason why very few Americans employed in Japanese corporations ever reach top-level management. This invisible - but very real - obstacle to advancement is a result of opposing views on matters that each culture takes for granted. In her book, The Rice Paper Ceiling: Breaking Through Japanese Corporate Culture, international business consultant Rochelle Kopp examines and deciphers the Japanese business code to expose the reasons why the "rice paper ceiling" keeps American employees from climbing the corporate ladder in Japan.

Interesting topics covered include:

• American and Japanese assumptions on how, by whom, and why things need to be done
• Expectations and obligations regarding work and goals
• Corporate hierarchies, philosophies and management styles
• Transactional analysis of business relationships with regard to the communication styles and socialization of members of each culture

Open communication, empathy, respect, patience and a little introspection will go a long way in the quest for success in Japanese corporate world. Kopp provides numerous case studies and strategies to equip readers with the skills and understanding needed to develop mutually beneficial working relationships and to eventually pierce the rice paper ceiling. Kopp's insider knowledge and perspective of the Japanese corporate system makes for a relevant, well-written, invaluable resource for anyone planning to or already working for a Japanese company.

Excerpt from Chapter 1: "Root Causes of Problems for American Employees at Japanese Companies"

The frictions and problems at Japanese firms in the United States result from a combination of structural differences and mutual misunderstandings. In addition to the different levels of sensitivity to discrimination issues . . . , typical problem areas include the following:

Language. Few Americans speak and read Japanese well enough to use it for conducting business. Although Japanese businesspeople usually have some command of English, it is often tenuous at best, especially in conversation. Few Japanese businesspeople are comfortable with conducting detailed discussions or reading long documents in English. Like anyone else, they naturally prefer to do business in their native language.

Cross-cultural communications skills. Both American and Japanese businesspeople tend to have little experience in dealing with people from other countries, and generally lack the skills needed to overcome cross-cultural challenges.

Communication patterns. Japanese and American communication patterns are quite different. The American style is direct, and values discussion. The Japanese style is more vague and roundabout, placing greater emphasis on nonverbal cues and subtle nuances of tone and wording. Informal debate and the act of openly challenging another's opinions are often viewed negatively.

Leadership styles. Americans expect their managers to attack problems head-on, set the agenda, make detailed plans, and then delegate the implementation to subordinates. Charisma and motivational ability are considered crucial. Yet Japanese often feel that American-style "strong leadership" is insensitive and dictatorial. Rather than giving detailed direction, Japanese managers strive to create an environment in which self-motivated subordinates can take initiative.

Internal management and decision-making patterns. American companies tend to be financially oriented, and value individual leadership and autonomy. Each employee's role is clearly defined, and he or she is responsible for those activities. Individuals make decisions in their realm of authority or expertise, and the company clearly defines who can make which decisions about what. In contrast, Japanese companies tend to take a more intuitive approach to management. Employees have undefined roles and are expected to work as teams to meet group goals. Decision-making is a group process, with large numbers of people involved in each decision.

Centralized management processes. At many Japanese firms, the head office has significant input into decision-making at the U.S. affiliate. This necessitates constant, detailed communication across the Pacific. Due to language and cultural barriers, such communication is often dominated by Japanese employees. The result can be an exclusion of American employees from managerial processes. The large role of the head office also diminishes the U.S. operation's ability to act independently.

Ethnocentricity. Many Japanese are uncomfortable interacting with foreigners and frequently hold negative stereotypes about Americans in particular. Many Japanese also lack the flexibility to consider doing things differently from the way they are done in Japan. By the same token, Americans often hold negative views about the Japanese, and often seem convinced that the American way is best.

Employment system differences. In comparison with the American free market for labor, the Japanese tradition of lifetime employment leads to vastly different career patterns. As a result, Americans and Japanese tend to have radically different assumptions about basic features of the employment relationship such as compensation, performance evaluation, the pace of advancement, and when it is appropriate to change jobs.

Japanese personnel management. Many authors, both Western and Japanese, have praised the Japanese system of "lifetime employment" for its ability to foster individual loyalty and encourage the development of firm-specific skills. However, the domestic personnel management system is a weakness when the Japanese company expands overseas. The typical Japanese company's personnel management style is quite rigid and makes demands on employees that few non-Japanese would tolerate. This is because the Japanese system is predicated on the lack of an external labor market-Japanese employees have few other employment options, so once they join a firm they have little choice but to go along with the demands of the company. Unable to absorb non-Japanese into this system, companies tend to relegate them to separate employment categories that may not provide equivalent advancement opportunities or job security.

Corporate cultures. Since most Japanese employees work for the same firm for their entire careers, Japanese companies tend to develop their own distinct, inbred corporate cultures. These corporate cultures are so strong that they tend to exclude even native Japanese who might join a company at midcareer. It is extremely difficult for non-Japanese employees to break into the circle, especially given the other barriers listed above.

As this list suggests, the possibilities for misunderstandings are endless when Americans work at Japanese firms. Frictions and frustrations arise from complicated combinations of these various factors. Thus, the pattern of problems at Japanese firms is, in effect, a set of typical cultural and systemic clashes that play themselves out over and over again. These issues add up to a significant set of challenges that Americans who work for Japanese firms, as well as the companies themselves, will have to face.

Going to Japan on Business: Protocol, Strategies and Language for the Corporate Traveler

Doing business in Japan can be a baffling and intimidating prospect for the American businessperson. Confronted with the unfamiliar corporate culture, communication styles, and etiquette of the Japanese, un-prepared visitors run the risk of misunderstanding their Japanese counterparts, failing to communicate their own messages, and committing social gaffes that damage their business relationships and reputations. Going to Japan on Business provides the western businessperson with fundamental information necessary for a successful business trip to Japan.

In the "Before You Go" chapter, author Christalyn Brannen prepares the traveler with basic information about Japan and about important pre-departure preparations, such as obtaining bilingual business cards, purchasing gifts, and so forth. Don't forget to pack your copy of Going to Japan on Business - the 175-page book is small and light and perfect for reading on the plane. When you arrive, flip to the "Around Town" chapter for general information about how to navigate facilities the business traveler is likely to make use of in Japan: airports, hotels, restaurants, banks, shopping, and transportation networks. The "If You Have Time" chapter provides suggestions for leisure activities and places to visit for the business traveler with some time to see the sights but not enough to warrant lugging around an additional guidebook.

Getting down to brass tacks, Brannen outlines basic concepts central to Japanese business culture including: ba/ma/wa, and soto vs. uchi, as well as basic tenets of communication in the "Business Basics" chapter.

The "Making Introductions" chapter explains formal protocol specific to Japanese introductory meetings - such as how to bow and exchange of business cards - and the "Strategies for Meetings" chapter goes on to provide detailed information on communication strategies and etiquette for interpersonal interactions. For conventions pertaining to long-distance communications, see the "Phone, Fax and E-mail" chapter.

Your Japanese hosts are almost guaranteed to entertain you socially in the evenings, and these soirees are subject to an entirely different set of rules and behaviors. The "Socializing" chapter provides you with everything you need to know to enjoy an evening out with your Japanese hosts while strengthening your interpersonal relationships.

The "Useful Information" chapter covers other miscellaneous topics, including information about the phone system, getting online, recommended restaurants and relevant associations for English speakers. Finally, the "Survival Japanese" chapter arms you with a general glossary of useful phrases and expressions and a pronunciation key to help you with Japanese names and with the mini-Japanese lessons interspersed through the other chapters.

Author Christalyn Brannon grew up and attended University in Japan, and in 1984 founded the Brannon Group, a pioneer company in the field of cross-cultural consulting and training.

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A Practical Guide to Living in Japan: Everything You Need to Know to Successfully Settle in

Stone Bridge Press

Well written and insightful, A Practical Guide to Living in Japan is quite possibly one of the best books ever written on the subject. This is not simply because it is difficult to find many books on the topic. Author Jarrell Sieff gives the reader so much detailed and valuable information about what to expect going to Japan that any foreigner who has spent time in Japan will find his observations both accurate and nostalgic. From bowing on the phone to local holidays, Sieff helps foreign nationals prepare against culture shock by giving an in depth account of what to expect in Japan.

This guide goes into great detail about the things every foreigner will need to know about living in Japan. You can learn what to expect in matters of immigration procedures, finding a place to live, setting up and paying for utilities, bank accounts, postal services, healthcare, finding schools and jobs, transportation, etiquette, and customs. Sieff covers all of those topics and goes into detail about information necessary to foreigners. In the sections on transportation alone, the book details information on getting around on trains and subways, buying commuter passes, buses, taxis, bullet trains, airline tickets, traveling to and from the airport, obtaining a driver's license, buying and owning a car, traffic violations, motorcycles, and more.

A Practical Guide to Living in Japan lives up to its title: the book presents useful information in a practical manner. Yet it is not dry reading. Sieff's writing style keeps the reader wanting to learn more. And, with so much detailed information about life in Japan, from what to expect for earthquakes to Internet access, this guide is a must read for those traveling to Japan.

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Doing Business with Japanese Men: A Woman's Handbook

Women face many hurdles in doing business within a society that remains highly partriarchal. Doing Business with Japanese Men is the first book that specifically addresses problems Western women face in their dealings with Japanese clients and colleagues. Using real-life anecdotes, cultural explanations, and extensive lists of tactics and dos and don'ts, this book tells women how to quickly establish their authority and work effectively. Included are practical discussions of preparation, socializing, and gift giving, as well as tips on wardrobe, make-up, special health and safety concerns, and fending off unwanted attention.

While the title may ward off half the population, this book also contains useful information that applies to both men and women, including communication and correspondence protocol, and the nature of Japanese business meetings.

Particularly useful for female executives, no matter how much experience a Westerner has had in the Far East, this book is bound to be useful.

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Japanese Beyond Words: How to Walk and Talk Like a Native Speaker

Achieving fluency in Japanese provides the language learner with no shortage of challenges. However, as many Japanese students discover on their first trip to Japan, mastering the grammar and vocabulary of the Japanese language is not sufficient in order to really understand and make oneself understood in Japan. A strong grasp of Japanese culture and social etiquette is a necessary and often neglected aspect of learning to communicate in Japanese.

In Japanese Beyond Words: How to Walk and Talk Like a Native Speaker, Andrew Horvat introduces a number of aspects of Japanese culture that are vital to the non-verbal side of mutual understanding. These topics include one's physical appearance, body language, pronunciation, social conventions and taboos, English and Japanese linguistic cross-influences, what not to say in Japanese, and tips for Japanese study.

For example, Horvat explains the importance of treating business cards with respect, as they are looked upon as an extension of their bearer; of bowing; of dressing in simple, conservative clothing; and of avoiding excessive gesturing when doing business in Japan. These basic guidelines are certainly essential but may seem elementary to those with some experience in Japan. However, the book goes on to address more sophisticated issues that will prove informative to even the seasoned Japanophile, such why you should never give wildflowers as a gift and why the Japanese currency is written "yen" but pronounced "en".

This book is written to supplement the language student's Japanese proficiency with vital cultural context. Sections addressing particularities of Japanese pronunciation and common mistakes made by language learners are especially successful in achieving this end. However, Japanese Beyond Words is written so as not to exclude readers with no previous knowledge of the Japanese language and provides an excellent introduction to Japanese culture for non-language learners as well.

Written in a lively, anecdotal style, this book is a good read and an informed instructor for anyone endeavoring to hone their cultural proficiency in Japanese.

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Japan Style Sheet: The SWET Guide for Writers, Editors and Translators

Stone Bridge Press

A concise volume that is a quick read for writers, editors, and translators, this book serves as an excellent introduction and quick reference to style issues working with Japanese words in English publications. With two languages as different as English and Japanese, it has always been a struggle to standardize a system to write Japanese words in romanized letters. Japan Style Sheet looks at the most-used systems for romanizing Japanese, comparing and contrasting them, including the Hepburn System, which is probably the most widely used system in English publications, and the Kunrei System, which is taught in Japanese schools and used by the Japanese government. The book points out the pros and cons of each and introduces conventions used in romanizing Japanese words, such as the use of diacritical marks verses double letters to denote the infamous long vowels of the Japanese language.

Japan Style Sheet also looks at other problematic Japanese transliterations, such as certain instances of the Japanese letter "n". Perhaps of most help is the book's discussion on when to use apostrophes and hyphens and when not to use them. With many English natives not even able to keep the use of these punctuation marks straight in English, the book's clarification on the apostrophe in transliteration of Japanese can be a lifesaver.

One issue that can be most annoying, lacking standardization between English and Japanese translation, is the matter of italics. Japan Style Sheet not only spells out some general rules for italics, but also discusses anglicized words as well. This is just one of the many issues that linguists face, which the book offers help on.

In addition to clarification on transliteration and style, the book also features very useful appendices that list Japanese prefectures, significant Japanese historical eras, and other useful information. One of the most helpful resources is a conversion table showing the differences between the English and Japanese numbering systems. Anyone who has had to work with the two different numbering systems knows just how confusing they can be. Yet another helpful feature is an appendix showing the Japanese Imperial calendar with the Western calendar for easy conversion. Always confusing for Westerners, many Japanese documents still use a calendar based on the reign of emperors. For example, since the emperor Showa ruled from 1926 to 1989, if you were born in 1970, then you were born in Showa 45. However, if you were born in 1989 before January 7th, then you were born in Showa 64, whereas after January 6th 1989 is Heisei 1 since that is when the reign of the present emperor began. Although the helpful hints on style alone make this volume worth the time to read it, the calendar conversions are an added bonus. By the way, 2006 is Heisei 18.

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Kanji Pict-O-Graphix: Over 1,000 Japanese Kanji and Kana Mnemonics

Stone Bridge Press

Author Michael Rowley presents a simple yet brilliant way to look at kanji, the written characters of the Japanese language that were borrowed from the Chinese, in order to learn them. As many Westerners know, kanji are pictographs or ideographs based on the image of what they represent rather than a phonetic alphabet that represents the phonemes, or sounds, of a language. Using this familiar idea, Rowley helps readers associate commonly used kanji with pictures that more closely resemble their meaning while still retaining the basic shape of the kanji, as well as by providing phrases with the given word or words included.

Although this use of mnemonics is not new, since kanji are themselves pictures, Rowley points out the value of such techniques for Westerners learning Japanese. Asking how one goes about studying kanji, he counters, "If you are a child in a Japanese school, you write each kanji hundreds of times at your desk. After a while, by sheer persistence, it sticks in your memory." Rowley suggests that rather than taking this method, Westerners employ mnemonics by associating kanji shapes with pictures of what they represent.

This educational volume starts with basic kanji and then shows as those radicals are incorporated in more complex characters. With catchy illustrations to help the reader memorize the characters, the book is a fun read for Westerners learning Japanese. The book also includes not only definitions in English, On (Chinese), and Kun (Japanese) readings of each kanji, but also mnemonics to help learn hiragana and katakana as well.

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Designing with Kanji: Japanese Character Motifs for Surface, Skin & Spirit

Stone Bridge Press

Ever wonder if that article with Japanese writing on it really says what you think it says? Hopefully, if you're unsure, it's jewelry or a wall hanging and not a body tattoo. As authors Shogo Oketani and Leza Lowitz point out, over the past several years, Japanese writing has become more and more popular in Western culture as decorative art. Their book not only gives the meanings of popular kanji, but also provides an introduction to the history and structure of a writing system that until now has been an enigma for many Westerners.

However, don't let the 'skin' in the book's subtitle fool you. This beautiful volume from Stone Bridge Press is much more than a guide to design ideas for body tattoos. Both the fluent speaker of Japanese and those who don't know "arigato" from "sayonara" won't be able to put this book down. Oketani and Lowitz go beyond just giving the meaning of each kanji; they concisely explicate the meaning, background, and reading of the characters, as well as provide fascinating insights to the ideogram system.

Besides the succinct explanation given for each character, perhaps the most captivating feature of this book are the comparative illustrations of each kanji. As the authors call them, each kanji is rendered in Formal, Modern, Flowing, and Stylish fonts. Some Westerners don't even know there are differing fonts in Japanese as there are in English, but the book's beautiful illustrations clearly show the differences in styles in order to capture the essence of cute or cool, eye-catching or inspiring, to help you attain just the feel you're looking for. This is the perfect gift for people who have interest in Japanese culture.

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13 Secrets for Speaking Fluent Japanese:
Effective and Enjoyable New Techniques to Speak, Memorize and Think in Japanese

Kodansha America

Educational and entertaining, 13 Secrets for Speaking Fluent Japanese from author Giles Murray provides useful and sound advice to people learning Japanese, both those who have been speaking Japanese for years and those who are just starting out in their studies. Among the secrets that Murray explains and gives useful examples of are how to increase your Japanese vocabulary with the use of synonyms and word prefixes and suffixes, as well as using adverbs to "spice up" your language. Beyond vocabulary, Murray gives suggestions on key areas of the language to study and learning strategies.

Secret #2, "Explanatory Phrases: How to Communicate Despite not Knowing the Right Word" is a useful skill not just in learning to communicate in Japanese, but really any foreign language. The ability to describe what you are trying to say when you are unsure how to correctly express it in a foreign language is an important skill and one that can be learned, as Murray demonstrates.

A particularly useful section of Murray's book deals with mastering the Japanese number system, which uses a totally different naming system for digits than the English names for numbers with several digits. An understanding of the Japanese system, Secret #4, is a must for anyone wanting to spend any length of time in Japan.

Perhaps the most useful secrets in the book are the sections explicating Japanese jokes and puns in order to "see beneath the surface of the language," and the section on loanwords from English. (A recent trend in the language and culture, Japanese borrows extensively from English and other languages.) While becoming familiar with and learning to use the thousands of loanwords in the Japanese language is essential to those starting out in their education of Japanese, understanding the culture's wordplay and intricacies provides learning material for those more advanced students of the Japanese.

In addition to 13 secrets to become more fluent in Japanese, Murray includes an appendix on mnemonics and a glossary of terms. Make no mistake, as Murray makes clear in his discussion of what he calls "Mad Mnemonics" that attempting to memorize vocabulary using mnemonics does have acute limitations, all too often the mnemonic being a play on phonemes that stretches logical connections. However, Murray observes that mnemonics are a popular way to memorize vocabulary, both for Westerners learning Japanese and Japanese native speakers learning English.

Murray even shows how foreigners can use playing children's word games and reading manga, Japanese comics, as learning resources. To discover this and other helpful suggestions, 13 Secrets for Speaking Fluent Japanese makes a wonderful resource to aid language acquisition and cultural understanding.

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Beyond Polite Japanese: A Dictionary of Japanese Slang and Colloquialisms

Kodansha America

A concise reference made for foreigners learning Japanese, Beyond Polite Japanese, as its subtitle suggests, is written in the format of a dictionary. The important difference of this volume is that it contains terms you can't find in any dictionary. From affixes to insults, Beyond Polite Japanese offers a plethora of knowledge and insight into the slang of the Japanese language.

As just one example of the many elusive slang terms revealed in this book, author Akihiko Yonekawa observes how the Japanese word for "a quack," meaning a disreputable doctor, is yabu, which literally means "thicket." The Western student of Japanese might be perplexed as to how thickets could be in any way related to a quack (just as Japanese may wonder why Americans call illicit doctors "quacks," as if they were waterfowl). Yonekawa succinctly explains that the term yabu is short for yabu-isha, meaning "doctor in the thicket." She goes on to observe that the kanji for yabu is based on folk etymology. From this the student of Japanese can see the connection of a quack practicing medicine in discrete locales away from the public.

Yonekawa's dictionary of slang is divided into categories, organized into the different types of slang and colloquial speech. Among the sections are slang about personality types and temperaments, slang about the body, slang about nature, and a section on interjections and exclamations. Perhaps most useful is the section devoted specifically to colloquial phrases. Here, phrases that are used in everyday conversation, such as "nantatte" and "n'da" are explained. Many such phrases are comparable to the phrases, "I wanna" instead of "I want to" or "they're gonna" as opposed to "they're going to" in English. Such phrases are almost never taught in formal classes, which teach proper, polite language. Unfortunately, actually communicating with Japanese, such phrases are an important part of fluency.

A useful and entertaining reading selection, Beyond Polite Japanese can help students of the language increase their fluency and understanding of the culture. As is stated introducing the book, "Among the entries are some very common, unexceptionable words that Japanese take absolutely for granted, but which the poor student must struggle mightily to make his or her own."

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If you teach me Japanese, I'll teach you English

Kodansha America
150 pages

As the title of this informal text suggests, authors Paul and Yuko Swanson take an approach to language learning that, while common among people who learn foreign languages, is original for the premise of a book on language acquisition. That is, this book serves as a "study guide" not only for English speakers learning Japanese, but also for Japanese speakers learning English, and aims to help average persons with "no professional training in linguistics or teaching" to help each other improve their language skills outside a formal classroom setting.

Complete with notes on vocabulary, patterns, and grammar, the book presents a series of common situations, such as at the airport, at parties, in stores, hotels, sight-seeing, making phone calls, gift giving, asking directions, and even going on a date. Beyond just language study guides, the authors include cultural notes that give insight to what you can expect in various situations.

One thing for readers to note is that this book, as it mentions in the introduction, is for those who already have "an elementary knowledge" of the other language. Thus, readers will want to have some exposure to basic Japanese (or English) grammar and a starting base of vocabulary before jumping into the conversational exercises. The book is perfect for those going on extended stays in Japan or who have Japanese counterparts staying in the States, as the authors stress the benefits of effectively "exchanging languages."

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The Book of Five Rings

Setting down his thoughts on swordplay, on winning, and on spirituality, legendary swordsman Miyamoto Musashi intended this modest work as a guide for his immediate disciples and future generations of samurai. He had little idea he was penning a masterpiece that would be eagerly devoured by people in all walks of life centuries after his death.

Along with The Art of War by Sun Tzu, The Book of Five Rings has long been regarded as an invaluable treatise on the strategy of winning. Musashi's timeless advice on defeating an adversary, throwing an opponent off-guard, creating confusion, and other techniques for overpowering an assailant was addressed to the readers of earlier times on the battlefield, and now serves the modern reader in the battle of life.

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Bushido: The Soul of Japan

Kodansha America

Written over one hundred years ago, not long after the fall of the feudal social system in Japan, Bushido The Soul of Japan is a historical exploration of the origins of Japanese ethics and morals. The author, Inazo Nitobe, cited Bushido (way of the samurai) as a source from which turn-of-the-century Japanese ethical and moral ideals had developed. He draws on many aspects of Japanese historical social realm that he saw as contributing factors to the development of the bushi (samurai) psyche and code of behavior, including the influences of Buddhism, Shinto, and Confucianism. Nitobe also dips into his own particular background in Western studies in order to draw out comparisons with renowned thinkers of ancient Rome, and Greece. This gives the book a surprisingly broad range in this topic and really strengthens the discourse of the writer.

For a non-native speaker or English, Inazo Nitobe writes with a rare grasp of literary English, and an accessible style. This is impressive alone, beside the fact that even now the book retains this accessibility more than one hundred years after it was first published.

Chapters of discussion include 'Sources of Bushido', 'Politeness', 'Honour', 'The Duty of Loyalty', as well as other related subjects elucidating the character of the samurai of feudal Japan. The book culminates in chapters discussing the influence, presence, and future of Bushido from the perspective of Nitobe's present-day Japan.

This work gives insight into Bushido that is unique. It goes without saying, that a present day writer would not have the same access to historical perspectives as Inazo Nitobe did in pre-world war Japan. And being alive in Japan as close in time as he was to the re-opening of Japan and the start of the Meiji era, also contributes to the unique voice of the author.

Perhaps if a person has only a small interest in Bushido they may yet find this book to be an interesting insight into social perspectives in turn-of-the 20th century Japan. It is a small window into what was the world of a rapidly changing and growing national identity, and the background of the author, and the included first and tenth edition preface is as interesting as any chapter in the book itself.

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America and the Four Japans: Friend, Foe, Model, Mirror

Stone Bridge Press

'America and the Four Japan' is a great introduction to many aspects of Japanese business, social, religious and family life. The information isn't necessarily new, but it's all here. The book is brief and to the point and is a great guide for, as the author writes, the many Americans who have the ability to 'micro-analyze' Japan, but may not have all the basic background of the relationship between Japan and the US. Historians and scholars may have little need for this title, but it is a great resource for Americans who do business in Japan or with Japanese partners

Each of the four "Japans" listed in the title are explored as themes in the four main sections of the book. In the first section the theme of 'friendship' between Japan and the US is explored throughout history, from long before the Americas were even discovered by Europeans, to modern times. An interesting quote from former Prime Minister Kiichi Miyazawa in 1993 is explored:

"It was the first time the U.S. and Japan were able to interact as adults. During World War II former President Bush was shot down [by Japan] and nearly drowned near Iwo Jima Island, but he always had a sense that the U.S. had made Japan into what it is today. President Clinton, on the other hand, has been watching Japanese television sets and riding in Japanese cars since he was born. [To President Clinton] Japan has always been an adult.' (p44)

In the same breath we can talk about Japan as our friend, we can also talk about Japan as our foe. Japan was a 'traditional' foe in World War II, but even after the war, even as a willing ally, the trade war with Japan has been real and a source of strife in recent decades. Schodt gives clear explanations of complex topics like trade deficits and currency imbalances in a way few would be confused by. There is also a balance in the reporting, neither Japan nor the U.S. is blameless for the problems they have, yet all perspectives, from the American president to the Japanese consumer are considered. The author also includes some interesting stories of Japan's internal foe in the often-corrupt politicians Japan calls its leaders.

The shortest section of this book is the Japan as Model section. Here Schodt explores America's love affair, and sometimes obsession with all things Japanese, from history to culture to technology. Schodt also goes on to describe how America's passions with Japan have changed and grown, from the honor of the samurai spirit to the business management models to crime prevention models (i.e. KOBAN). Of course some of these techniques can be imitated, but changing the cultural values that allow, say a person to place their shopping bags on the steps outside a ramen shop to stop in for a bite, are much more difficult to change. Ironically, as Japan's media becomes more and more flooded with Western images and the priorities of Japan's younger generations become diluted from the ways of their parents and grandparents these stories become more rare.

The final section is on Japan as a Mirror, and it explores the not often compared similarities between Japan and the US, as well as asking what we can learn about ourselves by looking at Japan. It is no secret that Japan borrows concepts from its neighbors and often improves on the original ideas. We also see in this section how this trend has continued in not only cars and consumer electronics, but also things like fuzzy logic and comic books. Why does Japan succeed when America falls? The answer isn't always across the Pacific, but can be found within our own borders and belief systems. As Japan and the US grow more similar it isn't only the benefits that are shared. Problems with increasing drug use among Japanese youth and the societal growing pains as gender roles are transforming are among the many new issues Japan is dealing with today.

The book closes with an interesting summary on America's dualistic view versus Japan's pantheistic view, or Judeo-Christian vs. Shinto/Buddhist thinking. We are also reminded Japan is only the first of many growing and strong nations that we will be working closer with that hold a completely different set of values from the US (and Japan, for that matter), places like China and India.

Overall America and the Four Japans is a terrific introduction to many aspects of Japanese understanding. Although it is slightly outdated (mentions of Walkmans and VCRs, brief talk on the internet), nothing in the book is incorrect, and the future the book predicts seems to be on target. Someone experienced with Japan and its ways might not come away with much new information, but someone with less experience with Japan or its people could come away with a wealth of new knowledge and answers.

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Lone Wolf and Cub Vol 1: The Assassin's Road

The manga boom in the US has been huge over the last few years. Shonen Jump, one of the most popular magazines in Japan is now published in English. The manga aisle at comic shops is ever increasing, and manga are finding their way into mainstream bookstores, CD and DVD shops and even convenience stores. Unfortunately most of the titles available in English are directed at very young to young adult readers. For this reason we were happy to be introduced to the line of manga being published by Oregon's own Dark Horse.

In Japan manga are not only just for kids and young adults, and now the same is true in the US. Several of the titles that Dark Horse has brought to an English speaking audience are geared toward the more mature reader, but do not confuse mature themes with lurid or salacious material. The themes are heavy and not written for children. This month we are introducing the Lone Wolf and Cub series to the PDI readers. After reading only a few pages into the 300+ pages of Volume 1 you will be pulled into a story-telling experience unlike any other you have experienced. If this is what manga in Japan are like, it's no wonder adults there don't stop reading them after they turn 18.

Lone Wolf and Cub is the story of masterless samurai Ogami Itto and his young son Daigoro as they criss-cross the land in search of clients for their "sword for hire - son for hire". At the same time Ogami also seeks out revenge for being framed for a crime against the shogun, yet the full roots of this back story are only touched upon in this first volume. Their epic story is told over 28 volumes (7000 pages!), yet are told in short episodes slowly building up the greater story. This style is typical of the Japanese narrative of the time it is set in, and it is entertaining to see the crossover of this epic episodic and wandering tale (like the Tale of Genji or Tales of the Heike), into the modern manga format. Initially how Ogami uses his son as a tool for revenge and justice makes the reader wonder about his true feelings for his son, but it soon becomes clear that Ogami indeed does care for the young Daigoro, and the risks are calculated to Ogami's incredible skill with his sword. And what skill he has! Of course it wouldn't be a true samurai story if our hero couldn't strike down droves of enemies with a single swing of his blade, and the body count here is high. The power of the fight is represented surprisingly well in artist Goseki Kojima's images.

Another nice thing about these books is the size (6.0" x 4.3"). Although the art is shrunk down a bit, the detail is still clear, and the compact size means you can literally stick a volume in your pocket, then pull it out anytime you are have a little time. The episodic nature means each chapter takes only a few minutes to read, yet the story is easy to follow as a whole.

Dark Horse separates Lone Wolf and Cub from the youth market in another way, as well. In the text, older Japanese words without direct English counterparts are not translated into English, but can be found in a glossary in the back. Those interested in this era and with the Japanese language may enjoy the authenticity that is left in the translations.

Overall the experience of reading Lone Wolf and Cub's first volume was very satisfying. My immediate reaction was to rush out and pick up the second volume. Because of it's fast pace, 7000 pages doesn't sound as intimidating as it did before finishing the book. Check in here for reviews of subsequent volumes, and all 28 volumes are available through the Pacific Dreams bookstore.

6.0" x 4.3", 304 pages, paperback

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Lone Wolf and Cub Vol 2: The Gateless Barrier

This is the continuing story of the adventures of Ogami Itto and his young son, Daigoro. I didn't think the story could become more deep or engrossing, but from Volume II the book has become even more difficult to set down.

Where Volume II improves over Volume I is really in the character of Daigoro. In the first volume Daigoro is seen as basically a baby, a prop used to advance the stories, but in the second volume Daigoro is no longer just a baby, but a baby wolf, and is becoming an active character in the stories. The unique relationship and emotional bond between the Lone Wolf and his Cub is becoming more established, which conflicts with the samurai's need to put the mission above anything else at all cost. The subtleties of the internal conflicts are so carefully revealed with careful translation and the masterful drawings of artist Goseki Kojima. In several places close-up looks at the mostly silent Daigoro show a variety of emotion, and in one part an enemy comments that he can tell from his eyes that the Daigoro was already very experienced with death, despite his age. In this volume we also get to see an interesting tale of Lone Wolf's personal training through meditation on 'Wolf Mountain'.

Another change worthy of mention is each story runs about twice as long as the stories in Volume I (five episodes here, compared to nine in Vol. 1, but almost the same number of pages). This makes for stories that go more in-depth than those in the first volume.

Check in here for reviews of subsequent volumes, and all 28 volumes are available through the Pacific Dreams bookstore.

6.0" x 4.3", 296 pages, paperback

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Lone Wolf and Cub Vol 3: The Flute of the Fallen Tiger

After taking a little break from Lone Wolf to read some other titles, I feared it might take me a little effort to get back into the story. Well, my fears were dashed about two pages into the absolutely excellent third volume of this series. The action is even more intense, the risks even greater, and the drawing style more bold and cinematic.

Koike is terrific at slowly revealing more about his main characters, and up until now, we didn't know too much about what made Ogami Itto into the man he is. The heart-wrenching story 'The White Path Between the Rivers' shows the tale of Ogami's transformation into Lone Wolf is easily the most moving story we have seen so far. It's hard to read the stories that follow without seeing the character in a new light.

Like in Volume 2, The young Daigoro plays a more active role in several of the tales, and is even the object of strife in the bizarre tale, 'Half Mat, One Mat, a Fistful of Rice'. Daigoro is also appears prominently in the final tale of this volume, 'Close Quarters'. This story contains some interesting turns, and we may not always be right about who we think the good guys are. Of course, our real hero, Lone Wolf, is prepared for whatever comes his way.

New to this volume is an addition at the end titled 'The Ronin Report'. This is a short introduction to bushido, the way of the samurai. It's fairly elemental in nature, but those new to samurai tales may find it helpful.

6.0' x 4.3' , 304 pages, paperback

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Lone Wolf and Cub Vol 4: The Bell Warden

Volume 4 takes Lone Wolf and Cub in some interesting and often dark directions over four fantastic stories.

In 'The Bell Warden' we see how family and duty collide once again. In this story the aging warden of the large warning bell is looking to see if his sons are worthy to replace him by pitting then up against Lone Wolf. We see some new weapons (later explained in 'The Ronin Report' in this volume's final pages), and Ogami Itto's reaction to how this father regards his sons gives some insight on his own connection with his son.

How enjoyable are some of the drawing styles seen in the second story, 'Unfaithful Retainers.' Artist Goseki Kojima freely interprets ideas in ways I have never seen in other manga. This is another simple but clever revenge tale, and it is interesting to see how Ogami reacts to cries for help from the weaker members of society. The Lone Wolf is a genius at finding loopholes in the samurai code in order to bring justice to the powerless, and this story shows a great example of that.

The third story in this volume is titled 'Parting Frost'. This may be the most moving story we have seen in the series so far. Often Ogami leaves Daigoro in a safe place alone when he needs to complete an especially dangerous mission. Although he is young and alone, Daigoro is never scared, and waits patiently for his father's return. But this time something goes wrong, and the Lone Wolf doesn't return before Daigoro runs out of food. Daigoro travels to and searches Buddhist temples, often the resting spots of his father, to little success. Each volume we are learning more about Daigoro, and this is the first time we see him work independently to solve problems. At the same time, he is a little child (maybe four-years-old?), yet has seen things most people would never see in their lifetime. A strange samurai runs into Daigoro, and comments that the Cub has 'Eyes that only a swordsman who has cut through Death itself...can possess.' Again, Kojimi's art adds much to this story, and the cinematic framing of the exciting and emotional conclusion is as satisfying as they come. (And this is only Volume 4!)

The final story is a more traditional 'hunt' for Lone Wolf and Cub, with their adversary being a beautiful woman with some very evil-looking tattoos. Despite it's simple start, this is the longest story we have seen so far, at over 100 pages. We are far beyond the simple character establishing episodes of Volume One. Koike is incorporating more twists and flashbacks in his tales to keep the readers engaged and excited.

6.0' x 4.3' , 318 pages, paperback

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Old Boy Volume 1

Rarely does a first volume explode out of the gates like Old Boy. From the opening pages we are sucked into the cool and mysterious story of ... what IS his name?

Our story opens as Old Boy, as we'll call him, is broken out of a mysterious apartment/prison where is has been held for ten years. But who are the Mafioso looking guys who broke him out?... and more importantly, why? Old Boy soon discovers that keeping himself in shape while incarcerated was a good idea, as he handles a group of young punks who tru to rob him with relative ease. Taking enough money from them for a decent meal, he meets the beautiful young Eri, who is kind enough to give him shelter for the night. Old Boy needs to get his life back together, but there is something about revenge that can keep a man so preoccupied.

Any attempt to put down Old Boy Volume 1 mid-read should be made at your own risk. This is a fast-paced and fascinating story, told partially in flashbacks, revealing bits and pieces one juicy morsel at a time. Some things the reader finds out that Old Boy doesn't know, and Old Boy certainly hasn't revealed all his cards yet, too.

The style of Old Boy is very crisp and new. Unlike some manga where every character looks the same, where the hero is the tall handsome blonde guy, and the villain is the tall handsome dark-haired guy, Old Boy's look is more unique and ambiguous. Every character has a distinct look, (the title character, especially), yet looks don't tell us immediately who is a bad gu, and who is a good guy, which makes sense for this twisted story. Old Boy himself is cool, but not too handsome, and definitely rough around the edges. Nobuaki Minegishi's art is detailed yet smooth. The drawings are angular and tense. The several scenes of cityscapes are incredibly intricate, and give a real sense of the size of Tokyo and how big the buildings are, and how far the sprawl goes. This is a nice contrast to the claustrophobic nature of the little room Old Boy was stuck in for those ten long years.

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Lady Snowblood Vol. 1

The manga boom in the US has been huge over the last few years. Shonen Jump, one of the most popular magazines in Japan is now published in English. The manga aisle at comic shops is ever increasing, and manga are finding their way into mainstream bookstores, CD and DVD shops and even convenience stores. Unfortunately most of the titles available in English are directed at very young to young adult readers. For this reason we were happy to be introduced to the line of manga being published by Oregon's own Dark Horse.

Recently we introduced you to our first manga title for mature readers, Lone Wolf and Cub, and now we bring you our next Dark Horse series from famed author Kazuo Koike: Lady Snowblood. Like the Lone Wolf series, this is a classic Japanese story of injustice and revenge, though Lady Snowblood is set a couple centuries after the Lone Wolf series. This story is a bit grittier than Lone Wolf, as the title character can use her sexual wiles (among other skills) to take her steps of revenge one-by-one on a group of men that assaulted her mother. Though for mature readers, this isn't lascivious. Lady Snowblood takes advantage of man's weakness in never expecting a female assassin, especially decades after their assault. Rest assured, Lady Snowblood makes sure each target knows exactly who she is before inflicting her final blow.

If the plot sounds at all familiar, the tale of Lady Snowblood is the basic story Quentin Tarantino generously borrowed from when making his Kill Bill movies. In fact in their review of Kill Bill, UK's Guardian Unlimited writes, 'Lady Snowblood, in particular, is practically a template for the whole of Kill Bill Vol. 1...'(4/6/2004).

Like other titles in the Dark Horse line-up, the translators do not translate words that don't exist in English, rather explanations are found in a glossary in the back. This is nice for students and fans of Japanese language, culture and history. It's also interesting seeing a story set in the Meiji era, after the time of the traditional samurai. We see how Japan opens it's doors to the rest of the world, and is influenced by foreigners and imported goods, including our 'hero', Lady Snowblood, by a pair of western knickers!

Lady Snowblood can shift from light and funny to dark and heavy in just a few frames, and then back again. We are kept on our toes, as we watch the story unfold. Ultimately it is a tale of slow-cooked revenge, each chapter a satisfying morsel. Come back for reviews of later installments of Lady Snowblood. Volume 2 is available now, and Volume 3 comes out in April of this year.

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Lady Snowblood Vol. 2

This sophomore edition of Lady Snowblood continues where Volume I left us off without missing a beat. The energy of the first edition continues, as we see more of Lady Snowblood's exploits to find her mother's attackers, as well as a fascinating story of her assassin training when she was a girl.

Historically tales in this genre tend to be long and winding, with the central story in the background as the protagonist travels along, engaging in missions and adventures slowly leading to the final goal. We see this pattern in our other PDI manga titles: Lone Wolf and Cub, and The Samurai Executioner, (though the Lady Snowblood series is more succinct, at four volumes). Lady Snowblood's ultimate mission is to assassinate the evil men who attacked her mother. Like a great adventure story, the names and locations of her targets aren't always easy to identify, and she goes on side missions for those who can help her. Some chapters in this series are Lady Snowblood dishing out her own brand of justice in her own unique way.

Volume II ends with a 'big' cliffhanger that is reminiscent of something out of National Lampoon magazine. It's a little silly, but on the other hand, sometimes tales of this nature can be too serious for their own good, and the best writers, like Kazuo Koike and genre film directors, like Akira Kurosawa, are sure to add some humor to contrast with the somber tone of other areas in the book.

It's hard to think of the Lady Snowblood story without being reminded of its great influence on Quentin Tarantino's Kill Bill movies. In Volume II we have a flashback chapter reminiscent of the bride's training sequences from Kill Bill Volume II. Despite the grueling nature of the lessons we can see on the big screen, the pain and struggle the young Yuki goes through in the chapter titled 'Harsh Training and a Blooming Countenance', come out more in these pages. One must enjoy the original training methods of the great masters, those which make you think, 'What is he trying to teach here?', and the lessons in this chapter are no exception to that tradition.

This leads us to the halfway point in our story, and it is just as bloody and Volume 1. Though more than the first volume Yuki doesn't seem to like to complete her missions restricted by things like clothing, and it should be emphasized again that these books are not for children in any way. Coming up is Lady Snowblood Volume 3: Retribution (Part 1).

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Lady Snowblood Vol. 3

Volume 3 (subtitled 'Retribution Pt. 1') of this series finds us at the cliffhanger that ended Volume 2, and in retrospect, it was a somewhat odd place for a break in the story. In the end, the first chapter of Volume 3 lands a little flat, mostly due to the goofy nature of the true identity of Blackmailer Genjiro. Thankfully, it is the shortest section of the book.

I am happy to report the rest of Volume 3 doesn't fall victim to the same issue, and the characters Syura Yuki meets, both allies and enemies, are more grounded in reality (well, except maybe the eccentric writer, Miyahara, whom we will talk more about later).

The next story, 'The Unveiling of a Pretty Woman and a Strange Tale' comes in two parts, and at almost 120 pages, is the longest and most complex story we have seen so far. Not only are we introduced to a variety of characters in this story, but we see some nice images of Yoshiwara of Asakusa, in Tokyo. A foreign gentleman is trying to build a panorama in the lowly entertainment district, but the powerful local yakuza is blocking its progress. He asks Lady Snowblood to help allow him clean up the neighborhood by adding higher quality entertainment, something besides the freak shows and fake exhibits which clog the streets. She can help by 'doing something" about the yakuza tyrants, (terrific Japanese subtlety!) and from here this story bounds from episode to episode as Syura closes in on her targets, and at the same time they hunt for her, (though they mistakenly think 'her' is a 'him').

The final story in Volume 3 is, again, in two parts. The title is 'Master Crook, the Wanderer'. In a desperate effort to find the final two attackers on her list, it is suggested that Syura get her life story published to draw out her targets. She then must try and convince Miyahara, the famous but eccentric writer, to pen her story. But before that, she must find him, and he is famous for his random wanderings by train around the country. Miyahara is one of the strangest and funniest characters in this series so far. His personality and movements remind me of something from Lupin III. After a relatively heavy story, the introduction of Miyahara was a welcome change of pace, and it is fun to watch Lady Snowblood, as she is able to use her clever tactics manipulate the oddball old man...but, in the end will her plan work? We won't know for sure until the 4th and final volume.

More than in the earlier novels, I really was struck by the Kazuo Kamimura's artwork in this book, especially the longest story, 'The Unveiling of a Pretty Woman and a Strange Tale'. The scene where the yakuza gang is first introduced is quite stunningly done. There is also a terrific double-page-spread early in this story, which feels like a freeze-frame from a movie, as Syura dodges an attacker's blow in her signature cat-like fashion. Also Kamimura's dialogue-free frames over several pages opening the final story are powerfully done. The multiple views of Syura walking among the trains are beautifully rendered.

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Samurai Executioner Volume 1: When the Demon Knife Weeps

The manga boom in the US has been huge over the last few years. Shonen Jump, one of the most popular magazines in Japan is now published in English. The manga aisle at comic shops is ever increasing, and manga are finding their way into mainstream bookstores, CD and DVD shops and even convenience stores. Unfortunately most of the titles available in English are directed at very young to young adult readers. For this reason we were happy to be introduced to the line of manga being published by Oregon's own Dark Horse.

Samurai Executioner is the third manga series we are bringing you from Dark Horse, and it is also the third series from famed writer Kazuo Koike. Artist Goseki Kojima also drew on the Lone Wolf and Cub series. It was actually written before the popular Lone Wolf and Cub series.

The story follows the adventures of a shogun executioner who tests his master's swords on the necks of those sentenced to death (or somehow get in the executioner's way). With a name like Decapitator Asaemon, there is little doubt the stories will be bloody, and like other Koike and Kojima team-ups, the body count is high and the deaths realistic. Most chapters have a police investigation of some kind, and close ups of swords and police evidence might make one think it borrowed from popular American crime dramas like 'C.S.I.' if the original Japanese mangas weren't written before the forensics-focused TV dramas of today.

Like all good samurai, Decapitator Asaemon lets his actions do the talking. This often allows for several frames, or even pages at a time when there is little or no dialogue, and Kojima can show off his skills as a talented artist, the smallest stroke showing fear, anger or impending doom in the expressions of the characters. Late in his life Kojima drew manga versions of films by Japan's most renowned director Akira Kurosawa. You can really see a cinematic eye in Kojima's art, often framed like scenes from the great samurai epics in Japanese cinematic history.

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Samurai Executioner Volume 2: Two Bodies, Two Minds

Samurai Executioner is a little different than the other Dark Horse manga titles we are bringing you at this time (Lady Snowblood and Lone Wolf and Cub) in that, despite the rather blood soaked title and protagonist's name (Decapitator Asaemon), these are stories of justice, not revenge. The timeless nature of the tales means they still stir thought as well as entertain, and will so for years to come.

This volume continues with Asaemon continuing to bring order in a chaotic medieval Japan. Clever crooks, bribed officials, and other realistic barriers try to get in the way of the Asaemon, yet not only his unmatched skills with the sword, but his unbeatable use of logic, reason, and understanding of human nature make him a hard official to trick. This is best seen in the title story 'Two Bodies, Two Minds' where his use of the bizarre mizu tameshi (sword strength water test) is shown. As Asaemon states 'The Water Test. Hardest of all. Focus your ki, and water becomes hard as steel.' He then proceeds to break 300 supposedly valuable swords belonging to a rapist's father, who is also a high-raking official, as a way to get to the man's son. This story alone is one of the best so far in the series, and is worth the cover price on its own.

Later on, in the story titled 'A Takadaimono for a Iretsumono', Asaemon has a discussion with an Edo city official about justice. Asaemon thinks he may have accidentally executed an innocent man, and wants to reopen the case. An interesting and heated discussion ensues, with the official declaring, 'To sacrifice the many for the one is to destroy justice...' Asaemon retorts, '...if we abandon justice for one, how do we defend justice for all?! ...People will all weep for the loss of justice for individuals...' The discussion then continues onto talk of punishment and the death penalty. We can really see the motivations of Asaemon in this scene, and despite his bloody means, the reader cannot help but be moved by the purity of his beliefs.

Goseki Kojima continues to amaze with his artwork. One can only guess how closely Koike and Kojima worked to make a story and artwork that integrated so well together. It is no wonder they worked together on so many projects.

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Samurai Executioner Volume 3: The Hell Stick

Asaemon continues his pursuit of justice and the cleaning up society one criminal at a time. His given duties are as sword tester and executioner, two jobs that match up perfectly.

Like in Volume 2, there are fewer stories, but they are longer and deeper than earlier in the series. Volume 3 is just three stories, but still over 300 pages long. This lets the reader not only get into the mind of the Executioner, but also to find what evil lurks in the hearts of men.

Asamon's stoicism it tested in the first tale, titled 'Hell Stick' about a supposedly cursed sword. The mood and style of this story remind the reader more of Japanese ghost and horror tales than typical samurai drama. What is the motivation of Asamon's mysterious female guest? What is the power in the stimulating sword cut known as The Dancing Buddha?

In the second story, 'The Mad Sword of Tsukuba Bakushu', Asaemon has to fight for his position as swordmaster. The competition that arises is incredibly entertaining, and there seems to be no limit to how far things will escalate. The swordplay here is unique and captivating. The reader must suspend belief a bit at the incredible tricks performed, but it truly shows how clever and original Koike can be.

In our third story we see a new side of Asaemon. In 'Catcher Kasajiro' Asaemon changes roles from deliverer of justice to sensei to an ambitious and talented young policeman who has lost faith in his abilities after a capture resulted in the injury of a hostage. At first Asaemon's simple but cryptic advice seems a little too optimistic, but the enthusiastic Kasajiro finds that Asamon's lesson was not as simple as he first had interpreted it.

The masterful writer Koike keeps the reader entertained throughout all three of these very different stories. It feels like Koike is trying some new things here, using the open nature of the Samurai Executioner series to explore some different ideas. As always, Kojima's art is moving and alive, though in a few places he is pretty liberal with the splattering ink as blood, and I assumed the worst for the victims when their injuries weren't as bad as expected, but it does look fantastic. We are now almost one third of the way through this 10 volumes series.

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Samurai Executioner Volume 4: Portrait of Death

The Samurai Executioner series takes a sharp turn in Volume 4, and Kazuo Koike brings us a diverse, truly fascinating and sometimes harrowing set of tales. None of these stories is in the simple "bringing a criminal to justice" theme like we saw in most of the earlier tales. In many ways, the stakes are bigger for our hero, Yamada Asaemon.

The first story, 'An Offering of Cut Mochi', opens with Asaemon observing a group of samurai practicing their skills in what looks like a Edo-Period Japan version of touch football. As Asaemon joins these men for a meal, we see the first smile of his to ever appear on these pages. This is coupled with the narration 'This was an encounter that would lead to the one and only tragic friendship that Yamada Asaemon would ever have,' (p24), causing a sure sense of tension in the reader. Like some of the stories we have seen in the past, this story is less about our hero as it is about the people around him. In this case, it's a tragic tale of the samurai pals he makes. We see much insight into the samurai code, and the original and truly moving way Koike ends the tale foreshadows the title story, 'Portrait of Death'.

'Portrait of Death' is about a female artist, Kawai Jufu, who wants to witness one of Asaemon's beheadings to use in her artwork. Her brutally realistic depictions of 'live sword testing' clue Asaemon into the truth behind this popular artist's motivations, and Asaemon keeps the artist, as well as the reader, guessing as he decides how to deal with her. We get some insight into Asaemon's pasts in this long and in-depth tale. This story has some of the most beautiful and brutal depictions we have seen so far. Since much of the story is in flashbacks, Kojima exercises his artistic freedom in his dreamlike drawings.

The third story, 'The Season of New Straw', is uses it brevity to administer its surprising finale. The ending seems to come from out of nowhere. It's nice to see Koike not limited by the constraints of story length. If he wants to make a story 150 pages, that's his choice, and if he wants to make it 15 pages, that's his choice, too.

The final story, 'The Set-up', is another story where the Samurai Executioner is not the main focus of the story. To reduce costs, government officials decide to reduce committing executions, and get the criminals to off each other as the jails get more crowded. A revolt ensues, and Asaemon can no longer stand by idly.

Look here for more reviews of Samurai Executioner and other Kazuo Koike manga.

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Octopus Girl 1

Originally released in the mid 90s, Octopus girl is a different kind of J-horror manga. Combining horror and gore with comedy, the end result is something like "Betty and Veronica" meet "Night of the Living Dead" on the ocean floor. It is sometimes scary, sometimes silly, and always original.

Toru Yamazaki has made a splash in the Japanese media as a talk-show guest and singer. His art would lead one to envision a Rob Zombie type character, but his soft-spoken demeanor, and ambisexual fashion reveals more about the catty behavior of his female characters than about the buckets of blood and ooze that cover the pages of work. Unlike more traditional horror manga, Octopus Girl is unique and more than a little weird. Itfs hard to compare with other manga, as there truly is nothing like it.

The "hero" of our collection of stories is Takako. Harassed by her classmates, she is forced to eat octopus, despite her allergy to them. Somehow, (a word you will use a lot when describing Octopus Girl stories), this turns Takako into Octopus Girl, basically a head attached to eight octopus tentacles. How she gets revenge on her classmates is funny as well as disgusting, and the even funnier part is the entire story is contained in only 15 pages. Most of the stories are about this length, and Octopus finds herself in many bizarre situations usually within a page or two of each chapterfs beginning. The pace is fast and furious and Yamazaki introduces us to other far-out and freaky characters like Eel Girl and Granny Vamp. From singing contests to airplane crashes, Octopus Girl is all over the place. And when things go a little too far, the fourth wall is torn down as we see the readerfs own hands going in to strangle the offending Takako. At times the stories do get a bit dippy, and the attempted strangulation is justified. Although Octopus Girl is technically horror, its very nature forces jumps to other genres as well. And even though Octopus Girl acts like a typical teenager, the language and imagery is definitely not for kids.

If you are looking for standard scares or ghost stories, Octopus Girl will not be what you are looking for. However, if you are fishing for some devilish fun and some kooky, oozy stories then Octopus Girl just may be the girl for you...just watch your back, and cover your nose and mouth!

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Lullabies from Hell

What evil lurks in the hearts of men? Hideshi Hino knows, and it seems this evil has leaked from his heart to his brain and fingertips, as this first English release by Dark Horse is dripping with the hideous heebie-jeebies. Where Scary Book is a bit more fun, Lullabies from Hell feels like getting strapped into a Disneyland ride where every cute animatronic robot is spurting blood out its eyes and is trying to kill you. The ride ends when the rickety cart carrying you spills into a gaping hole to Hell.

If Hideshi Hino wasn't a successful horror manga writer, he surely would be a successful mental institution patient. His imagery is uniquely cute and creepy at the same time. Many of the realities he creates feel like a parallel world, just on the other side of this one (like in the story "Train of Terror"), but very dark and very wicked.

The opening story, "Lullaby from Hell" is the real test of whether or not you are ready to enter Hino's heinous world. In this story a horror manga writer (Hino himself?) tells his sad life story. As can be expected, as a poor young lad, the writer gets little love and support from his delirious mother and his violent father. What he receives is mostly abuse and punches. As the writer gets older he finds he isn't as well-adjusted as he initially thought, but he has something better than a stable disposition... The ending of Lullaby from Hell comes from out of nowhere, and will take any and all readers by surprise.

The remaining three stories are also extreme tales of horror. Hino understands the limitless nature of the manga genre, and in takes advantage of this in the oddly green-themed tale "Unusual Fetus ? My Baby". What starts as a traditional told-around-the-campfire tale turns into a frantic story of survival in "Train of Terror". The regrettable and repulsive tale "Zoroku's Strange Disease" tugs at your heart-strings while sticking a finger down your throat.

Lullabies from Hell is definitely not for everyone (especially younger readers), and if you are not familiar with J-horror, it might be a little much as a jumping-off point, (The Scary Book series might be a better introduction). But for those who like to laugh at children when they fall down and car accidents, Lullabies from Hell will be a perfect macabre match.

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Reiko The Zombie Shop: Vol. 1

Although all the comics we bring to your attention are new to English-speaking audiences, Reiko the Zombie Shop is also relatively new to Japanese audiences as well, with the 11 volume series finishing up last year. Reiko the Zombie Shop: Volume 1 introduces us to Reiko, a high school girl with the unique and special power to raise the dead - at least partially - as the life the reanimated corpse will become a zombie for a short time. During this awakening the zombie can tell whoever is around how she died. And if she died at the hands of another, she might take her brief breath of life to inflict a zombie-riffic revenge.

Reiko doesn't use her power simply for the benefit of her fellow man. She makes no bones about it; she is in it for the money. The people that hire her are usually trying to find out how a loved one or friend passed away. Reiko recommends chaining down the body before bringing it back from the dead, as if the guilty party is in the room - the person that had a hand in the untimely demise - there is no telling what might happen. Of course, just because a person is a zombie, doesn't mean they are brainless, and sometimes they have a wily way of getting out of those chains during their short stay in the land of the living...

Reiko the Zombie Shop is cleverly arranged as a group of short episodes combined with a longer story about a serial murderer who kills little girls in a small town. The stories combine elements of humor with horror, which keep the reader always guessing. You don't know if you will be turning the page to a cute little scene, or a blood-soaked zombie attack!

The style of Reiko is more modern than some of the manga we have looked at recently. This works both to its advantage and disadvantage. Many of the characters, including Reiko, have a bit of the "standardized" manga character look - the well-known oversized eyes and Barbie doll measurements. On the other hand, this makes the scenes of violence that much more shocking when they happen. The clean look of much of a story is suddenly invaded, and although horror isn't as graphic as some manga we have seen, the contrast is very sharp and very sudden. This style fits well with the pace and mood of the book.

The translation is handled very competently by Michael Gombos. (You may remember Michael helped us with our article on Dark Horse and manga translation earlier this year.) The English is smooth and appropriate for the story, (it is rated for older teens).

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Reiko The Zombie Shop: Vol. 2

Things take an interesting turn in Reiko 2. Where Volume 1 was mostly a series of short stories revolving around the resurrection of recently killed corpses, Volume 2 tells one long tale, actually the first half of a single story about the battle between Reiko and "The Master," an evil summoner who wants to rule the world with an army of zombies.

This transformation in story structure also leads to a transformation in the mood of the book. The crisp look of Rei Mikamoto's style is unique for a horror manga, and it made for a somewhat jarring, but refreshing contrast. Reiko 2 definitely has some scenes of horror, but employs more of an action feel. Reiko isn't the only necromancer in the land, and in this volume we are introduced to several of her allies and enemies as the stage is set for a battle royale between the mysterious "Master" and Reiko and her friends.

Reiko takes a big turn in Volume 2, but it isn't a change for the worst. Many new characters are introduced, and the more intricate storyline requires a little more attention from the readers. (One cannot help but think the sheer volume of new speaking roles might not be a little bit of a joke on the reader, because . . . well . . . we arenft going to be the ones to ruin the surprise!)

Along with the brethren of new summoners we meet, we learn that every necromancer has his or her own zombie to call for battle. This was one of the most unique aspects of Volume 2. Each summoned zombie was usually some kind of killer in life, whether it is a World War II Nazi, a crazy cowboy from the Wild West, or a mummified Egyptian king. Others may not even be human. Some summoned take orders better than others, and the interaction between the zombies and their masters makes for some very clever and original fight scenes.

The dialog is still very fresh and the art is crisp. It's easy to get spoiled by Mikamoto's truly dynamic drawings. Although this first half of two-part story is more straight-forward than the twisted vine-like vignettes of Volume 1, it is still a gripping page-turner, compelling the reader to pick up Volume 3 before Volume 2 hits the shelf.

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Reiko The Zombie Shop: Vol. 3

One thing we can't say about Rei Mikamoto is that he is a predictable writer. Volume 1 was a series of short stories centering on Reiko, a “Zombie Shop” who can reanimate dead bodies, even for brief periods, so that any lingering revenge can be executed. Volume 2 was the first part of an epic tale between Reiko and her evil twin sister, Riruka. Alliances are forged on both sides with other necromancers, and both human and zombie blood spills in buckets. In Volume 3 the war between the sisters is concluded in the first half of the book, and then we are treated to a series of short stories.

The first 100 pages or so of Volume 3 bring us the final battles between Reiko and her allies versus Riruka and her cohorts. The body count is high, and in the end there are few left standing. Mikamoto continues to excite the reader with both epic-sized and face-to-face battles scattered with flying limbs and translated with its wry sense of humor intact. The conclusion of this 300 page story (beginning in Volume 2) is both exhausting and satisfying, and made me want to light up a Mild Seven in celebration.

After this battle we are treated to a short story of Reiko visiting an isolated boarding school in Hungary after a series of bloody animal attacks have left the student body in a panic. Reiko is hired as an undercover gumshoe to try to find out what really happened to the slaughtered students. Some nice twists give this short story a sound balance between detective thriller and dormitory horror.

What follows in this volume is a trilogy of Reiko-free short stories written by Rei Mikamoto. According to the Afterward by Mikamoto, at least one of these, (“The Hair-Check Massacre”), was written while he was still had a day job in his early 20’s (but in no way does the style or quality suffer).

The opening frame of "The Hair-Check Massacre” is a little like a M.C. Escher drawing, but once the reader gets the angle in focus, it’s quite a frightening scene. Three female high-school students fail their school’s hair check, and their psychopathic teacher tries to teach them the ultimate lesson about respect and fear. (Some schools have rules about hair-length and dye which elicits the occasional all-school hair check.) The “Tales from the Crypt”-like twist at the end sets the stage for the last two stories.

“Elder Sister’s Face” tells the cringe-inducing tale of a twin sister relationship too horrific, thankfully, ever actually come true. The next short, “God Town”, could have just as easily have been written by Rod Serling. This final vignette is not as gory as the others, but is still a simple and satisfying tale.

One can only wonder what direction the next volume of Reiko the Zombie Shop will go. With its diverse style of (INSERT GENRE HERE)/Horror, it seems like this manga can really go anywhere. Mikamoto seems to have a geyser’s supply of ideas, and being able to mix and match 10-page stories with 300-page stories keeps the readers on their toes. Volume 4 is available now, and Volume 5 is released on December 6.

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School Zone: 1

More than in the US, in Japan, schools are often the source of a variety of ghost stories and horrific tales. Japanese public schools tend to be large concrete prison-like structures, with lots of wood doors and creaky windows that seem to squeak and rattle from the moment they are installed. Because of clubs, sports, and other after-school activities students are often in the industrial-type buildings after most teachers and other students have gone home. Older kids tell younger kids ghost stories about their school as a light form of hazing, and stories grow from rumors to legend quickly. It isn’t so hard to see how the Japanese school can be the home to as many demons as the American graveyard or abandoned house.

In the first volume of this elementary school horror series, School Zone, writer Kanako Inuki takes advantage of all these factors to create a multi-layered, progressively spooky story. The School Zone itself is the safety zone around the school before the start and after the end of classes each day. This is for kids to walk together to and from school (Japanese schools generally don’t use school buses). Ironically this safe area for the elementary school students is almost as scary as the school itself.

The book is broken into five parts, yet the stories involving a handful of different students overlap and intertwine with each other. The foundation of the story begins with the lore of 13 ghost stories about the school. Supposedly, once you learn all 13 stories, you will begin to see ghosts in the school. A girl named Kimi has supposedly learned all 13 stories, and is now afraid of going to school (and has also been singled-out by her classmates). Kimi is one member of the School Zone group, (a group of neighboring kids who walk together to school), led by the 6th grader, Nanka. The stories in Volume 1 revolve mostly about the members of this small group, and each story sounds like the typical ghost stories young Japanese students might pass along to each other: Nanka finds himself trapped inside a giant mirror (which might remind the reader of Scary Book 1), a young boy is chased by a confiscated doll, a shadow lures a young student away from her School Zone group, a ghost roams the halls, creepy twin girls play kokkuri-san (Japanese Ouija board), and the like.

The stories in School Zone zig-zag from place and theme, with familiar characters (like Nanka, Kami and the twin girls) popping in here and there. It’s not always clear if time is linear and the frantic nature of the story-telling seems to be told from the perspective of an elementary school student. What does advance logically is the level of spookiness as the reader progresses deeper in. What begins as rumors and finger-pointing leads to “Did I just see what I thought I saw?” There is a terrific “Where’s Waldo?”-type display of the ghost of Reiko, who may be a dead teacher looking for her class. By the end we can be well assured that these ghost stories are not simply figments of the students’ collective imaginations.

One interesting touch about School Zone is that because this is an elementary school, the students still have faith in the adults. Some still think that as long as an adult is around, nothing can go wrong. This is the case for a while, but eventually the adults succumb to the spirits in the school as well, in some fantastic and frightening ways, but the addition of this child-like tendency added a tender, if not sad touch to the story.

School Zone falls somewhere between the Scary Book series and Hino’s Lullabies from Hell in terms of style, scares and gore. Any fan of the recent horror manga coming to us from Dark Horse will want to make room on their shelf for School Zone. Volumes 2 and 3 are available now.

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Museum of Terror:Tomie 1

It is difficult to discuss horror manga without discussing the work of Junji Ito. Museum of Terror: Tomie 1 is the first in a series of Ito's work brought to us by Dark Horse.

"Tomie" tells the story of a beautiful schoolgirl whose only fatal flaw is her vanity. This leads to her accidental murder and viscous dismemberment by her suitors, and just as the school is in the middle of grieving for its lost classmate, Tomie suddenly shows up again, wondering what everyone is so upset about. How could this be? We discover throughout the separate stories that keeping Tomie from what she wants can be a very difficult thing to do, and this horrible beauty has a hard time staying dead.

Museum of Terror is made up of nine stories, all chapters in the "Tomie" saga. Stretching over eight years of story writing, we can see not only the enrichments in the story and character, but also a steady growth in the drawing style of the manga. The first chapter has little shading, and has a sketchbook feel to it, which creates a creepy atmosphere all it's own. The first story almost feels like you are peeking into someone's morbid diary. As the drawing style develops and becomes more detailed in later chapters, Ito's true horrific genius can be seen, crystal clear.

Each chapter is a stand-alone story, but gives us a few more pieces of the puzzles to what Tomie truly is. For some reason, Tomie's unquestionable beauty has led to her murder by the boys in her class, who, along with the teacher, proceed to slice her up and hide the body. Somehow Tomie returns, and this cycle of murder and reincarnation will repeat itself over and over, but also morph and change like a genetic experiment gone terribly bad. No matter what form Tomie takes, she seems bent on one thing: revenge, and the bloodier and more painful the better.

We have been looking at quite a bit of Japanese horror in recent weeks, but make no mistake, Museum of Terror really lives up to its name. It's hard to imagine a truly nightmare-inducing comic book, but Museum of Terror comes as close as we have experienced, and is likely only to be topped by the second volume, Museum of Terror: Tomie 2, which is also available now. Museum of Terror: The Long Hair in the Attic, which is a collection of short horror stories by Junji Ito, will be available on October 25.

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Arm of Kannon: Volume 1

Arm of Kannon is a horror/sci-fi title from TOKYOPOP, and our first TOKYOPOP title at PDI's bookstore. And what a title to begin with! Arm of Kannon opens with a two-punch bang of erotica and horror, and sets the stage for the surprising and mature story to follow.

The series starts out as the tale of a high school-aged brother and sister whose father has gone missing while searching for a historical artifact, The Arm of Kannon. An attempted mugging of the siblings leads the arrival of a mysterious sword-wielding bodyguard who deters the attack, but then talks to Mao and Mayo in an odd vernacular, talking about human obligations and little brother Mao’s taste for violence. The mystery man’s musings make more sense when we see the return of Mao and Mayo’s father -- or at least what seems to be their father. Would their real father really cut their mother into pieces and stick her into the refrigerator?

Arm of Kannon is a multi-layered mystery with elements of a military conspiracy (the government wants to use the artifact to make genetically mutated super-soldiers), as well as the classic battle of good vs. evil (in this case, literally, light vs. shadows). Full of bloody battles and humans transforming into monsters, Arm of Kannon has been compared to Legends of the Overfiend, but Arm of Kannon doesn't have nearly as much gratuitous sex scenes, and is overall a more mature and intelligent story.

That doesn’t mean there aren’t some very electric battle scenes. Yamaguchi’s art really grabs the reader's attention, and some surprising full-page frames make for shocking page turns which really add to the horror element of the story.

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The Kurosagi Corpse Delivery Service: 1

Every so often a new book comes around that is so different and unique that it really makes you excited about the whole genre again. Our most recent addition, Kurosagi Corpse Delivery Service is that book for us, and we are happy to introduce this new title to you.

Kurosagi Corpse Delivery Service is a series of short stories about a small group of students attending a Buddhist university in Tokyo. What these students discover is that their skills (both the learned and the extraordinary) don’t translate well into the modern business world, but a a team, they can create a unique, and possibly lucrative, business opportunity. This is the Kurosagi Corpse Delivery Service.

One member of the student team is a girl who studied embalming in the West. Another has the ability to dowse for corpses, their leader is also a computer hacker, another can hear messages left by the dead, and then there is the guy with the puppet possessed by aliens. Together they can find corpses, sometimes murdered, sometimes dumped, sometimes suicides, and deliver them to their proper resting places. The real trick is figuring out how to get paid by the dead.

Some have compared Kurosagi Corpse Delivery Service to “Scooby-Doo”, but this is a rather inaccurate comparison. It is more like “Scooby-Doo” meets “Zombie Holocaust”, or maybe an even closer comparison would be “Ghostbusters” meets Reiko the Zombie Shop. In reality there is no good comparison, as Kurosagi delivers legitimately entertaining and funny elements with genuinely gory scenes in a bizarrely perfect balance. Kurosagi isn't as “scary” as some of the horror titles we have read recently, mostly because the main characters approach the corpses (who sometimes are reanimated through a yet-to-be-explained power), as a source of income, not fear.

Yamazaki’s art is very clean and meticulous. Whether it is a garbage dump, a wheat field, or a city street, the details are not glossed over, yet the look is never too busy. Much time is also spent on the title corpses. From a mummified old woman to a fresh suicide, the bodies are detailed and appropriately set the mood. This is a business, but these are still dead bodies we are dealing with here, and Yamazaki’s art doesn’t let us forget it. This is a mature title, mostly because of the elements of gore, and rare is the clothed female corpse.

A unique addition to this title is also the post-script “Disjecta Membra”, (or “scattered fragments”). Instead of overwriting translations on the SFX, the translator, Toshifumi Yoshida, and editor, Carl Gustav Horn, added this section to not only translate the SFX, but also explain them, along with other culturally unique situations. Although the information is useful and thorough, the R to L orientation in English takes a little getting used to. (The rest of the book is oriented as the original Japanese, R to L, which thankfully has become the standard.) A concise explanation of Japanese writing makes this addition a real treat for those interested in more than just manga, but Japanese language and culture as well.

This book is very competently translated, not only giving each character its own voice and personality, but also the humor remains mature and not dumbed down for the easy laugh, or show up at inappropriate times.  

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WHO FIGHTER with Heart of Darkness

As a young boy, I remember the great pleasure I got out of reading U.F.O. comics of the day. Sold as true tales of alien invasions, the classic comics were as much about the “top-secret” government cover-ups as they were about the bizarre experiences of the military men who encountered the other-worldly visitors. I hadn’t been reminded of those fantastic tales in years until I read the first story in Seiho Takizawa’s first English title, WHO FIGHTER.

WHO FIGHTER is a WWII manga, with two complete stories and one short vignette. The title story tells the experience of a Japanese fighter pilot who shoots down a strange fireball over Japan during WWII. What follows is a strange and twisty tale, and the only thing more odd than the suspicious G-men investigating the incident is the fireball itself. Are the bizarre events that follow the result of this alien phenomenon, or are they all in the pilot’s head? There is strong evidence to suggest both, which makes WHO FIGHTER an exciting and unique story, right up through the final frame.

The second complete story is Takizawa’s version of Joseph Conrad’s Heart of Darkness (which will also be recognizable to readers as the story Francis Ford Coppola’s film “Apocalypse Now” was based on.) A Special Ops soldier is sent on a secret mission to find and “remove from command” a Colonel who has deserted his post and taken his men into the jungles of Burma to build a utopian society. The story is as much about the journey into the jungle to find Colonel Kurutsu as it is about the struggle the Special Forces soldier has with the mission. “This time…my target is Japanese,” he reminds himself as he drinks sake with a geisha in an attempt to relax before the mission starts. This is a thinking person’s war story, and the tone and delivery make it a very worthy rendition of Conrad’s classic. In the Afterward Takizawa makes some interesting comments on adapting "Heart of Darkness”, and on the writing process in general.

One cannot get more than a few frames into WHO FIGHTER without being struck by the artwork they hold in their hands. The distinguished and precise drawings are very realistic when it comes to machinery, vehicles and buildings. Whether you are a World War II buff or not, the attention to detail is clear. The characters have a distinct look, and the thin-line shading is done to perfection.

Although almost all the characters are soldiers, and the stories are set during wars, these tales are hard to call simply “war stories”. These stories are on the edge of war, and the edge of reality. Now we can only hope and wait to see more of Takizawa’s work in the near future.

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Shutting out the Sun

The world’s second-wealthiest country, Japan once seemed poised to overtake America. But its failure to recover from the economic collapse of the early 1990s was unprecedented, and today it confronts an array of disturbing social trends. Japan has the highest suicide rate and lowest birthrate of all industrialized countries, and a rising incidence of untreated cases of depression. Equally as troubling are the more than one million young men who shut themselves in their rooms, withdrawing from society, and the growing numbers of “parasite singles,” the name given to single women who refuse to leave home, marry, or bear children.

In Shutting Out the Sun, Michael Zielenziger argues that Japan’s rigid, tradition-steeped society, its aversion to change, and its distrust of individuality and the expression of self are stifling economic revival, political reform, and social evolution. Giving a human face to the country’s malaise, Zielenziger explains how these constraints have driven intelligent, creative young men to become modern-day hermits. At the same time, young women, better educated than their mothers and earning high salaries, are rejecting the traditional path to marriage and motherhood, preferring to spend their money on luxury goods and travel.

Smart, unconventional, and politically controversial, Shutting Out the Sun is a bold explanation of Japan’s stagnation and its implications for the rest of the world.

PDI Review Coming Soon

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Banya: The Explosive Delivery Man 1

Banya: The Explosive Delivery Man represents Dark Horse’s entry in the new world of Korean manhwa (comics), and what an explosive entry it is!

Banya is the story of barren, war-torn world littered with armies of ogres and massive man-eating monsters. Living within this chaos is Banya and his small band of delivery men, who make it a point of being “Fast. Precise. Secure.” Mei is the sassy young girl, whose mouth can get her into as many tough situations as it gets her out of. Kong is the dedicated side-kick, always trying to impress. There is no package they won’t take, no message that can’t be sent, as long as payment is made up front.

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Ohikkoshi

A romance comedy by the writer of Blade of the Immortal with cover art based on a Thin Lizzy album cover…translated into English? Yes, yes, yes (the album “Fighting”) and an enthusiastic yes! After much anticipation by Hiroaki Samura fans, Ohikkoshi is now available in the US.

Don’t let the “romance comedy” distinction throw you. There is nothing sappy or sticky here... no fairy princesses with fuzzy side-kicks or poofy-haired heroes with 20-inch waistlines. This collection of stories is funny, frentic, and surprisingly moving.

“Ohikkoshi” is the story of a group of college friends, bumbling and stumbling through life. The most simple of decisions are made with the help of heaping amounts of alcohol, in an effort to avoid the real issues of finding love and starting adult life. The multi-branched story is honest and touching, while at the same time very entertaining.

“Luncheon of Tears Diary (Vagabond Shoujo Manga-ka” is the fantastic tale of a manga-ka (comic artist), Natsumi, who takes poor advice from her perverted editor, and ends up ruining her serial comic. Depressed and frustrated she quits the comic world and goes on a 14-year life adventure with so many unfortunates twists, losing her manga series is only a drop in the ink-well. From gambling with gangsters to fetishist boyfriends, Natumi’s luck always runs out at the most inopportune moments, leading her deeper into more dangerous and harrowing situations. Where the travel-worn and experienced manga-ka finds herself in the end wraps up this treacherous tale nicely.

The final short tale, “Bloodbath at Midorigaike (Kyoto Super Barhopping Journal)” is a funny little ditty about a visiting a supposedly haunted lake in Kyoto. Bonus pages include a afterward actually worth reading, and bonus drawings. Translator notes (with page and frame number references) give explanations to the dozens of pop culture references most non-native Japanese speakers wouldn’t catch or understand. How translator Kumar Sivasubramanian is able to assemble these tidbits and trivia is beyond me, but the non-Japanese reader can come very close to enjoying the same experience as the readers of the original Japanese.

Hiroaki Samura’s drawing style is on of the most attractive things about this Ohikkoshi. Unlike the very clean and sharp (and beautiful) titles we have seen recently (i.e. Reiko, The Zombie Shop), Samura’s style seems rough, yet calculated. It doesn’t feel rushed – quite the contrary –some of the pen strokes shading clearly took patience and time to complete. As a result his style exudes a certain warmth and personality which is very appropriate for how close we get to the characters we meet. He creates an intimacy that fits perfectly with the storyline.

As a reader, it’s easy to appreciate Dark Horse’s reverence for Samura's writing, and there is a real sense that they are attempting to create a complete and definitive document of his original work in English. Ohikkoshi is smart, smarmy and very hard to put down.

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