This is a great mix of historical fiction mixed with Chinese mythology. At the turn of 20th Century, Little Bao grows tired of being bullied by foreigThis is a great mix of historical fiction mixed with Chinese mythology. At the turn of 20th Century, Little Bao grows tired of being bullied by foreigners so he learns how to harness the power of Gods (and big swords) to take the fight to them.
I love Gene Luen Yang's art. It's so simple, so straight forward but he manages to convey so much through the story and dialogue that it leaves such a lasting impression. He creates these incredibly sympathetic characters and then has them do things that are anything but. It forces you to question what you would do in their situation and where right ends and wrong begins.
This works perfectly as a stand-alone story, but I'm really curious to see where the companion book "Saints" takes the story.
A really great conclusion to this story. Pretty much everything I said in the review of volume one is still true here. Definitely a great pulpy crime A really great conclusion to this story. Pretty much everything I said in the review of volume one is still true here. Definitely a great pulpy crime story from a perspective we don't often see. I really like the inclusion of the "real world" events that helped inspire this story at the end of the volume. Can't wait to see what Pornsak Pichetshote does next....more
Having finished this, it feels like I've been on an epic journey. It was an intimidatingly long book, but after six months or so I'm finally done.
ThisHaving finished this, it feels like I've been on an epic journey. It was an intimidatingly long book, but after six months or so I'm finally done.
This novel tells the story of Japan's most famous samurai, Musashi Miyamoto, his best friend Matahatchi, his love interest Otsu and the many many other characters he encounters as he attempts to master the Way of the Sword.
The main reason I picked this up was because it seems like the manga adaptation "Vagabond" is never going to be completed. Aside from finally getting a conclusion to Musashi story, I also was given the chance to experience the original story, and I'm so glad I did.
Not only do we get to learn firsthand about Musashi's thoughts and actions it also delves into his many friends and enemies so by the end we have a pretty well rounded view of the characters in this world.
There are elements that feel quite alien to me, although since this takes place in early 17th century Japan, that is not surprising. For the most part it was fun diving into this whole new world.
As with the manga it does sometimes feel like characters are simply walking in a giant circle. Great chunks of this book are just characters looking for each other, catching up, losing each other and starting the cycle all over again. Honestly it's frustrating when you consider the length of this thing.
Some characters also just come and go. Musashi takes on pupils, they worship him, and he seems to care for them too only to completely disregard them. His relationship with Otsu is interesting at the heart of it, but there is so much faffing about that it falls into that repetitive trap.
When Musashi and Otsu are allowed to spend time together it is a fairly compelling love story, and it highlights how well some of these characters are written. They're complex and contradictory, and in that sense feel very real.
The themes the book explores focus on tradition, family, revenge and acceptance. All very grand in design but work in context of the story. Characters I hate early on become targets of pity, while characters I love turn into villains.
While I love both the manga and this book in equal measure, the one thing I'd say the adaptation does better is the depiction of Musashi's friend and eventual nemesis Kojiro Sasaki. He's simply a more charming and arrogant version of Musashi here, which was probably quite novel at the time but it feels a little tiresome now.
The book doesn't shy from the hypocrisy of the Way of the Samurai either. I was expecting all the samurai to be upstanding citizens who prize honour above all else, but they're mostly conniving and selfish which helps make Musashi's journey all the more interesting....more
"Are you still drawn to darkness, unchanged from when you did battle with us?"
That's the question Musashi seems to be asking himself constantly now. H"Are you still drawn to darkness, unchanged from when you did battle with us?"
That's the question Musashi seems to be asking himself constantly now. He's at a point where he can retire from his quest to become invicibile under the sun, marry Otsu and live happily ever after. But the spiral of death continues to pull at him.
"Where are you headed, Musashi?"
I'm curious about reading Eiji Yoshikawa's "Musashi" on which this is based because I want to know if the novel is just as meandering and repetative. It's not to say I'm not enjoying it but it does get to a point where it feels like we've seen all this before. I wonder if this is the story of an addict, it'd certainly explain the many relapses.
Some spoilery comments on each volume:
Volume 31 "Are you heading toward the light... or are you still drawn to the darkness...?"
While Musashi ponders his future, his childhood friend Matahatchi has a conclusion of sorts to his story. In fact the whole book suddenly does a bit of a gear change and suddenly we're decades in the future seeing a middle aged Matahatchi telling his story. So is this whole book being told from his point of view? It's a very odd revelation 11 volumes in.
Volume 32
"Kojiro's stronger..."
Musashi once again encounters Itō Ittōsai, Kojiro's one time master and forces him to rethink his strategy. We also see Kojiro's parting with Ito (Kojiro gets 1000 points).
Musashi also comes to a final decision. He can put down the sword but only after confronting Kojiro.
Volume 33
"My friend... I want to see you."
Matahatchi begins his road to redemption by deciding to return the certificate his stole from Kojiro so long ago.
Musashi begins practising while blocking his ears, simulating what it must be like for Kojiro, he also stays with a family where he beings to focus more on his wood sculpting. Obviously it's just a momentary break because we all know where this is heading.
[Phil] is also a high-tempered bully, a harping critic of all around him; he knows unerringly the cruel thing to say, relishes getting people’s goats.[Phil] is also a high-tempered bully, a harping critic of all around him; he knows unerringly the cruel thing to say, relishes getting people’s goats. He is, in fact, a vicious bitch.
- Annie Proulx, Afteword
And he really is. He's such a terrible, loathsome character that it's not until close to the end where you realise why he's like that, and it elicits a small amount of sympathy.
This book reminds me a lot of Red Dead Redemption (stay with me here) in that it feels very much about the decline of the old west to some degree. A way of life that in a couple more decades simply won't exist as it once did.
The relationships between the characters are quite compelling, I was often left wondering the motivations for each character and it wasn't until the end where things suddenly clicked into place.
I found the undercurrent of homosexuality throughout a really interesting take, particularly considering the time period it was written. It's not overt and would be easy enough to miss but it's done in a pretty even-handed way for 1967.
I don't want to go into too much detail because I feel like the less you know the more impact the book has on the reader but it's a quick, easy read....more
Over the last few months I've watched all of the "Lone Wolf and Cub" films from the 1970s so it's pretty fun to read the source material to see where Over the last few months I've watched all of the "Lone Wolf and Cub" films from the 1970s so it's pretty fun to read the source material to see where it all began.
Ogami Ittō, former Executioner to the Shogun now wanders the land with his toddler Daigoro working as an assassin all the while plotting his revenge on those who betrayed him.
Most of this awkwardly sized book are just stand-alone adventures as the Lone Wolf and Cub takes on challenging targets and eliminates them in increasingly impressive ways. The highlight for me being a convoluted plot that involved Daigoro urinating on some samurai so Ittō can be formally challenged to a duel.
There is an ongoing thread relating to those who betrayed him, but it only pops up occasionally in flashbacks, so for the most part there's not much of a continuing story, although there is obviously a strong bond between father and child.
The artwork is fantastic and extremely disappointing that the cover features Frank Miller's mediocre art rather than ongoing artist Goseki Kojima who drew the rest of the book....more
The entirety of this book deals with the aftermath of Musashi's epic battle against 70 Yoshioka warriors. I don't think there's a singlvagabond vol 10
The entirety of this book deals with the aftermath of Musashi's epic battle against 70 Yoshioka warriors. I don't think there's a single fight scene here.
This is one of those volumes that really highlights why I enjoy this book so much. It's all introspection and discussions, it's really framing what kind of future Musashi has.
Some spoilery comments below.
volume 28
Otsu and Jotaro reunite with Musashi, both are overjoyed that he's still alive. The monk Takuan is merely bemused, as he often is.
I like that Musashi keeps thinking of the children of all those men he killed, he understands the cost of his fight.
"Musashi can no longer live by the sword."
Musashi is so badly wounded he cannot even stand, he may never be able to walk properly again let alone fight.
I like the parallel of Musashi's constant striving to become the greatest swordsman with Otsu's desire to be with Musashi. I know it's not a great character trait, but but both are striving for something they may never achieve.
Once Musashi realises he may never fight again, Otsu realises she may get her wish and begins questioning if she wants it after all, perhaps it was the chase she wanted.
volume 29
"Does your path have an end?"
Matahachi, after one again saving Musashi makes peace with Otsu and finally decides that simply being himself is the right choice so he goes off in search of his horrible mother.
Jotaro once again bursts into tears thinking that his master's fighting days are over, so he also has no future as a samurai.
volume 30
"Invicible under the sun. A mirage. That's all it was. It took me 22 years to realize that."
So this is where the book takes a weird turn. Otsu starts chatting with a ghost. I know spirits have appeared in the past but they could always be written off as figments of someone's imagination but this ghost is a man Musashi killed, one Otsu never met. So yeah ghosts are a thing now, which is fine, just surprising after 10 volumes.
"If you considered them as raw uncovered blades then they serve as each other's sheaths"
Some more homoerotic talk about Musashi and Kojiro's relationship. I know it's building towards them trying to kill each other, but god damn, book.
Sometimes it feels like this is just an endlessly repetitive cycle of killing. Musashi challenges someone, kills them, feels like he's evolved as a peSometimes it feels like this is just an endlessly repetitive cycle of killing. Musashi challenges someone, kills them, feels like he's evolved as a person, has some kind of personal epiphany and then goes on to the next person to kill.
It's a credit to Takehiko Inoue as both author and artist that my interest hasn't waned. He seems to know when to pull back and add to Musashi as a character, when to focus on other characters, when to expand upon this universe so when we go back to Musashi killing his next opponent it does feel like something has changed, even if it's arguable nothing has.
Once again this volume feels like Musashi really has changed, but in a way it feels like he's embraced a part of himself he cut off long ago. He seems to have become more carefree and actually funny.
Musashi politely (at first) trying to push through a crowd as they force him away, unaware that he's the one they've gathered to watch had me laughing out loud.
Also, he builds a snowman. If that's not showing growth I don't know what will.
I do love that in this volume we're shown that Musashi and his future nemesis Kojiro could have so easily been friends in different circumstances. It manages to add a touch of sadness to an otherwise fairly funny conclusion to this story.
Particularly as they have no idea who the other is at this point so they kind of just play around in the snow, which is ridiculously cute. I mean, if they weren't going to end up as rivals this volume would have me convinced they were going to end up as lovers. Enough with the unintentional queer baiting, Inoue!...more
I should point out that I'm aware Collins has written other books in the "Perdition" series but I wasn't aware when I read this one. Perhaps if I had I should point out that I'm aware Collins has written other books in the "Perdition" series but I wasn't aware when I read this one. Perhaps if I had I'd change my thoughts, but going in having only read the first "Road to Perdition", this is my overall feeling.
This is a cool noir, crime thriller set in the 1970s. It's very much like the kind of stories Ed Brubaker and Sean Phillips create.
I like that the protagonist starts off as a Vietnam War veteran, a hero who ends up sinking deeper into the criminal underworld. So that's probably not a particularly original concept, but I do like that it turns the original "Road To Perdition" on its head by making the protagonist someone who wouldn't normally be immediately associated with the mob.
The artwork by Terry Beatty reminds me a lot of Sean Phillips' style, gritty and real.
But the thing is this isn't really a sequel to "Road to Perdition". It features some of the same characters, and a similar premise that works well in the same universe but it feels like it was a stand-alone crime book that someone figured would work well as a sequel with some tweaks.
And it is a good story with nice artwork, so I'm not complaining, I just think it would work better without references to the original story, or if they were more fully integrated into this one.
I got sucked into it pretty easily, but then all of a sudden there are moments where I'm reminded of the first book and it feels very shoe-horned in. I don't think the first book had any un-answered questions, it worked as a nice, self contained story.
And the thing is, I enjoyed it despite all that. I think it's a well written crime/mystery book that isn't helped by the connection to "Road to Perdition" but it's not really hampered by it either. ...more
A really solid noir mystery featuring an Asian-American cop in a time when they basically didn't exist. It doesn't sugarcoat the struggles faced by noA really solid noir mystery featuring an Asian-American cop in a time when they basically didn't exist. It doesn't sugarcoat the struggles faced by non-whites at the time which I'm sure will annoy some readers, although considering the resurgence of hate towards Asians in the past couple of years it feels very timely.
The art suits the style perfectly, it's moody and dark but with a pleasant style that reminds me of Sean Phillips' work. Although I could just be thinking that because this reminds me of the kind of book he and Ed Brubaker create.
It's great to encounter a new book I'm genuinely excited by....more
It's refreshing to go back to this book and see how concise it all is. In the middle of the Great Depression, a mobster's hitman is betrayed and goes It's refreshing to go back to this book and see how concise it all is. In the middle of the Great Depression, a mobster's hitman is betrayed and goes on the road with his son on a quest for revenge. That's the story Max Allen Collins wanted to tell, so that's what we got. No fifty book epic, just a single straight forward story told well.
I remember when the movie adaptation came out and I learned it was based on a comic, it really opened my eyes to what comics were. Up until that point I thought they were all just Batman and Spider-Man, I had no idea there were whole genres of serious storytelling.
Richard Piers Rayner's artwork is quite unlike any I've seen before. It has a definite old timey feel, where it might as well be from a Dick Tracy comic, but then goes hyper-realistic at other times. It all works really well for the story. He has a fantastic use of lines in his art, particularly in the more grounded scenes where there's little action happening.
A really nice, self contained crime thriller, I think it'd be a nice introduction for anyone curious about reading a comic that doesn't feature a superhero....more
Kojiro is such an interesting character. Being deaf and mute, we never hear his inner thoughts, we never really hear him express much of anything outsKojiro is such an interesting character. Being deaf and mute, we never hear his inner thoughts, we never really hear him express much of anything outside of his love for the sword.
He's basically an abuse victim. The man who raised him was a reclusive samurai that did teach him to read and write, but little else. It doesn't seem like he expressed any affection for him, and the one thing Kojiro was interested in, swordplay, he did his best to keep him away from. And since his mentor never bothered to explain why, it just drove Kojiro right into it.
So when a wandering samurai showed some interest, Kojiro happily left with him. And he later abandoned Kojiro to what seemed like a continuous three day fight, because if he survives he'll be able to come back and challenge him.
Jesus Christ, this series is filled with selfish, psychopaths.
Speaking of, Musashi finally returns after being last featured in volume five. It's funny, I missed him but I immediately missed Kojiro, now that his story is done for now. So, good work Takehiko Inoue in getting me to like these two characters despite their constant bloodlust.
Thankfully Otsu, Musashi's love interest also returns, although only for a few pages, long enough for her and Jotaro to learn that Musashi is once again up to his old tricks fighting in duels.
The artwork is still beautiful, but I worry I've reach a point where I'm losing interest in the overall narrative. I don't mind the slow build, but Musashi evolves as a glacial pace to the point where yet another duel becomes less and less interesting to read....more
In the last volume, almost all of the story was dedicated to Kojiro Sasaki, a small deaf boy growing up in a beachside village, raised by a former masIn the last volume, almost all of the story was dedicated to Kojiro Sasaki, a small deaf boy growing up in a beachside village, raised by a former master Samurai.
This volume continues, and concludes Kojiro's story for now. It's unusual for an ongoing series to suddenly stop everything and go off to follow some other character, but it's artistically done here that I can't help but want to see more from the character.
I'm sure I will, but eventually he'll be facing off against Musashi Miyamoto and I'll be dreading it because thanks to this two volumes I'm not sure which character I like more.
I feel bad for Kojiro. I'm often left wondering what he makes of everything. Being deaf and only able to communicate through writing or via the sword, he must be really confused a lot of the time. I think at heart he's a good person, but without a proper parent or guide, I see a dark ending to this path he's on.
The artwork is outstanding as usual, but I find myself so engrossed by the story I have to force myself to stop and look at it before rushing to the next page....more
Musashi concludes his duel with Kohei Tsujikaze, the master of the sickle and chain technique, and forces Musashi to rethink his strategy.
InVolume 13
Musashi concludes his duel with Kohei Tsujikaze, the master of the sickle and chain technique, and forces Musashi to rethink his strategy.
In fact Musashi ends up rethinking a lot of things. Up until this point he's been on a death spiral of sorts, he wants to become the greatest swordsman who ever lived, leading him to greater and greater challenges.
And now he's finally wondering about the cost, and whether there is more to being the greatest samurai than simply killing your next opponent.
There's an interlude here where we see Kohei's backstory from childhood all the way up to the first time he hears of Musashi. It's sad and brutal, and it humanises him in a way that gives the reader a certain amount of sympathy for him. Even before hearing his tale I didn't want Musashi to kill him.
It's something that Takehiko Inoue really excels at, creating likeable opponents who you really empathise with.
Volume 14 & 15
These two volumes flash back to decades earlier to follow the childhood journey of Kojiro Sasaki. A character that Musashi's friend Matahachi masqueraded as in a few of the earlier volumes. Kojiro was known as a famed swordsman and here we see how that came to be.
Kojiro is extremely likeable as a kid, friendly and playful, but also completely deaf, so he does have some trouble fitting in.
He is mentored by a former samurai, the old washed up Jisai Kanemaki, who serves as a warning of sorts for Musashi's possible future. All he cared about was dedicating his life to the sword and would have ended up dying alone if it wasn't for the arrival of Kojiro.
Musashi doesn't appear, but the parallels to his story are obvious, both in the washed up old master and his young, trouble apprentice.
I know Musashi and Kojiro are destined to face off, but now I'll be filled with sadness because I like both characters so much.
Originally created in 1944 by a little known Chinese American cartoonist Chu Hing, The Green Turtle helped defend China against Japan during World WarOriginally created in 1944 by a little known Chinese American cartoonist Chu Hing, The Green Turtle helped defend China against Japan during World War Two.
The Green Turtle never took off his mask and rarely even showed his face without it being obscured by something, leaving many including writer Gene Luen Yang to speculate Chu wanted The Green Turtle to be Asian, which would have been resisted by the publisher at the time.
Yang has taken all the elements of the character, his mask and cape, his weirdly pink glowing skin, his awesome turtle themed cape and his weirdly smirking turtle shadow and created a really fun origin story.
Rather than being born with any kind of superpower or triggered by a sudden tragedy, Hank Chu is pushed into the career of a superhero by his overbearing mother. That may come across as a stereotype at this point, but it is set in the 1940s and Yang does a very good job of fleshing out the backstory of both of Hank's parents, showing how desperate his mother is of getting out of this world she finds herself in.
Sonny Liew's art fits the story perfectly. It has a very retro feel to it, it feels like it's something out of the Golden Age of comics, but in a more modern style.
I really enjoyed this and I think it's a shame this was only ever a miniseries....more
This feels like a turning point of some sort for Musashi. He's still on his quest to battle the greatest fighters in the land in his quest to become iThis feels like a turning point of some sort for Musashi. He's still on his quest to battle the greatest fighters in the land in his quest to become invincible, but the face off with the master of Yagyu is quite different than that of his battle with Inshun previously.
He reunites with Otsu who he clearly has feelings for but realises that he could be cut down at any time and it would be unfair to once again leave her alone, the same goes for his young prone-to-crying disciple Jotaro. So he sets off alone, with the two of them trailing behind, unwilling to let him go.
Matahachi, Musashi's friend from the village continues to evolve into a different person seemingly in the opposite direction of his friend. He's become more of a drunk, more of a fool, more and more pathetic. I do look forward to their eventual reunion.
As usual the artwork is fantastic, and even more symbolic in this volume than previously. Even though the story was beginning to feel a bit repetitive, the artwork is enough to keep me hooked....more
The end of Volume 2 concluded with Musashi in a humiliating retreat from his duel with Inshun. He begins this book embarrassed, ashamed and even more The end of Volume 2 concluded with Musashi in a humiliating retreat from his duel with Inshun. He begins this book embarrassed, ashamed and even more determined to win, to become master of the sword.
His fear of Inshun seems to be more of a reflection of his fear of his father, perhaps his fear that he's become cold and unforgiving like his father. Perhaps defeating Ishun will banish that ghost forever.
Sometimes it seems he just wants to die, to get it all over with... but then he thinks of Otsu, a girl he likes a lot more than he realised and she helps remind him that he wants to live. It's one of the first indications that his feelings for her and more than as a friend and it's nice to see Musashi thinking of something other than becoming invincible for a change.
The duel between Inshun and Musashi begins, but nobody moves for something like five chapters. They're just standing there staring each other down. It sounds ridiculous but Takehiko Inoue takes the time to slow things down, go into the mindset of both Musashi and Inshun, giving the reader a good idea of the motivation for each character and how much of the battle takes place before anyone has swung a weapon.
"We're not so different, you and I..." is an old trope, but I do like how it's deployed here. Musashi and Inshun both want to become invincible, both have their reasons that stem from childhood trauma, and both are missing something that they're unaware of.
I appreciate that it's not until after the battle that we see why Inshun is the way he is, as Musashi learns to see him in a new light, perhaps too late, so do we....more
If the high point for Miyomoto Mashashi in the first volume was his declaration that he was going to become invincible under the sun, his low point waIf the high point for Miyomoto Mashashi in the first volume was his declaration that he was going to become invincible under the sun, his low point was almost being beaten to death in a duel before being rescued by his long suffering friend Matahatchi.
In this volume Musashi recuperates, takes on an apprentice in Jotaro, a young boy who also wishes to become strong because he knows he has to count on no-one but himself in life. His journey is reminiscent of young Musashi back when he was still known as Takezō.
Matahatchi's journey is less noble, it seems no matter how hard he tries he always ends up screwing things up, although he gets points for rescuing Musashi early on.
Musashi decides he must face Inshun of the great Hozoin warrior monks, even though he barely survived his last duel it seems he really has his heart set on getting killed as efficiently as possible.
I really liked Inshun, he reminds me of another warrior monk, Aang the Last Airbender. Both smile a lot, have bald heads can be terrifying when it comes to battle.
Mashashi still has a long way to go before he becomes the greatest samurai who ever lived, but I am sure enjoying this ride....more
So this is what I've been missing all these years.
"Vagabond" tells the story of Shinmen Takezō, a wandering young man searching to become invincibileSo this is what I've been missing all these years.
"Vagabond" tells the story of Shinmen Takezō, a wandering young man searching to become invincibile under the sun. He does this by seeking out the greatest swordsmen in the land with the goal of defeating them or dying by their hand.
Based on the real life experiences of Miyamoto Musashi, who many consider to be the greatest samurai of all time, the character we see here is angry and impatient, seemingly on a path of self destruction. It'll be a fun journey seeing him grow into the great samurai he's destined to be.
Alongside Takezō we see his childhood friend Hon'iden Matahachi going on his own journey of self discovery. He's more laid back, more inclined to drink and have fun... less intense. They're like two sides of the same coin, one angry and reckless, the other care free and cowardly.
Written and illustrated by Takehiko Inoue, the artwork is amazing. The first few pages of each chapter is drawn in full colour and it's breathtaking. It's so different from the western style art I'm used to, every few pages I just have to stop and admire the it. It's just so beautiful....more
The artwork is so beautifully drawn it'd be easy to just flip through this without actually reading it. Of course if you do that you'll miss the widelThe artwork is so beautifully drawn it'd be easy to just flip through this without actually reading it. Of course if you do that you'll miss the widely anachronistic dialogue that really adds a nice touch to this universe. Having some characters speak in an overly modern fashion does give them a less formal attitude that works well with the dirty, assholic immortal warrior Manji.
I think when I first started reading this I wanted a less fantastic and more down to earth samurai story, but as I got further and further into it, I understood the magic, the language, the over the top violence all meshed together in a really satisfying way.
The story is fairly straight forward but I found myself getting a little lost at times. Manji, a warrior cursed with immortality until he kills one thousand men. He encounters a young girl named Rin who is on a quest for revenge, so he reluctantly agrees to help her.
I really enjoyed the chemistry between Manji and Rin. Manji, as mentioned earlier is a real jerk (at least on the outside) so the dynamic between the two is pretty amusing. It becomes clear there's more going on beneath the surface, but I do like their weirdly flirty brother/sister dynamic.
I also really enjoyed that Manji loses fights a lot. I expected him to be an unstoppable killing machine because of his immortality, but I guess he kind of got lazy since he can't die. Why bother being the best when you can just use your lack of death as an advantage?
For anyone else who has never read any samurai manga, I'd highly recommend this as a first step....more
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