Kenshin: one sharp sword

This week I was really busy but I still had time to read through a classic manga Rurouni Kenshin. I read through the first two volumes of Wideban and wished the next one were out now (it will be out July 15th of this year). It is clear that this manga is well thought out and stands out as the best of Nobuhiro Watsuki works. This work also allowed for the rise Shonen careers of many of his assistances who would go on to create works such as Shaman King and One Piece. This manga is clearly also the perfect project for Watsuki as he incorporates his life experience and strange (but brilliant) mind to create a manga, which is both entertaining and has an engaging story (which is saying a lot for Shonen Manga).

It is clear why Watsuki is considered a master because of this manga, as well as why he would need assistances of such a high caliber. The artwork allows him to express his one of a kind idea with little limitations. Whether he is drawing a minion or a main character each character has personality in their features that makes them stand out from the others. Another skill that is great about Watsuki is his ability to work his characters to express feelings on their face that are believable. Kenshin the main character of the manga for example easily can express emotions of notability, comedy, joy, concern and, anger to name just a few. My one complaint though is that the drawings are used to enhance the story and on their own would not be enough to propel this manga if it were badly written (thankfully it is well written).

Backgrounds clearly are a mixed bag many times their are full scenes and panels that feel like you really are following character through their world, at other times however backgrounds are sparse and filled with unused space. Certain times the back simply isn’t interesting because the setting is not the best setting set up though, which is not always his fault. One thing can be said though for all his drawings is that the shading and designs are well done, but they are fairly linear meaning that it doesn’t really taking away even from the work but usually doesn’t add much either. Overall the drawing is fairly good, but the Kenshin story line and Watsuki’s story telling elements are truly what breath life into the images and make this manga work.

The story of Kenshin starts just like any other Shonen manga might and hides its true genius (though you do get glimpses of it even then). A wandering rurouni Kenshin is attacked in the night after being mistaken for a street killer going by the name of a Himura by the dojo master Kamiya Kaoru, whose students have been chased off by the killer. After this Kenshin saves her from the killer who claims to be the famous murder Himura, after he defeats her in combat before he can deliver a deadly blow. Later Kenshin goes to investigate a gambling house, meanwhile it is revealed that Kaoru’s servant is the killer brother and attempts through force for her to hand him over the dojo. It is revealed as Kenshin comes in the nick of time that he is in fact Himura Battosia and the street killer (this is cheesy but not surprising providing this is how most Shonen comics work). Kenshin then saves the dojo defeating the killer and is convinced to stay at the dojo. Through further adventures his motives become clearer (more about this later and we meet up the two other main characters Yahiko a loud mouth student of Kauro’s who at first has little confidence in her or anyone besides Kenshin and a former mercenary with good heart rooster headed Sanosuke.

The story really starts to pick up when there is a clear objective starting with story involving another master assassin Jin-e a psychopathic killer unable to live in peace, he used an ability that freeze those of less will then his own and can use the attack to the point of choking the victim. This begins to reveal the true power behind the series with its weird and creative villains with motivations for their actions beyond simply power or the delighting in doing evil. Jin-e may seem bad, but he really kills simply because that is what he needs to do for himself and he doesn’t take sides. Jin-e ends up kidnapping Kaoru and using his abilities closes off her windpipe in hopes of awakening Kenshin desire to kill. Kenshin then has to battle not only a physical battle on the outside but the inside. Although Kenshin does end up defeating Jin-e he almost ends up losing an internal battle and almost kills Jin-e before being stopped by Kaoru who breaks the spell on her. After being crippled Jin-e commits suicide to cover up his killings and so the police won’t have the honor of capturing him.

The story thickens to it’s best in the stories in the volumes with the introduction of Megumi. Not only are the fights and villains greater then before (a band of super ninja’s working for a crooked businessman), the plot is wonderful and isn’t rushed. Slowly the medical expert and vixen Megumi’s reveals her situation in why she has opium and her regrets for making it. Instead of simply being fight driven like most shonen manga’s might be there is a deep plot, with twist and turns that actually make logical sense and are clever. The villains use crafty tricks such as blackmail and most have reasonable motives for fighting battles (they aren’t just pawns fighting for cash). In the story end a major plot twist makes the story bittersweet. Megumi is saved and the businessman is stopped at a terrible price to the ninja’s and their likable and yet evil leader Aoshi, who is both selfish and selfless at the same time.

What is best about the series and all good Shonen manga is the characters. Although Kenshin outwardly might seem like just another hero pledging not kill he is far more complex. At times his anger almost brings him back to killer, most of the time also he is not a grief-ridden hero. Instead he typically is in high spirits and is goofy and lovable character one can connect with. His words of wisdom are also more understanding and deep then many other heroes provided in the Shonen world. The other main character likewise have a serious side, but typically are do gooders and mostly of the actions between them is for comedy.

Where the series really strikes home, character wise is in the motives of the characters and the ability for characters to change. Sanosuke starts off at the start for instance as a street fighter that wants to destroy Kenshin, because of a past incident that killed his father figure by the faction Kenshin once fought for in his past. Aoishi is the best example of such a character he works with his outcaste partners for the crooked businessman Kanryu because his friends cannot function in the world alone. On the other hand he is willing do anything to prove that his friends are people that deserve respect and tries to kill Kenshin as well is willing to sacrifice Megumi’s life for his goals and refuses to admit defeat or wrong doing in front of Kenshin. In the end his friends that he worked so hard to protect sacrifice themselves to save his life when Kanyru takes revenge on them for leaving him alone. This leaves Aoshi with having lost to Kenshin moments with nothing to show for his efforts, but his allies deaths.

Another thing about this which is nice to note is that Watsuki connects with audience in many key ways. Many times he starts his novel with hillarious chibi charactures of himself and explain what is going on in his life when he wrote the book or what he changed. He also clearly research his character well and his profiles explaining his characters make them that much more interesting. He also clearly is well in touch with his fans delivering what they want to see through research about his other works, who reads his comics and, which characters they enjoy the most. He also fills in the story with personal experience and his knowledge of Kendo (though he pokes fun at himself saying he was poor at it).
Overall this manga is a classic in shonen history that is still worth reading today. Despite not being as gritty or thrilling perhaps as a good Lone Wolf and Cub or Blade of the Immortal story it is definitely one of the top samurai manga of all time and is a good manga overall. It’s worth the money you pay to read this manga if Shonen or Samurai manga interests you. If it doesn’t though I would give this one the pass, it is very good inside it’s scope of influence, but not great like the other manga I mentioned above and outside of it’s scope it is like fish out of water.

Poncho’s kitchen

Poncho Sanchez cooks up magic with his album Chile Con Soul combining the awesome power of his hard-hitting rhythm section with drive and urgency of the horn section. This is truly one of the best of Poncho’s early works featuring great solos, a top class driving beat and some wonderful songs. Overall this one well worth listening to, although it is not my favorite works by Sanchez it is one of the best works of Latin jazz I have ever had the honor of listening to. This album also features the king of the timbales Tito Puente whose presence only increases the thrill of Sanchez’s allowing too reach new heights in sound.

The taste of this album is definitely one of a kind a great mixture for all sorts of music but at its core is the combination of Latin jazz and salsa to form a great one of a kind sound. It is clear that although the horns play a major role in providing flavor what makes this band excellent lies within the rhythm section of the band. It is the rhythm that drives this album. Nothing within this sounds overly forced or overblown much it’s credit it has a great balance. This music moves even in the slowest and fastest tracks, it definitely has a powerful pulse.

The line up in this album is top notch though, it is clear who the stronger musicians are and who is more expendable to the group sound. Poncho clearly is the leader of the pack and one of the must important musicians in his amazing rhythm section line up. His solos on the conga remind me of the playing Mongo Santamaría. He is however not the only power behind the mighty rhythm section, which is loaded with experts such as the great percussionist Jose “Papo,” Rodriguez. One cannot forget the contribution on this album though, by the great Tito Puente who tightens the grove to a level of near perfection with his masterful timbale playing.

The horn section is really a mixed bag however; certain players are worth remembering and feel at home within the music well other seem forgettable or out of place. The player in the horns that really shines out is Art Valasco, the trombone player. His harmonies and solos express the perfect emotion for the music’s movement and fit right in with the grove. Sal the trumpet player really is a good on certain tracks, but overall seems not to have the soul you’d expect from an amazing trumpet player. Gene Burkert flute playing is far more enjoyable then when he is on the sax. On flute he is unique and can spin out complex streams of ideas, as well as fit into the harmony and get the feel of the piece with ease. The sax playing however, despite clearly being skillful doesn’t really belong and really makes for dull and out of place solos that he blows through without making a dent in the listener.

The tunes have a great deal of variety taking from all sorts of places and styles of music. The tunes are also a mixed bag, with most tunes being of a fairly high quality. What makes most of the songs coast is the solos from Art and the rhythm section keeping up the tight and delightful grove. The album fails from typical pit fall for Latin jazz the ballad; ballads seem to be a slower version of everything else without the difference in tune that a swing ballad can express. The problem with this is that the parts don’t move properly and it just ends up sluggish sounding, “Will you still be mine,” is the best example of this. The salsa in this album is a powerhouse however, the moving and grooving really gets you going in the songs like “Mama Guela,” which was nominated for a Grammy and definitely deserved one. This album also gives preview into the current sound of Poncho Sanchez using soul and funk influences and adding them to his music with the songs “Soul Burst,” and, “Cold Sweat/Funky Broadway,” which are a real treat to listen to.

Although this album is not as great as his later album Out of Sight, one of the best soul and funk albums of all time (an album I will review in two weeks). You certainly can’t go wrong this album, the grove and the solos are there and when Sanchez band is on fire it is definitely worth listening to the brilliance. Despite it’s small flaws it is well worth buying, especially if you’re a salsa or Latin jazz fan. Add this one to your collection, unless you for some reason are turned off by Latin jazz this one is a must have.

Metropolis part 2 Movie vs. Manga

The film and manga of Metropolis are a strange case of similarities and differences that weave together as works and at the same time stand as separate and unique from one another. It would be hard to say whether the movie resembles the original manga or the Fritz Lang film more. The basics elements in both the film and manga are very similar, but the overall presenting of the elements and details of each take a far different approach. What is clear about both works is that each has enormous strengths and minor weaknesses and making them both worth owning.

The similarities between these works are easy to spot. The basic premise is the same in both the book and movie. The political party known as the Red party (marduk in the Movie) is run by the evil Duke Red who hires a scientist to create a super robot (Mitchi in the manga, Tima in movie) resembling a human and creates large black sun spots (for different reasons, however). Meanwhile the Japanese detective Mustachio (Shunsaku in film) and his nephew Kenichi (in both) come to the city of Metropolis. In both the super robot befriend Kenichi who helps protect it from the Red party. Both feature elements of dissatisfied robots treated like slaves and in the end of both works the super robot rallies the robots to crush the repressive system that that are forced into by humans. The character roster is for the most part the same both the manga feature the Duke Red, a super robot, Mustachio/Shunsaku, the scientist that creates the super machine and even surprisingly enough Rock (he only makes a short cameo as a news boy but I feel that it should be noted he is both).

Before I talk about the differences in the plot I need to speak about overall difference in characters inclusion in both stories. The first thing you notice in the presence of characters is that the manga is full of ones missing in the anime version, but the one character that appears in the film that gets far more attention and has a major role to play not found in the manga is Rock. Rock in the film is the adopted son of Duke Red, hates robots and yearns for Dukes attention. He looks much like the Rock Tezuka would later use in his other science fiction work Nextworld. He appears in the movie dressed in a simply red shirt and black pants most of the time with a pair of hip sunglasses and a fascist arm band comprising most of the characters appearance. His worst dreams come to life when he follows and watches Duke Red contact scientist (Doctor Laughton) as they discuss the creation of the robot Tima, who resembles the Duke deceased daughter. He then destroys Laughton’s lab and kills Laughton with his ever present and sinister handgun. Then after finding out Tima is alive he attempts to hunt her down in secret and earn his fathers attention by killing her, trying to kill anyone who opposes his plans. Other important characters to absent from the Manga include the president Boon who is threatened by the Dukes power, the detective robot called by Shunsaku Pero and a revolutionary leader Atlas who attempts stop Duke Red. As I stated many characters are discarded within the films most notably Emmy flower girl. In the manga she is a poor girl who sells flower and who lives with her cruel and, greedy sister. She is first seem as she is barely is saved by Mitchi for being struck by a car. She is made to appear simply wearing dress with short white sleeves and a large bow tie in the back to denote her status. Her luck turns around slightly though, when her sister is funded by a mysterious old man in return for bringing Mitchi to him. Later she at first attempts to trick Mitchi into believing she has found his/her parents and then later tell Mitchi the truth out of grief. She then befriends Mitchi and he/she helps her fend off bullies in return for her kindness. Not only her but also the many other character appear exclusively to Manga including the superintendent general Notarlin, Police inspector Ganimarl, Sherlock homes and a variety of Duke Red’s top henchmen.

Not only are important characters within manga absent from the film and vice versa but besides Kenichi characters personalities are also very different. First off Duke Red is seen in very different light in the Anime from how he is in Manga. In the Anime he is a highly respected wealthy business man and is loved by most on the upper levels of society, where as in the Manga he is a hated and feared man people wish normally to avoid. Even in the first scene of the manga before he is introduced it is made clear by peoples fear being accused of being the Duke or that others are the Duke. In the Manga not only does he send out hit teams and pollute the sun like he does in the movie, but he also himself is constantly plotting to get Mitchi back through criminal means. He uses various clever disguises in the manga to search out Mitchi and activity commits crime without more then the motive of power. In the movie however, because of the introduction of Red and his status he uses his secret fascistic police force to enforce cruel robot zone (area) codes and to keep down rebellion from poor humans, building a ziggurat as a sign of power. He in the movie is not out to rule the world totally instead wishing to use his creation for the good of the world and humanity as well as for his own power and glory. He creates Tima with the help of the sinister criminal Doctor Laughton making her a replacement for his deceased daughter. In the Manga, however it is Red not the doctor who is the sinister side, he forces a doctor to use his experiment to create Mitchi and using the sun to sustain Mitchi’s life. The doctor in Manga instead of being shot by Rock destroys his own lab and escapes with Mitchi only to have Mitchi discovered by a museum director who is part of the Red party leading to trouble. After attempting to shoot Red as the Duke finds his home, the doctor is mortally wounded by Red who fires back and dies pointing out the notebook about Mitchi to Mustachio (who forces Red to leave moments earlier) just as the doctor does in the movie. Mustachio and Shunsaku also are slightly different sorts of characters, Mustachio is really one of the main hero’s of the manga and is a brave and cunning sharp shooter sent to find Duke Red and arrest him, Shunsaku on the other hand is the one piece of comedy in the movie being kind hearted and determined, but most of the time the closest to silly and is constantly lost in the city at the start of the film. Overall these differences may be minor but they have a major effect on the story line between book and film.

The super robot in the movie compared to the manga is a vastly different in personality and skills and, is probably the most different element of the film compared to manga. Tima is pretty female who is innocent child like figure, she believes Kenichi to be her father. She exhibits many child like feature like not showing fear of Rock despite him being dangerous, doesn’t complain when taken by Duke Red and having to be taught how to eat and write by Kenichi. She is a beautiful but is helpless in many ways as well and many times relies on Kenichi for support especially as they are chased by Rock. She doesn’t realize she was created to be powerful machine that rules over all other machines until end and believes her self up until that point human.  Mitchi begins as neither, male or female and is a carefree child like figure as well, however Mitchi is far from helpless. Instead of having the power over other robots Mitchi has the power to fly, is clever, has a button inside his/her throat that changes his/her sex and has super strength. In the end it is unclear how much Tima’s revolt against humans comes from not being human as she is connected to the Ziggurat and attempts to destroy humanity as oppose to advance it, but it is clear that Mitchi despises humans after discovering (s)he has parents and creating a robot revolt against humanity. Both end up being destroyed in very different ways as Tima falls from a building after separated from the throne by Kenichi and regaining her mind after half her fake skin is ripped off, Mitchi dies as the sun normality is restored after the robots revolt again Duke Red.

It is impossible to miss that even though the plots is very similar the movies plot is made far more complex and draw out so as to take up more time. The first difference comes from the overall plot, in the manga Duke red simply wants the robot for power and in the movie he hopes to recreate a new world order and to actually help humanity. To do this Red in the movie is willing to sacrifice human life for the great his plans and assassinates the president and draws out and slaughter the poor revolutionary humans. Overall the tune of the Manga is much different from the movie because of this fact. The movie is a suspense thriller with many moral issues raised and focuses on complex plot of Duke Red and his might Ziggurat building and amazing visuals of the city. The Manga is much of a fun action comedy using Tezuka’s unique style of drawing and wit to create a quick, creative and enjoyable read. The movies tune is much more somber creating issues with class and surprise turn of events. Many scenes in the film involve panning over the city at its brightest and darkest hours, making sure no detail is out of place. Many events are more sinister in effect like the radiating of the sun that causes robots to attack humans and later to march upon the huge building that Red hopes will bring upon his own revolution of the world through Tima. The manga is much more light hearted where the radiation instead is the life force for Mitchi and instead creates giant animals including giant rats that look like Mickey mouse. The manga has many double panel scenes full of people and little jokes. It’s darkest elements are fewer and far between involving Reds cruel treatment toward the robots he and his party create to radiate the sun and the revolt at the end of the story where the robots under Mitchi turn against Red and all who live in the city. Even in the end the people come to see Mitchi before he dies and it is a tragic moment where people forgive Mitchi, where as Rock cause the Ziggruate to self destruct in the movie to save him and his father from a death by robots and Tima falls to her doom. This different tune lead to vastly different stories both enjoyable in their own special way.

Both the movie and the Manga are indeed great works of art. Despite their many differences each tells a similar and very interesting story. Both the mood conveyed in the film of total seriousness and the more light hearted tune of the Manga kept me entertained as a watched and read both works. Their not much more I can really say but to get these stories. They are every bit as exciting as I described and then some you’re assured a good time.

Metropolis double feature part 1: The Metropolis (anime) Soundtrack

A sound track has the power when done right increase the viewing experience of a film or TV show, but only the best soundtracks ever can stand the test of time. The soundtrack of Metropolis is such a soundtrack because of vast styles, done the right way to match film and even worth listening to outside the film. Of the many great sound tracks there are, this is my all time favorite because each work consistently is of the top quality. Each song is of a high quality with little different in quality song to song. This entire album is of such a quality that it would be impossible for me to recommend a single song to listen to, instead I’d say listen to the whole thing. This album has at least something for every sort of person (which is rare among soundtrack albums), and for most the entire album will be a thrill to listen to whether you be a fan of soundtracks, jazz, film music, etc…

As I stated above this album is jammed packed with musical styles using a mix of past genera’s in a new way. The best way I can describe the mix of musical styles is futuristic Dixieland music, techno beats, Jazz and, Bernard Herman like scoring. It moves from all sorts of mood all across the emotional spectrum panic, brooding, serenity, suspicion, rage, joy, and celebration are all included in this album to name just a few of the various moods this album conveys. Each song will present something slightly different and has a new subtle twist. To really understand what I mean you’ll need to hear this album; it’s that kind of album.

The album falls into two categories of song generally, there is film like type that sounds like a Bernard Herman score and the Dixieland portion that sound like a futuristic Dixieland band is performing it. The Herman like part is used for the brooding darker portions of the score. Not only is orchestrated using a full instrumentation of strings, percussion and winds but it also uses each, especially the bassoon and trombone section which is unusual for most film music. The strings are typically scored in a way that adds or releases the tension of the music and works in perfectly, percussion can drive the beat forward or create moments of majesty and the winds set up the moody, lumbering and monolithic cityscape or to represent exciting chases for a great danger. The tuba is also used to great length moodily marking and leading the mood in slower darker song. This variety of scoring helps form the perfect mood for the dark city and the sorrow it brings or as to articulate a fantastic chase.

The Dixieland music is a complex music that tells the story along with the music; it expresses wondrous joy of the city for the wealthy and the depressing conditions for the poor of the city, returning then to joy of rebirth within the city. It closely mirrors the conditions during the time Fritz Lang’s Metropolis premiered in 1927. The beginning of the album begins with a song representing the wealthy within the city it’s a bright song dance like tune with a wonderful banjo solo. This music represents the 20’s style parties held by the rich, which were wild and exciting but frivolous. The zone theme is complex both bluesy and with a certain amount of sadness of poverty that is within the city but it also is bright full of energy representing the culture and the hope of a better future again. The Zone theme shows reality for most people within both good and bad the city has to offer. The final Dixieland mood a song of great sadness and hopelessness, the song “St. James Infirmary,” done with a singer with a unique and special voice that fits with the common person tone this piece is used to represent. This once again mirrors the 20’s as the poor suffer and feel crushed by the wealthy and how the cities inequality brings depression and rage. At the end joyous theme of Metropolis “After all,” but this time it starts with a banjo solo leading into a celebrative mood representing the equality brought to the city. This story is just as interesting to hear in the music as it is to watch and gives you a good sense of the character of the plot direction.

This album has at least five major themes that are reused constantly in new ways that will surprise. The Zone theme-change to dirge in the song “Snow,” suggesting a downfall of the city. The most surprising change occurs in the changing of the gentle peaceful and loving “sympathy,” into the sinister “Awakening,” suggesting the beginning of a disaster as the purity of the previous theme is transformed into a monstrous state. The albums contrasts set it apart form many other soundtracks, with the enormous elements of change from pleasant moods to moods of anger and despair and then back once again like a roller coaster ride.

This contrast and quality propels it to being one of the most entertaining albums of film music to listen to ever. This album will keep you guessing to the end what you’ll hear next but the surprises always lead in the right direction. Despite the fact that themes are reused they are of such a high quality and are never used the same way twice making them always new, while still keeping the familiar factor of themes. The clever writing, variety genera and ability to take listener on a ride make it a most have album. If you don’t already have this album or haven’t ordered it yet, do yourself a favor and get it! NOW!

Join me next week for a comparison of the Movie vs. Tesuka’s original classic of Metropolis review part 2.

Music composed by Toshiyuki Honda

1. Metropolis
2. Foreboding
3. Ziggurat
4. Going to “Zone”
5. Sniper
6. El Bombero
7. Three-Faces of “Zone”
8. “Zone” Rhapsody
9. Hide Out
10. Run
11. St. James Infirmary
12. Sympathy
13. Snow
14. Propaganda
15. Chase
16. Judgment
17. Awakening
18. Fury
19. After All
20. There’ll Never Be Good-Bye

Inuyasha: good but not great

Rumiko Takahashi is a modern star in manga both in Japan and the United States. She carries with her a long list of successful manga such as, Urusei Yatsura, The Mermaid Saga, Maison Ikkoku, One Pound Gospel, Ranma ½ and the manga of the week Inuyasha. For this reason one might ask why I am reviewing one of her most famous works? The answer is because I think that a lot can be said about Inuyasha, many of it’s element are great but ultimately after reading through many of these stories I found it disappointing despites it’s reputation by some readers as a excellent work. Despite it’s many worthy qualities; certain problems riddle this manga that I feel I need to address, especially with its high standings among fans. Despite these flaws, however this book is definite far above the typical manga now found in America.

As always focusing on the art is important and sets the tone of the entire manga and can tell you usual the level of the manga (though not as much with this one). The art in this manga definitely is one of its assets. Although the character design is nowhere near as satisfying as the best of manga it carries enough skill to be very noteworthy. Its unique flavor of appearance allows it express well in a variety of emotions and situations. Takahashi drawing abilities are impressive and allow her like Tesuka and other writers of high quality to create imagery that allow for the writing of the strange stories and fantastic characters. What really captures the eye however, is the shading and background work in this story. Even in the dullest chapters the background is always never left untouched, each page is filled with detailed scenery and action lines. Scenes are constantly filled with darkness, wood panels, drapes, light dream like clouds, far away buildings and, many other spectacles. This detail helps set mood and in a subtle way makes the story more enjoyable to read. I have really no complaints with the drawings, which definitely are masterful and at the very least, just as impressive as any story by Takahashi.

The story of Inuyasha is at it’s best in the earlier volumes, but later seems to go on and on without any resolution. The problems evident in this comic mirror American comics and other works by Takahashi’s. Inuyasha is the story of junior high school girl Kagome who travels through a well, back to the Warring States period of Ancient Japan and meets the heroic half dog demon Inuyasha. The story begins with what appears to be Inuyasha having stolen the scared jewel and being bound by an arrow to a tree by the jewels keeper the priestess Kikyo. The jewel is said to have the power to increase demonic power or purify the user making them human. Meanwhile we meet Kagome who is a brave but seemingly average girl of the future who is given the scared jewel for her birthday failing to understand it’s enormous power. She is dragged through well in the shrine near her house, ending up in the past where it is revealed that she is the reincarnation of Kikyo. Soon after Inuyasha from the arrow trapping him to a tree and forces him with a magic necklaces to become a begrudging ally. After the jewel is stolen by a crow demon Kagome fires a arrow into the demon accidentally shattering the jewel and spreading it throughout the land forcing her and Inuyasha to quest for it’s many shards. Once the story continues on it is revealed that Inuyasha and Kikyo were in love and Kikyo is revived in a clay body that constantly needs to collect souls to survive (which turns out to be a bad move for the story). Later on we find that the half demon and sinister shape changing Naraku tricked Kikyo into believing she has been betrayed and thus creating hate within her spirits heart making it hate Inuyasha.

Chapter to chapter the theme of the stories seemed to constantly be in change. In the beginning volumes many of the stories involving Inuyasha’s past or horror elements mixed with comedy. In theses stories we meet Inuyasha’s evil half brother a full demon named Sesshomaru who seeks the powerful and huge sword the Tetsusaiga, which Inuyasha takes after cutting off his brother’s arm. He is followed by his goblin assistant Jaken a dangerous and clever vassal and later the orphan human girl Rin. Later Inuyasha meets the little fox demon Shippo who has little purpose in the story besides to give minor assistance and for humor. Most of these chapters in the early period of the work are excellent (especially the horror stories) and it is clear within these stories that Takahashi is interested in them. However, from the beginning an attempt to make to question the romantic relationship between Inuyasha and Kagome is hinted at more and more something that the story simply fails at making believable or interesting to the reader (more on this later).

After the early adventures other characters are introduced such as the perverted but wise monk Miroku and Sango the Demon huntress with a giant boomerang, as well as the wolf demon Koga who shows up now and then. Both Miroku and Sango share the goal of destroying Naraku, while Koga make to Kagome his wife. To counter this threat Naraku used Sango possessed little brother Kohaku and various incarnations including Kogura the wind sorceress to counter his new threat. The plot then seems to cycle into a game of hunt Naraku and fight his demonic threat. After the first encounter with Naraku the story seems to wander endless as the group search out him. Once it gets to this point you can feel volume to volume Takahashi get more and more bored with her world and it is clear inspiration is draining and the stories get worse just as in many of her other works when she is bored.

After there aren’t any real new important characters to introduce and she has to rely on characterization to push the story forward, this presents a problem because the characters themselves are not very interesting. Kagome first off begins as an interesting foil to Inuyasha and in the beginning when it is just him and her helps gets them involved in adventures and provide her sharp mind to situations. However, as the story progresses with addition Sango and Miroku’s prowess and smarts, plus the attempt at more melodrama she is reduced the role of minor comic relief (which she does well) and relationship with Inuyasha (not so well). The relationship element of this story clearly an excuse to continue to cycle stories about Inuyasha and Kagome having fight, whether Inuyasha likes her because she reminds him of Kikyo, how much does he love Kagome or, is he still in love with Kikyo or not, slowing the plot significantly.

The next problem presented comes in the main character Inuyasha who is not given enough emotional depth and becomes to too powerful. Inuyasha in the beginning of the series starts off a dangerous unreliable figure that attempts to kill Kagome for the jewel till he is restrained with a magic necklace. In early stories he attempts to steal jewel shards and begrudgingly works with her. But after Kikyo is revived he seems to become her protector and all signs of him as being intentionally dangerous toward her vanish. He becomes too heroic as he fights Naraku and protects his friends never having to make very difficult decisions or having to deal with long term emotional stress except when dealing with a cookie cutter relationship with Kagome.

His biggest problem though is he becomes simply too powerful, draining the suspense from the story. It seems that once he gets the Tetsusaiga nothing is a threat to him anymore save Sesshomaru and Naraku as long as he wields his sword continuing to master more and more of it’s power (though Naraku seems more like a minor threat and a major annoyance). Even when Inuyasha is in trouble one never feels like he is going to die possibly or be defeated for very long, this isn’t helped by the fact that he can regenerate after major injuries (like having his eye pulled out or a giant hole in his stomach). For this reason the best stories are horror stories the ones where he either loses his weapon, has not possessed it yet or becomes human (during time of the new moon) where he is vulnerable and can be hurt.

Despite these flaws some good things can be said about the few times he has emotional turmoil outside of his relationship with Kagome. He seems to be in conflict within himself though this is underplayed, which is disappointing. At first before the incident with Kikyo he wants to be human asking to use the jewel to do so, then after feeling betrayed by Kikyo he fears the weakness presented by human body and haunted by his memories seeks to become a full demon. As he travels further though he is pushed into conflict when he becomes desperate losing control of himself and becoming full demon without the Tetsusaiga to prevent this and attacking all in his path without control over his mind. This creates the fears that he might hurt his friends or have to abandon them for power and that, although his body may gain strength his soul and mind may weaken from such a transformation. This might be speculation on my part but it is the best I can do when reading into his emotions are because, they are only vaguely explained to Kagome because he is not good at expressing them especially to her we don’t get a good sense of his feelings.

The supporting characters within the story show off both the best and worst the story has to offer. Sesshomaru, Koga and Kikyo all are ultimately poorly designed character, Naraku is both a brilliantly written character at times and at other times not so well thought out, where as Sango and Miroku are the character of most noteworthiness. The problem with Sesshomaru, Kikyo and Koga is an easy one to describe they are simply boring characters that don’t even have more then one dimension by the time the story begins to lengthen (save Koga who simply loves Kagome). Sesshomaru ends up wandering aimlessly across the world after receiving another sword of his with great power and gives up trying to use others arms to obtain the sword Inuyasha wields (which can only be used by non-demons) only showing up by chance and contributing little to the story worth noting beyond his dislike of Naraku. The same is true with Kikyo who seems to no longer be of use in the story except as a target of Naraku and to bring Inuyasha guilt about his past.

Naraku is a complex character because of his be that heart of bandit he possessed causing him pain of love toward Kikyo a feeling he despises making it harder for him to do evil against her and making him a half demon. It really isn’t clear why he is after the jewel or exactly why he betrays Kikyo but the two possible explanations seem to be his jealousy of Inuyasha and Kikyo’s love or his loathing of his feelings toward her and his desire to do any with them. Despite being able to use others, hide his true plans and self in any form, blackmail and form legions of followers bound to him, he makes many flaws that seem foolish and allows him a to be harmed. Why he didn’t he make sure Inuyasha was dead when he was stuck to the tree and, why didn’t he attack Inuyasha after he was revived and not capable of fighting back without his sword, also why doesn’t he impersonate someone again to bring trouble to the group? It is also confusing why he later chooses to anger Sesshomaru by kidnapping the little girl traveling with him Rin or what he plans on doing with the jewel after he has it especially when he becomes more powerful as time progresses supposedly.

Finally we have the best elements of the story; both Miroku and Sango are well-crafted and interesting supporting characters. Miroku is a young male monk that seeks vengeance for a wind tunnel (black hole) in his hand that was placed their by Naraku’s curse and eventually is suppose to grow to larger it consumes him. He is both wise, smart, wily, lecherous and humorous all at the same time and is around to give good advice, helping out his friends and asking women to bare his children. Along with him comes a band of his misfit friends a sake drinking old monk and a cowardly raccoon dog demon that can change shape. He has complex and strange set of feelings for Sango, though he is rarely prone to showing them as he often flirts with females in the area. His partner Sango, who many times is prone to jealousy or anger for his lecherous nature, is just as complex as Miroku. Sango is one of the last of a village of demon hunter’s. Sango, her brother Kohaku, parents and fellow hunters are sent to slay a demon only to have her brother under Naraku’s control kill all the hunters before she stops him. He later returns without memory of her or the incident and is frequently possessed by Naraku to do his bidding, after he is kept alive by a shard of the jewel Naraku provides. This forces her many times to make tough decisions between helping her friends or brother. This sort of characterization is deep and entertaining, providing most of the best chapters of the story.

Overall this series, despite it’s acclaim fails to please either side of Takahashi fans. The repetitive and crawling pace will disappoint those who enjoyed the zany romance of Ranma ½ because of the overly dramatic romance playing out too much like a corny melodrama. Those who love the strange fantastic stories of odd monsters and horror are better off with Mermaid Saga. Overall this book is no way near as bad as I might have made it sound or a vast list of other manga but it is no where nearly the best stuff I’ve ever read even of Takahashi. I’d say it’s best to read at most the first six books at most and then stop. Then after that decide whether you like comedy or adventure portion better and pick up either Ranma or Mermaid saga.