…of Japan’s best weekly adventure comic and Britain’s best (only!) weekly adventure comic.*
It’s no secret that I hold Japan up as an example of how the comic industries of all countries ought to function. Thick, cheap weekly anthologies with exciting serials, which are then collected into better-printed book form for fans to collect. I’m not suggesting that Britain ought to start copying the Japanese art style or stories, though. And our comics don’t need to be as thick either, if we’re going to stick with detailed Commando-type artwork. But they do need to exist!
With sales dropping or barely holding across the board (mind you The Beano did recently gain just over 1000, which is a step in the right direction.) some drastic gambles may have to be taken. And of course comic fans all need to do their bit to promote the art form to non-readers in everyday life.
But enough of that, on with the comparison!
The Phoenix issue 8 and Shonen Jump issue 12 (for 2012)
Here are the covers, and I think The Phoenix easily wins out, with a big bold image and minimal text, as opposed to the “bit of everything” Japanese clutter. Some otaku hold that Japanese writing** is “more artistic” and so cluttered covers work better in that language. Well actually in Japan it’s considered “artistic” to scatter odd English around designs (usually it makes no sense). Cluttered covers are just ugly whatever language they are in!
Of course, the ideal is to have a strip on the cover. But we just aren’t getting that these days.
But enough of the fronts, lets look at the sides…
That’s about the size of it.
Yes, Shonen Jump is still a weekly! It can be such a huge size partly because of the style of manga art, with many panels featuring only talking characters with basic backgrounds. Also manga usually uses screen tone to add shading, rather than time-consuming cross hatching. Oh and of course (at least if Bakuman is anything to go on) artists and writers only work on one story at a time, for which they are paid a decent wage and also receive royalties from sales of the collected books. This means they can concentrate on “their” story entirely. Most if not all of them also have assistants doing the donkey-work of, say, drawing the windows on distant skyscrapers. It is in effect the famous “studio system” used on Dan Dare raised to a state of perfection.
This particular issue contains 21 stories in about 500 pages (most of them aren’t numbered). The Phoenix contains 11 stories in a mere 32 pages. Though of course the length, style and pacing of them is so completely different a direct comparison is meaningless. Also the Phoenix’s editorial content is a ‘story’ in itself!
Starting off, we have the latest information on “Phoenix land”, with the ongoing case of the missing feathers. One of the fictional editors of the comic has been arrested on suspicion of stealing them, which has not gone down well with the rest of the team. And then we’re into the first story. The stories in The Phoenix are all full-colour and the paper quality certainly beats Shonen Jump hands down. Mind you I’m wrong in the head so I actually prefer thin newsprint, but I’m not going to start claiming it’s better!
The first story is Pirates of Pangaea, which is actually pretty close to the “sort of thing” you’d see in manga! A fantasy world of dinosaurs and crazy pirates. Mind you though Pirates of Pangaea doesn’t feature a mysterious child with an ancient power locked within him, or elaborate, wordy mind-games. No it features shooting at rampaging raptors with flintlocks and then running like mad!
A blonde guy teamed up with a “dumb animal” that’s more intelligent than him, shades of Tintin eh?
The other ‘serious’ adventure story in The Phoenix is The Lost Boy. This one is actually drawn in a kind of combined British / Japanese style. And it also features a seafaring adventurer on a mysterious island!
Sweet sugar lumps!
The other “flagship” adventure story is the more comedic Long Gone Don, created by The Etherington Brothers. This pair are for my money not just the most talented writer and artist working in British comics at the moment, but are among the best in the world! The complex and detailed art is a joy to behold, the dialogue is fantastic and the stories rattle along at a good pace. The one criticism I can perhaps offer is with art that deep and detailed they ought to go about including some “where’s wally?”-style mini visual gags. That’d make their work just about perfect, and would encourage people to stare at it for longer, too!
Crazy invention time!
The Phoenix also contains some purely comedy stories, such as this one by Jamie Smart. To put it diplomatically Jamie is a “marmite” artist. A little like a modern version of Eric Parker, in fact, in that he sure can turn ’em out. He’s almost made The Dandy his own of late – which has bought about some highly polarised opinions. I’d better reserve my own judgement on the matter, lest accusations of jealousy start flying around.
What would the Rev’d Marcus Morris have made of this?
One of my favourite parts of The Phoenix is the educational Corpse Talk. The basic premise is that the skeletal, rotted remains of famous historical figures are dug up and interviewed about their lives. Like ya do. This week it’s the Suffragette leader Emmeline Pankhurst, and previous bodies in the chair have been Marie Curie and Genghis Khan. I should think more than one kid has got better marks on their history homework as a result of this! Plus just look at how many panels have been crammed in, it’s like 1950’s Jonah!
The feature content of The Phoenix includes the usual “letters and pictures from readers” section that has long been a staple of British comics (though of course the best letters sections appeared before 1930). I can’t see anything that looks similar in Shonen Jump. The Pheonix also contains a series of articles about creating your own comics, and encourages children to have a go themselves.
Mind you this one is about sound effects, which are overused, over dramatic and over here!
To my mind this is the most important part of the comic. It will hopefully instill in the readers not only the desire to try it for themselves (all kids draw, but if my own experience is anything to go on very few of them attempt to make comic strips. Though to my own young mind it seemed the logical thing to do.) but also an appreciation of the art form of comics and of the effort that goes into making decent ones. If The Phoenix can be sustained (apparently it’s secure for two years… are you doing your bit to make it run beyond?) and if those kids can inspire others at their schools to draw comics too we might see the long-wished-for comics “revolution” in Britain within the next 15 years!
The Phoenix also contains puzzles, including the ongoing series The Dangerous Adventures of Von Doogan. Some of these are harder than others and really require you to get yer brain in gear. This issue’s are a bit easy though. Readers are invited to “help” the adventurer by sending in the solutions to the puzzles, and if “chosen” by him receive prizes.
Finally one thing Shonen Jump definitely does not have is text stories! Text-filled story papers were the predecessors of British adventure comics, and even once the adventure strips started to appear in the late 30’s there was a long crossover period of mixed text and strip content. By contrast I’m not sure Japan ever had what could be considered an equivalent to story papers. But then most histories of manga begin in the late 1940’s and ignore everything that went before as being “too nationalistic”. Mind you certain ivory-tower preachers are attempting to act like British comics only began in 1976 and nothing that came before is worthy of note.
Possible candidates for Japanese story papers include books called ‘Yellow Covers’ that first started to appear in 1775 (the first British story paper was possibly The Young Gentlemen’s Magazine in 1777, but very little information is available on it). After these there was a genre of serialised stories called ‘Books for reading’. I’ve also seen an issue of a 1920’s “comic” (as described by my girlfriend of the time) called Boys’ Club. But I can’t find any information on it, and it was locked in a cabinet at a museum with all of the other information about it in Japanese.
Anyway, the Phoenix text stories are often extracts from children’s books, which means I don’t bother reading them as I won’t be buying the books. Occasionally however they run complete stories or mini-serials (including an adaption of The Minotaur). More of those, please!
The Phoenix is completely free of advertising, because it is funded by “anonymous backers” (why anonymous though, surely not ‘shame’ at being involved with ‘mere comics’? Stand up and be counted, true patriots!). By contrast Shonen Jump has quite a lot of adverts, even in the form of fold-out “colour plates”!
These adverts are generally for action figures, videogames or anime DVD’s. Almost all of which are based on the stories that have appeared in Shonen Jump! And yet in this country when a British comic character is adapted into another form (rather than a TV show being made into a ‘comic’ with hardly any comic) it’s generally either ignored or is met with a disgraceful shower of hate from hack journalists who have suddenly ‘discovered’ that the comics they read as a kid 30 years ago have changed since then. And this from supposedly ‘patriotic’ newspapers.
By contrast to The Pheonix, Shonen Jump contains only 3 pages of comic in colour. They are the first three pages of Haikyuu!!, a school and volleyball strip. It’s apparently a new strip, so this could be the very first part and the colour pages serve to introduce it. Of course in issues where a new story is not beginning it’s probable that a popular one is randomly chosen for the colour pages.
The Phoenix does not have any sport stories, but they were once a genre that ebbed and flowed through British comics. The Boys’ Realm became a sport-themed paper towards the end of it’s life, and even launched a smaller spinoff called The Boys’ Realm Sports Library, which I recently bought 6 months of. This issue of Shonen Jump has two, Hakyuu!! and Kuroko no Basuke (Kuroko’s Basketball).
Is a small tsu in Katakana also a ‘sound extender’ like a line is?
Of course the staples of shonen manga (boys’ comics) are the adventure stories. There’s some comedic ones such as Toriko, which is about a “gourmet hunter” who tours the world looking for ingredients to create “the ultimate meal”. If British TV companies want to save a few bob they could always combine I’m A Nonentity Get Me Back On Telly (are you sure that’s right? -ed) and Masterchef into one show in this way.
Also it has Mexican wrestlers
Another comedy adventure tale is the famous One Piece, which is about a crew of pirates captained by “Luffy”, who has some sort of superpower. In this issue we have the 657th (O_O) chapter…
With some English
…and you thought Varney The Vampyre ran for a long time! Like the early-mid 19th century Penny Dreadfuls, a successful manga will be extended and extended to make more money rather than allowed to end at the point the writers probably hoped it would. This of course usually leads to people beginning to describe long-running stories as “annoying” or “crazy” as the writers just stick in whatever they think up first, probably having long since given up caring.
Of course in Britain from about the 1860’s – 70’s onwards stories had a set length and finished when they finished. It didn’t do our industry any harm for the next hundred years! And of course a story ending doesn’t mean that the same characters can’t come back in a new tale later, but it does free up the creators to think of something totally different if they want.
The main stock in trade of the shonen story is, of course, giant monsters, giant lasers or, er, both.
Oroboros? It always makes me think of Red Dwarf!
Some stories actually have quite a lot of detail despite still being 20-30 pages a chapter. There must be quite a crew of assistants working on Nurarihyon no Mago.
Fields of swords!
And of course there’s the epic battles with magic energy beams. I wonder how people don’t get tired of this stuff… but then again somebody who can’t read English would probably consider every Commando comic to have the same story XD.
DOGOOOOOO. Mind you if the Treens were watching this they’d know not to mess.
Shonen Jump also contains a few examples of other genres, including one which was once very popular in Britain… up to World War 1 anyway, the “work” story. The Boys’ Friend used to be crammed with tales about boys who worked in mines, factories or shipyards. And the immortal Sexton Blake used to regularly go undercover in all sorts of industries. In today’s Shonen Jump we have Bakuman, a story of kids working their way into the manga industry. The old work stories in Britain were usually detective stories at their heart, with the hero overhearing some villainous plot and working to foil it.
Bakuman is instead basically a romantic story at it’s heart (well there’s not much scope for villainy in the manga industry, a serial pencil thief is not that threatening). Moritaka Mashiro dreams of being a manga artist, he loves Miho Azuki who wants to be a voice actress. They promise that when Moritaka has made a successful manga that is animated, Miho will play the woman in it, and then they can be married. But apart from that it also contains many other amusing characters and offers many insights into how the manga industry in Japan works (which is how I’m even able to write posts like this!). The Japanese books are currently up to 16, the English have just reached 9. This chapter will probably be part of book 17.
Other styles of stories include the purely humorous story, as we’d see in The Beano. Just longer, black and white and probably serialised to a degree (and later made into an animation without mouth-foaming, traitorous ravings in the papers).
Teacups for heads? It’s PC gone mad!
One of the longest running comedy comics in Shonen Jump is called, and breathe in here: This is the police station in front of Kameari Park in Katsushika Ward. It’s been running continuously since 1976, and in fact the artwork still looks more like 70’s manga than the modern kind.
“I’m gonna try and do 3 rotations!” “Aagh stop rotating!” …or something like that .
The story is probably more like Only Fools and Horses (or maybe Stop The Pigeon) as the characters try to use the latest fads or wierd inventions to either get rich quick, or catch criminals more easily. Of course these always go wrong. Also like the stories of Billy Bunter or Sexton Blake the main characters never age even though the world is changing around them. But actually in this story a few characters do age. A baby born in an early story is now a teenager, but his parents are still the same age.
This particular story appears to involve a pushy journalist constantly interfering with police work by trying to interview everybody. However he then helps them arrest an armed robber by popping up at the resturant he is holed up in and trying to interview him. While he is still wondering what’s going on he gets arrested!
There’s also a school story apparently told from the perspective of the teacher. The only British example of that I can think of (except for maybe “Singled out: Teacher” Bash Street Kids episodes in The Beano from the 2000’s) was in The Captain in 1899!
You will probably have noticed that most of the print quality in Shonen Jump is not fantastic. That’s because these weekly anthologies are seen as ‘throwaway’, in fact the trains and stations in Tokyo usually have discarded copies laying on the seats. Of course in Britain for most of history comics were also seen as “throwaway” and were used to, say, light the fire once the kids were done with them. This has found it’s ultimate expression in the replacement of the printed US Shonen Jump (which was monthly and had half the page count… somehow) with “Shonen Jump Alpha”, which is at least weekly but ‘expires’ and deletes itself. Of course any comic that goes purely digital from print ceases to exist as far as I’m concerned. But having them ‘expire’ really is a step too far. I haven’t bought a videogame since 2009 because of the Orwellian excesses of that industry. It cannot be allowed to creep into comics too!
Of course, it’s okay to dispose of the weekly anthology copies in Japan because the stories that the readers like will come out in better-printed book form. Virtually every story will be printed in this way, whether they sell or not! It is of course these collected books that we get in foreign countries.
But a little bigger
Of course this can help with Japanese study… an aspect of comics that must also be promoted by fans to the unbelievers, and a reason why it is essential that more countries begin to produce a wide range of varied stories in the manner of Japan, and export them!
Imagine the proliferation of enthusiasm for learning other languages and the cultures that go with them if all nations produced interesting-looking picture stories that people wanted to understand. Comics have advantages over plain books in that the pictures help to explain what’s going on, and the dialogue and descriptions are “broken apart” clearly.
The English words actually seem to fit some of those bubbles better!
Of course book form reprints of stories from British comics are starting to proliferate now. But only haphazardly and occasionally in “best of” type books rather than full reprints. They’re also usually hardbacks with thick glossy art paper… even if the original artwork has been lost and the reproduction would have been just as good in lower-quality paperback. Of course this drive for quality of printing and binding drives the prices up to prohibitive levels, especially in a recession, and people stay away. Then series are left incomplete because of “poor sales”. Still if everybody reading this made up their mind to buy just one of the British comic reprint books this week…
Of course it’s far more important that the risk is taken and that ‘vanished’ stories are once again reproduced thousands of times and distributed to the ends of the country, so that they may survive into future decades in an easily accessible form. But as usual those who “know the cost of everything and the value of nothing” win the day. Mind you unsympathetic shopkeepers don’t help. Classics From The Comics was just really getting into it’s stride, switching from purely reprinting 1/2 page humour strips to a little bit of everything from DC Thomson’s extensive back catalogue, even reaching back into the twenties! But bad distribution killed it off in it’s prime. It was probably the closest thing we have had to Shonen Jump, actually. Though only 100 pages and entirely reprints.
One other book Britain has had which was a bit like Shonen Jump was this one from 1989
Intended as an annual, mind you.
It was a paperback reprint of a random selection of IPC / Amalgamated Press adventure comics from the 50’s and 60’s. It even had Jump-like print ‘quality’!
A highwayman story probably originally from The Thriller Library
Even in 1989 this apparently didn’t sell well enough to be reprinted. But really it ought to point the way forwards, if the quality of the reprints is not going to be very good because of missing/deteriorated original artwork, cheapen the paper to match and knock it out for as low a price as possible! And of course all of us will then have to let other people know it’s out there!
It’s one thing to wish that we had regular big wedges of comic like Shonen Jump (not that thinner wedges of full colour like The Phoenix are a bad thing, we ought to be able to do both, really). But if we want it, all comic fans and creators have to stand together and do their bit!
*- Actually Doctor Who adventures is also weekly, and Doctor Who is an “acceptable” licensed character. But it only has 4-5 actual pages of comic strip per issue, the rest is dumbed-down articles with big pictures and “ooh scary!” captions.
** – The ‘fancier’ characters are actually almost all Chinese, though!