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This blog is a storage space for various thoughts, observations and musings centering on shōjo manga (少女漫画, Japanese comics for girls), josei-oriented manga (Japanese comics for women) and manga created by women (in the widest sense). Topics from other fields of relevance, such as music, art, literature and film may be discussed here as well.

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Viewing all posts with tag: magazine: bessatsu margaret/betsuma



[Review] Contemporary Classics: Shimanami Tasogare, Machida-kun no Sekai and Stand Up!

It’s time for a special kind of retrospective of the year 2018. In the past 12 months, three of my favourite manga series of the past decade ended – titles that, to me, could be called instant classics. In the rush of new manga publications, it can always be a little hard to remember the good stuff that no longer have an on-going status. For this reason, I’m taking a loving look back at these three now finished yet unforgettable works of art: Kamatani Yuhki’s LBGTQ coming-of-age drama Shimanami Tasogare, Andō Yuki’s Machida-kun no Sekai with its one-of-a-kind protagonist, and Stand Up! by clb.org favorite Yamakawa Aiji.

 

→ Shimanami Tasogare by Kamatani Yuhki

Shimanami Tasogare by Kamatani Yuhki (Big Comics, Shogakukan) Shimanami Tasogare by Kamatani Yuhki (Big Comics, Shogakukan) Shimanami Tasogare by Kamatani Yuhki (Big Comics, Shogakukan) Shimanami Tasogare by Kamatani Yuhki (Big Comics, Shogakukan)

Fiction and art can function as safe spaces in which difficult, even traumatic experiences can be narrated, relived, analyzed, discussed, dissected and brought to the attention of other people. The 4-volume series Shimanami Tasogare was created by X-gender manga artist Kamatani Yuhki for whom the series itself can be seen as such a safe space as it focuses on people who belong to different sexual and gender minorities. And at the same time, the series itself shows how discriminated and oppressed people fight to create such safe spaces for themselves.

The main cast of characters in this extraordinary series are brought together by renovation projects in Onomichi, a city located in Hiroshima prefecture in southern Honshu, facing the Seto Inland Sea (Setouchi) with its smaller islands and Shikoku to the south. In the beginning, teenage boy Tasuku fears he’s been forced to come out as gay by his classmates. The four volumes in part tell his journey of coming to terms with his own sexuality while he meets other intriguing individuals and is invited to join them in their non-profit work. These other volunteers, among them the mysterious and elusive Dareka-san, each identify as sexual and gender minorities (i.e. they are homosexual, asexual, transgender, non-binary, etc.) but are also varied in their personal backgrounds and ages. It is part of Tasuku’s and the reader’s journey through the series to learn that each individual is allowed to take their own time with coming out (or not at all) while they are confronted with society’s prejudices, discrimination and violence against them.

Their safe place is an old but cozy house in the hills of Onomichi which they’ve renovated as part of their volunteer work, offering a space where they can be themselves, relax, listen to music and discuss various matters without having to fear discrimination. This is a place they have created for themselves but it doesn’t stop here. Through their non-profit work of refurbishing traditional but derelict houses and finding new purposes for them, they try to bring renewed life – for everybody! – to an area that’s characterized by an aging population, urbanisation and younger people moving to the big metropolitan centers. Together, they are committed to keep this area they love alive. And thus, next to the memorable and diverse cast, a second lead character emerges through the manga’s beautiful art: the hilly seaside landscape of titular Shimanami itself, the city of Onomichi and its roads and bridges connecting it to the small islands, evoking a gentle nostalgia, a slowing down of events (especially in the hot summers, the seasonal background of most of Shimanami Tasogare), a dreamlike and peripheral idyll.

Despite the dramatic events of the manga, the series ultimately leads to a positive message as it promises hope for a more open, accepting society which protects its minorities and, literally, let’s them claim their own spaces. The moving and mysterious story is carried by its expressive, sometimes even surrealist art which is heavily influenced by shōjo manga without it having to proclaim to be either this or that, seinen or shōjo/josei manga – which all points back to the essence of the story itself. The manga was serialized in Hibana (until its demise in 2017), a seinen manga magazine featuring a lot of female artists known for their shōjo/josei manga publishing gender-free/cross-over works for a mature readership in it. Shimanami Tasogare finally ended with its 4th volume in 2018, a book that brought me tears of pain, anger and joy – in this order. It is now making its way around the world, offering most of all the LGBTQ+ community, but also everyone who feels a little different than the mainstream, a source of understanding and support while speaking the very global, universal language of humanism. It is currently available as Eclat(s) d’âme in French by Akata, in Italian by J-Pop as Oltre le onde, in Spanish as Sombras sobre Shimanami by Tomodomo while Seven Seas will bring Our Dreams at Dusk to English readers, with the first volume scheduled for a May 2019 release and the 4th volume to be published before the end of 2019. Without a doubt, this will be a must-read for years to come. 4 volumes, Big Comics Special Hibana, Shogakukan.

 

→ Machida-kun no Sekai by Andō Yuki

Machida-kun no Sekai by Andō Yuki (Margaret Comics, Shueisha) Machida-kun no Sekai by Andō Yuki (Margaret Comics, Shueisha) Machida-kun no Sekai by Andō Yuki (Margaret Comics, Shueisha) Machida-kun no Sekai by Andō Yuki (Margaret Comics, Shueisha) Machida-kun no Sekai by Andō Yuki (Margaret Comics, Shueisha) Machida-kun no Sekai by Andō Yuki (Margaret Comics, Shueisha) Machida-kun no Sekai by Andō Yuki (Margaret Comics, Shueisha)

It would be no exaggeration to say that this Betsuma series quietly revolutionized what mainstream shōjo manga can be. Machida-kun no Sekai‘s male protagonist, the titular Machida Hajime, is perplexing in his selflessness and at the same time in his lack of qualities usually found in male protagonists of shōjo manga: he is clumsy, a bad student (despite his glasses giving him a scholarly look) and terrible at sports. But also self-sacrificing, completely devoted to the well-being of his – rather big – family, especially his younger siblings, but also his friends and complete strangers. For large parts of the story, the non-dialogue is not inner monologue, as would be typical for shōjo manga. Instead, a unique observing voice describes in a dry, honest, objective way how Machida sees the world, how he “turns on his antennas” and becomes receptive to the needs of the people around him. These parts read like the voice-over of a documentary, an impression that’s visually supported by thick frames around panels bringing order to the page layouts and the clean art, especially in the architecture and backgrounds. Throughout the manga, the point of view switches, and these descriptions are replaced by the inner monologue of people, strangers and friends, watching Machida, judging him, being surprised or even inspired by him. And then in the later parts, we finally get to look a little more into the inner workings, the thoughts and emotions of Machida as we approach the finale of what is ultimately the love story between Machida-kun and his classmate Inohara-san.

Inohara takes on the part that is usually reserved for the male counterparts of the female protagonists in shōjo manga. Her rough behaviour is explained as her personal background and her past sufferings are revealed bit by bit. Her healing process is propelled forward by Machida-kun but also through her friendship with Maki. Inohara may come across as ‘cool’ to the reader: you may feel sympathy for her, but she still seems distant. And the same can be said about Machida-kun who is so often observed from the outside. Yet this is exactly what makes the tone of this work so unique and such a pleasant change from the usual shōjo manga mainstream.

Machida-kun no Sekai stresses the importance of friendships by showing how to build and maintain them, of caring for others across all boundaries of age, gender, sex and social class; of family – siblings, parents, parents’ siblings. And this family is one that is always open to outsiders – older neighbours and, of course, the girl Machida likes. The ending might seem conservative yet it stresses the value of family itself and of this openness toward accepting outsiders. When you take that into consideration, the ending ties everything together beautifully. The light here always shines brighter here than the darkness. Weaknesses can be overcome or accepted, as strength can be found through the help of others. The series, Andō’s first longer work, is so calm and mature in its tone and message that it can be recommended to readers who usually prefer manga for older audiences (both josei manga for female readers as well as seinen manga for male readers!). 7 volumes, Margaret Comics, Shueisha. A live-action movie adaptation is opening in Japan in June 2019.

 

→ Stand Up! by Yamakawa Aiji

Stand Up! by Yamakawa Aiji (Margaret Comics, Shueisha) Stand Up! by Yamakawa Aiji (Margaret Comics, Shueisha) Stand Up! by Yamakawa Aiji (Margaret Comics, Shueisha) Stand Up! by Yamakawa Aiji (Margaret Comics, Shueisha)

Like Machida-kun no Sekai, Yamakawa Aiji’s Stand Up! started its journey in Shueisha’s monthly shōjo manga magazine Betsuma, but was later relegated to its sister magazine The Margaret until it reached its finale in spring 2018 after a 3-year hiatus. (You can find more about Yamakawa Aiji and her career in our artist profile.) These magazines are mainly aimed at senior high school-aged girls and manga running in them have to operate within a certain framework. In Betsuma‘s case, the majority of titles features realistic stories while focusing on romance of the ‘pure’ kind (i.e. no sexual depictions of any kind, unlike shōjo manga magazines from other publishers), friendship and family. The Japanese school year, and more broadly, the 3 years at senior high, set the timeframe within which these stories are usually told. This is no different for both Andō’s Machida-kun and Yamakawa’s Stand Up!. But both have in their own ways widened the possibilities of Betsuma‘s tight set of rules.

So it is in this hermetic world of a Japanese senior high school and its daily afterschool activities which last well into the afternoon that Stand Up!‘s two protagonists meet. Utako and Naoyuki are classmates and they couldn’t be more different. Utako always stands out with her current height of 172 centimeters when in fact she’d rather just be invisible to everybody because she is painfully shy and on top of it, feels embarrassed because of her big ears. Naoyuki is very popular and easily makes friends because he can make everybody feel comfortable. But then he starts teasing Utako for her ‘monkey ears’ – and Utako for once feels strangely glad to be noticed. It doesn’t take too long until the two fall in love and become a couple. Which adds to Utako’s stress because with Naoyuki at her side, there’s absolutely no way now she can make herself not be noticed anymore. Through the typical events of the Japanese school year and the couple’s dates during their private time, the two figure out the other’s weaknesses while also growing stronger as individuals and as a couple. These scenes perfectly convey the sense of embarrassment and confusion that’s so typical of that stage in life. Growth here comes gently and without the over-the-top drama that would be used by other artists.

What really stands out in this series is how well the dynamics of the group of friends with the Utako/Naoyuki couple in the center are described. On the side of the female characters, it’s encouraging to read how both Utako and her best friend manage to overcome past toxic relationships and move forward. Naoyuki, on the male side, is an incredibly fascinating character. Like Machida-kun’s family in Andō’s manga (see above), Naoyuki has a strong family background. His family owns a small restaurant and he’s been taught to be open, friendly and supportive. Just like with his group of friends which here isn’t an impenetrable entity. It is always open to outsiders, it doesn’t close itself off. The most obvious example for this is a boy named Inui, a hikikomori who no longer comes to school. The classmates decide to visit him and offer him their help. When he rejects them, Naoyuki doesn’t let up as he genuinely cares about those around him – and one day, Inui starts explaining his background to Naoyuki which ultimately leads to his healing. Interestingly enough, unlike the genre conventions, this is not a plot device to make Naoyuki seem like the perfect, knight-like partner to Utako. Naoyuki genuinely treats every person around him with respect and listens to them. His motivation isn’t to make himself more attractive to his girlfriend or to impress her, which is a nice vision of how men can be without losing a bit of their masculinity.

Through caring and nurturing friendships and relationships, these characters create an accepting and understanding environment. The atmosphere here is always warm and positive, never superficial or even hostile. Even the most painful experiences or desperate-seeming situations can be overcome here with hope, healing and forgiveness. If these young people were real and kept this attitude, imagine what empathetic and caring adults they could become, what a great society they could help build…! In this way, through the vehicle of school romance shōjo manga, Yamakawa tells a humanistic story that’s positive without being too loud, without being violent. This gentleness is reflected in the art, in the warm palette of beiges and browns of the hardly there watercolour illustrations which seem almost like faded but fond memories.

It is really impressive that despite her struggles with her work as a manga artist, Yamakawa Aiji finished Stand Up! by picking up the pre-hiatus strands perfectly and seamlessly. The art of the newer material is just as fluid and full of motion and life-like gestures as it used to be and convincingly concludes the story. As airy and light Yamakawa’s art is, as complex is the psychological fleshing out of her characters. Like I wrote in Yamakawa’s artist profile and in the post concerning her 2018 comeback, I’m still convinced she is an extremely gifted talent, even if her professional career is riddled with periods of absence & hiatus. Now that there seem to be dark clouds on the horizon again (her latest series 2.43 Seiin Kōkō Danshi Barē-bu in collaboration with Kabei Yukako in Cocohana is on indefinite hiatus again), I wish to see more from her in 2019 and hope that circumstances will allow her to release her work again soon! 4 volumes, Margaret Comics, Shueisha.

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Posted on Mar 15, 2019 (Fri, 3:29 pm). .

[Mangaka Update] The Return of Yamakawa Aiji

Yamakawa Aiji cover artwork for Betsuma furoku (Shueisha)If you’re a dedicated follower of a manga artist, nothing feels more troubling than when their current series goes on hiatus, especially for health reasons. From a completely selfish perspective, it might mean you’ll never be able to read the end of that series. But of course it also makes you worry for the mangaka, the person who’s been working hard to deliver new chapters of their work. Accidents, illnesses, the inability to continue working due to high levels of stress, they aren’t that rare when it comes to interfering with a manga arist’s life and bringing their career to a halt. To the avid shōjo/josei-oriented manga reader, artists like Okazaki Kyōko or Yazawa Ai might come to mind. Another manga artist that disappeared with an unfinished series was Yamakawa Aiji, someone we’re very fond of here at coinlockerbaby.org.

Yamakawa Aiji cover artwork for Betsuma furoku (Shueisha) In our artist profile, we mentioned how her series Stand Up! went through one magazine change, from monthly Bessatsu Margaret, the magazine Yamakawa Aiji had been strongly attached to since her debut, to its bi-monthly sister magazine The Margaret (both Shueisha). And then, with 3 tankōbon published, Stand Up! went on a long hiatus in early 2015. Things got very very quiet until in early 2017, Yamakawa Aiji was finally back in Betsuma, but only as the illustrator of the color artworks for two furoku manga volumes. And no word on a continuation of Stand Up!

Stand Up! by Yamakawa Aiji in The Margaret (Shueisha)It took until late 2017 for good news to be announced: Stand Up! would be back in the April issue of The Margaret which went on sale on February 24th, 2018. Also gracing the magazine’s cover, Yamakawa’s longest-running series so far was back after 3 years with a 100-page installment and the announcement that it would end in the next issue (June 2018) of The Margaret. This means Stand Up! will now end with its 4th comic volume – an end not rushed but planned in advance by the artist – to be published on July 25, 2018.

Unfortunately, parts of the two new and final chapters in The Margaret looked similarly as hurriedly put together as the ones before the hiatus. Characters which seem hardly more than sketches appear in a white sea of nothingness where there should be backgrounds or slightly more defined panels. But it can be expected that the tankōbon version of the 4th and final volume of Stand Up! will include revised or more detailed page layouts so fans can hope for a satisfying end to this series!

Stand Up! by Yamakawa Aiji (Margaret Comics, Shueisha) Stand Up! by Yamakawa Aiji (Margaret Comics, Shueisha) Stand Up! by Yamakawa Aiji (Margaret Comics, Shueisha) Stand Up! by Yamakawa Aiji (Margaret Comics, Shueisha)

Yamakawa Aiji's cover artwork for 2.43 Seiinkōkō Danshi Barē-bu, Cocohana September 2018 (Shueisha)More good news for people following Yamakawa Aiji’s career came at the end of June! Her new series will debut in Shueisha’s monthly josei-oriented manga magazine Cocohana, with its September issue on sale July 27. Even better yet, she’s also getting to contribute the magazine’s cover artwork (see left). The series itself, titled 2.43 Seiin Kōkō Danshi Barē-bu (2.43 – Seiin High School Boys’ Volleyball Club), isn’t all that new, though. It’s the manga adaptation of a young entertainment novel series about the rise of a boys’ volleyball team in a small provincial high school, created by Kabei Yukako and illustrated by none other than Yamakawa Aiji. Its first story arc (appropriately called ‘season’) was first published in 2013, the second followed in 2015 and the third season has been running since August 2017. (See below for the covers of the novels published so far.)

2.43 Seiin Kōkō Danshi Barē-bu by Kabei Yukako (Shueisha) 2.43 Seiin Kōkō Danshi Barē-bu by Kabei Yukako (Shueisha)

2.43 Seiin Kōkō Danshi Barē-bu by Kabei Yukako (Shueisha) 2.43 Seiin Kōkō Danshi Barē-bu by Kabei Yukako (Shueisha) 2.43 Seiin Kōkō Danshi Barē-bu by Kabei Yukako (Shueisha)

Yamakawa will provide only the art for the manga, neither the story nor the dialogue/script will be hers. This sounds like a little less freedom than Yamaguchi Izumi is enjoying with her manga version of the novel series Omoide no toki shūri shimasu by Tani Mizue, also running in Cocohana. (Yamaguchi debuted in Betsuma around the same time as Yamakawa and they belonged to a small group of super popular young mangaka with stylish artworks. See the first paragraphs of our profile on Yamakawa Aiji.) Nevertheless, as fans we’re super happy Yamakawa Aiji is back and we hope this is just one step toward a new original series by her! With great titles like the wonderful Yajirobē she’s already proved she’s absolutely capable of creating a memorable stand-alone manga. (Are we allowed to dream of just one new original one-shot by her at this point?) We’ll see what the future brings and for now, we’ll be cheering on her volleyball boys team :)

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Posted on Jul 22, 2018 (Sun, 5:42 pm). .

[Manga Review] More Than Family: Yajirobē by Yamakawa Aiji

Yajirobee 1 by Yamakawa Aiji (Shueisha)One of the most horrible things that can happen to a young child is to lose its mother. This is exactly what happened to 5-year old Haru. Now, 10 years later, Haru looks back on her life with Seiji, her stepfather. Both are the only family they have for each other as Seiji has been keeping his distance from his own blood relatives since his strict grandmother never liked Haru’s mother. Haru realizes that Seiji still misses her mother and feels sad about the empty space she left behind both in his and in Haru’s life. Haru on the other hand also notices small changes in her feelings toward Seiji which leads her to confront the question what Seiji’s role has been so far and will be from now on in Haru’s life.

colour illustration for Yajirobee by Yamakawa Aiji (Shueisha)Just like with a yajirobē, a T-shaped balancing toy with two little balls or weights hanging on the opposite sides of a thin strip of metal or other materials that spins around on a wood handle, the characters of the same-titled short manga series by Yamakawa Aiji (see our mangaka profile for her here) find themselves always at a distance from each other, a distance they reluctantly try to overcome. In a way, Haru can be seen as the wooden stick of the toy, the center around which different pairs of people circle. She observes their relationships to each other and to herself. When Seiji and Haru have to move out of their soon-to-be demolished apartment, she meets her childhood friend Bonta who she hasn’t seen in more than a year after he and his parents had moved out of the apartment next door. He’s a year older than Haru and classic shōjo manga love interest material – cool and aloof on the outside but also clumsily caring and attentive towards Haru. Haru cannot help but slowly realize there is now more than pure friendship between them. After she successfully manages to get into the same high school as Bonta, they see each other more regularly at school, a perfect chance to get a little closer to each other.

double page from Yajirobee by Yamakawa Aiji (Shueisha)

Another pair Haru watches is Seiji and his friend Kawabata-san who squats at their apartment whenever he feels like it. And with a mixture of curiousity and jealousy Haru observes his stepfathers platonic relationship with Chie, a now divorced single mother and a stunningly beautiful woman who Seiji meets again at a flea market. Haru finds out that Seiji rejected Chie’s advancements years ago when they were university students. Chie is a person who wants to make everybody like her so Seiji’s resistance to her charms is a puzzle to Chie, Kawabata and Haru alike. Even more confusing to Haru is Towa, Chie’s son who is one year younger than Haru. He seems a little mysterious and excentric but also tries to reach out to Haru whenever they meet. Then there’s Seiji and Chie who can’t seem to get closer to each other because Seiji always sees Haru as the priority in his life.

While in her monologues Haru often ponders the people and things she has lost so far in her life, the manga as a whole feels both mellow and light-hearted a lot of the time. Haru was lucky enough to have Seiji by her side after her mother died so her death wasn’t quite as traumatic as it could have been to other less fortunate children. Seiji fully takes on the roles of a father and a mother. He almost turns into a housewife for Haru, showing her how to cook (and letting her do things her way even when she fails) and how to grow vegetables in his small garden. When he brings home some young tomato plants one day, Haru realizes after a while that Seiji raised her not from the seed but from the time she was already a small plant. And with Seiji’s care, love and attention she managed to grow and turn into something beautiful just like the tomatoes that are now ripening in their garden.

Yajirobee 2 by Yamakawa Aiji (Shueisha)But the main theme in this manga remains the question of how to communicate your feelings and intentions to somebody else without being too imposing on the other person. How do you overcome your fear of being rejected when you feel attracted to somebody and want to tell them how you feel? These questions aren’t just raised in a romantic context. Haru learns how to be more open about her feelings from Towa’s mother Chie, a kind of ersatz mother. She also teaches Haru how to use makeup which Seiji as a man wouldn’t have been able to do. Something Haru still wants to achieve is help Seiji get closer to his seemingly cold and disapproving grandmother again. The possibility of her and Seiji gaining a bigger family is just around the corner…

chapter cover illustration for Yajirobee by Yamakawa Aiji (Shueisha)A young girl and her stepfather, a teenage boy whose parents got divorced, remarried and are expecting a baby again, another boy who was raised by a divorced single mother, a young man who suddenly had to become a father to a girl who isn’t his relative by blood and who has lost contact with his own family because of that, another young man who – lacking a family of his own – finds company in the household of his old friend and his stepdaughter. These are the unconventional forms of family Yamakawa portrays through Haru’s observing eyes. There is a multitude of options for living together as human beings. And Haru realizes one important thing: she has to tell Seiji how she feels. In a long birthday letter that will not leave even the most stonehearted of readers untouched, she expresses her gratitude toward him for being exactly what a father is supposed to be to her. And yet until the very end of the story, a certain kind of ambiguity between her and Seiji will remain, because Haru finds out that Seiji and her mother’s relationship was about to change just before her death, making it also possible for Haru to take her mother’s place and to let Seiji become hers, something else than family…

double page from Yajirobee by Yamakawa Aiji (Shueisha)

And thus the story ends on an ambiguous note. On the inside cover of the second volume, Yajirobē is listed as an ongoing work but Yamakawa started another longer series, Stand Up!, after this so one might as well see this as a finished work. Finished and accomplished. Yamakawa has managed to fully make use of the shōjo manga genre to tell a multi-facetted story with complex characters. There is an air of nostalgia surrounding Haru as she’s standing right between childhood and adulthood, something that makes it easy to identify with her whether you’re her age or an adult because it’ll make you recognize or remember your own feelings between longing for a childhood that’s now gone and the insecurities and uncertainties of becoming an adult. This is also mirrored in the art and the designs used for the cover with their nostalgic water colors, the soft retro color schemes with their white outlines contrasting with the chic and modern fonts used for the title.

double page from Yajirobee by Yamakawa Aiji (Shueisha)

Yamakawa’s beautiful art throughout the manga always makes it easy to become completely absorbed into Haru’s (and at times Seiji’s) thoughts and the way she observes her surroundings. Yamakawa’s story-telling is subtle, almost restrained yet deeply exploring, questioning without coming up with definite answers. (It’s actually very rewarding to read the manga a second and even a third time to fully grasp each character’s motivations, to get the full picture of what drives them, what sources of pain and hurt are buried in their pasts.) Her visual effects go along with that as her artwork is often light, airy, almost sketchy. When the story moves into heavier territory she often relies on completely black backgrounds on which the white text of the internal monologue – or as in one of the most moving scenes, Haru’s written words to Seiji – are almost etched into the readers’ eyes. Those sparse words leave an impact on the characters’ as well as the readers’ minds. The slender figures of the characters, the stream of consciousness-like floating monologue layered over tender scenes of the everyday, the subtle gestures between two characters fighting to overcome their distance without words – they all lend this manga a sense of fragility and vulnerability that never becomes too painful because Yamakawa’s main philosophy is that of a humane gentleness in social interactions.

Verdict: In a perfect world, this would have become a bestselling instant classic. But since it hasn’t, at least for the time being, it’s now up to us, the readers, to spread the word about this fantastic, moving, deeply human work. This a true gem not to be missed!

Title: Yajirobē (やじろべえ)
Author: Yamakawa Aiji (山川あいじ)
Volumes: 2 (complete; 2011-2012)
Magazine: Bessatsu Margaret, Bessatsu Margaret sister (2010-2011)
Label: Margaret Comics
Publisher: Shueisha

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Posted on Apr 6, 2017 (Thu, 1:38 am). .




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