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Text of the page (random words):
not more than a trite sport manga without it he streniously endeavors to make his character and theme various judo yawara tennis happy mercenary pineapple army operative master keaton ripper and medical doctor monster etc to say nothing of the popular manga genre sports and detective he succeeded at the theme such as monster strange to himself from then on the dancing p oliceman and yawara are much optimistic but the later works are dark er and enlightening the base of human minds the factor is not eminent in keaton but clear in happy and monster which has to be viewed as a drama describing mental phenomena with horror the 20th century boys is surely dark mystery not light i want to know what will be the next work his selection of manga backgrounds are toward western european taste pineapple army usa europe master keaton europe mainly england monster germany eastern europe and other works backgrounded in japan shows little japanese color too is there any reason he likes europe in special his works twentieth century boys twentieth century boys is yet to be completely translated but after 17 volumes of scanlations i feel confidant in describing it as naoki urasawaï ½s masterpiece and an essential slab of manga monster had an ensemble cast but it never seemed that urasawa knew what to do with the ensemble ï ½ most characters ended up standing around at the finale having never found their place in the plot twentieth century boys fixes that twentieth century boys has an ensemble where each character has an opportunity to shine monster lost me in the labyrinth of its plot by the end there were large chunks of plot i found myself struggling to explain to myself as to how they fit in twentieth century boys fixes that even as it grows more ambitiousï ½there are unexplained mysteries but the larger sweep of the plot has clarity despite the fact it takes place during no less than three separate points in time twentieth century boys follows its main characters through their childhood roughly between 1973 to 1977 or so their ï ½presentï ½ of 1997 to 2000 and their ï ½futureï ½ 2012 to all nearly simultaneously never once confusingly so in monster there is a thick atmosphere of death and murder but by the end too few members of the cast had truly met any sort of end and i believe the work suffered for it as a result twentieth century boys fixes thatï ½cast members die but each death has meaning long afterwards while monster merely hinted at tragic childhoods twentieth century boys takes the opposite route making sure the reader experiences the loss of urasawaï ½s beloved childhood summers without ever losing sight of the dark moments the sad moments childhood can have ï ½ mired in nostalgia without becoming too mired in sentiment well itï ½s a little mired in sentiment but my guard goes down with manga and sentiment i think because of the foreign ness factor monster is thousands of pages long but by the end it feels like little was ever truly at stake an interesting neo nazi subplot aside twentieth century boys fixes thatï ½the stakes are global and eventually the cast is global seventeen volumes of twentieth century boys are available currently online after five of those i became convinced that akira was happening lone wolf and cub was happening just no one had goddamn noticed yet an overreaction probably but that is ultimately the frustrating thing about mainstream comic fansï ½s reaction to manga ï ½ manga becomes this thing for ï ½year in reviewï ½ specials where various people who apparently donï ½t read manga feel free to pronounce ï ½manga means marvelï ½s wrong about teenage girls ï ½ but what i still donï ½t feel is any sense that if a work like akira were being createdï ½not high art but a real eye opening slab of entertainmentï ½ that weï ½d be aware of it that anyone would give a damn 2004 wasnï ½t so much a bad year for comicsï ½great comics came out same as every yearï ½as it was an awful year for the discussion and context of comics what i mean the big two seemed especially effective in capturing the discussion and defining the context in 2004 through massive hype a series of increasingly awful creatively bankrupt works and staggeringly idiotic publishing decisions variant covers seriously its frustrating in a year like that to think the following ï ½ akira could be coming out regularly in japan and weï ½d have no idea and instead all iï ½m hearing about is whether or not the green goblin hired a french hooker to sleep with gwen stacy while he watched in the closetï ½ or whatever j michael stracynski innovation is the hot topic du jour it is even more frustrating to think that it could be available a mouse click away and still no one would notice no one would care except maybe possibly come december when its time to say ï ½well at least thereï ½s manga ï ½ naoki urasawa saved 2004 for me and thatï ½s why iï ½m writing this essay ï ½ his work was a big reminder that pictures in boxes next to each other could be really fucking fun arena rock fun goddammit during a time in comics when ï ½funï ½ seems increasingly defined again in the conversation and context moreso than the reality by either awful pap from the mainstream or really tiny insubstantial ï ½please donï ½t sneeze or weï ½ll turn to dustï ½ indie comics with no real ambitions so for that i am thankful to urasawa anyway back to twentieth century boys look i donï ½t think it is akira or lone wolf but the thing about twentieth century boys is its momentum is so propulsive the cliffhangers so relentless and urasawa so skilled at pacing leaping between three different time periods in greatest hits fashion that within its current even moreso than monster the reader canï ½t help but be swept up in it but in taking a step back from itï ½ its actually a little silly in its own ways and all entertainment is a little silly in its own way so take that as you will iï ½ve never read a left behind novel but twentieth century boys is likely similar to one of those without the overt religious content its concerns are nothing less than flat out batshit apocalyptic ï ½ the end of the world is always around the corner in the series and 17 volumes in i believe i have read about 3 separate apocalypses so far thereï ½s something inherently ridiculous about the apocalypse to me something inherently corny i think ï ½ the apocalypse is for spastics and people going door to door twentieth century boys earns some points with me over left behind in that the apocalypse it envisions takes as a starting point the japanese cult obsession the sarin attacks etc material from current events rather than religious hysteria but the connotation lingers i think twentieth century boys triumphs when it defines the apocalypse not as the end of the world but as the end of childhood seeing how much iï ½ve written i should probably mention the premise yeah thatï ½s not a bad idea in 1973 1977 a group of childhood friends plays various games in which they imagine theyï ½re saving the world having the kind of mystery laden childhood that calls to mind stephen king in 1997 one of them calling himself ï ½friendï ½ has started a doomsday cult and set into motion nefarious plans involving biological warfare etc which are identical to those imagined in 1973 1977 the other friends unite and struggle to remember their childhoods in order to defeat ï ½friendï ½ in a struggle to take place on the new years of 2000 and in 2012 the survivors and others deal with the repercussions of that struggle and all three of those time periods are presented nearly simultaneously there are supernatural elements science fiction elements horror elements even a damn giant robot but they all connect back to the main charactersï ½ lost childhood to ruin one of the bookï ½s greatest pleasures the giant robot is imagined in the 1970s by the children as the sort of voltron ish design common to manga the adults in 2000 find instead nothing more than a sorry approximation of what those children thought a giant robot should be likeï ½the book even acknowledges that giant robots could never work that the robotï ½s legs could never be built in a way to support the weight so when the robot appears it slowly becomes more sad than scary all compromises and no wonderï ½a 20 story metaphor perhaps for the adulthoods the main characters have been forced to awaken to over the course of the series again and again the characters are forced to reexamine their memories travel back literally or figuratively to 1970ï ½s japan and try to understand who they were then and who they are in their adulthood in the present and the future apocalypses mount and mount and mount until they slowly begin to start to lose their power but that link to the characterï ½s childhood charges the bookï ½s atmosphere enough to overcome those problems even as the plot spirals out of control and the book begins to randomly follow post apocalyptic bikers well post one of the booksï ½ apocalypses anyway again each characterï ½s motivation is thoroughly defined their past carefully splayed out and examined again urasawa drops perfectly paced action sequences but now an added flavor pop culture references a series named specifically after a t rex song is only the start of a slew of references a robert crumb homage even appears for a single page when was the last time you saw an american creator bother to do that for a japanese creator let alone crumb the japanese 1970s bowling fad is a major plot point old manga series that the main characters would have read in 1977 like the very cool ashita no joe old toys etc not so many as to overwhelm the series but absolutely a background noise to the proceedings i wonï ½t spoil the origin of friendï ½s symbol but that alone is a source of no small joy twentieth century boys takes a 20th century boyhood as omens and ends up feeling millennial in a way almost no english speaking creator was capable of well the invisibles aside but iï ½m trying to be hyperbolic only warren ellisï ½s planetary maybe looks at the stuff of childhood in a similar way but from a distance detached untouched and clean from it in twentieth century boys the characters are more infected by it they lived through itï ½theyï ½re not coroners theyï ½re survivors but look that pleasure is more on the edges and less the point than it is in planetary say the point of twentieth century boys is the page turner feel of it as i said the grocery store blockbuster paperback feel for many of you that is not something you would likely be interested in as much as iï ½d like to expound on how it looks at childhood twentieth century boys is more about the vulgarity of its plot and that stuff is just the stuff on the sides that gets me excited more time is spent trying to save the pope from assassin 13 or on a riveting jailbreak sequence say than on you know ï ½characters infected by childhood apocalypsesï ½ or whatever the shit i was going on about a paragraph ago but its that emotion underneath the plot the fact that its there at all that to me makes twentieth century boys so much more thrilling than it already is in entertainment terms in purely entertainment terms its what i imagine watching microscopic organism societies in a petri dish is like twentieth century boys mutates constantly over the life of the series from cult horror to crime thriller to science fiction piece to religious epic to post apocalyptic action nonsense toï ½on and on and on always at 200 mph daring you to keep up again it is the cliffhanger to cliffhanger excitement of urasawa that i would define as the hallmark of his work but i think there are themes underneath twentieth century boys and its surface pleasure is so considerable that i can strongly recommend it i just hope he ends this one better than he did monster awards new manga artist award of shogakukan in 1982 dã but return 1981 the 35th shogakukan manga award in 1990 by yawara the 1997 1st media arts festival award for excellence for monster the 3rd tezuka osamu award in 1999 by asahi newspaper grand prix for monster the 2002 6th media arts festival award for excellence for 20th century boys 0 comments monday august 07 2006 jostien gaarder and sophie s world posted by dyka at 12 07 pm good but with some major flaws worth a read format fiction genre unique published 1995 summary sophie a young norwegian girl begins receiving strange letters as she pursues the mystery she is swept up in a study of the history of western philosophy sophie s world is a curious book it is at its core a much simplified but well written exposition of the history of western philosophy covering many of the major thinkers and providing capsule summaries of their major thoughts but such a description fails to capture all the tricks that gaarder pulls with this book for sophie s world is also a book within a book within a book a meditation on the free will of fictional characters a mystery and a political manifesto unfortunately i can t really say that i liked gaarder s tricks too much however the strength of the philosophy lectures deservedly earned my respect the book begins with some pretty vapid observations a disappointing start for a novel that is supposed to seriously chart the progress of philosophy at one point early in the book gaarder writes you can t experience being alive without realizing that you have to die she thought but it s just as impossible to realize you have to die without thinking how incredibly amazing it is to be alive in itself this isn t such a bad sentiment lewis thomas expressed a similar view in one of his remarkable essays but it has the feel of a hallmark moment with all the saccharine and artificiality that that term implies things get a little better when gaarder begins on classical philosophy although he passes extremely quickly over most of it gaarder spends plenty of time on plato and aristotle with several succinct sections on their philosophies the book really starts picking up when it starts discussing descartes gaarder presents an excellent overview of descartes s major thoughts including his cogito ergo sum and his epistemology both of which i ve studied naturally there s nothing particularly deep here but gaarder gives us enough to understand the core of descartes s basic beliefs the philosophy just keeps getting better from this point onward gaarder does an amazing job with kant although my familiarity with some of his thoughts probably helped me navigate through the many many points that gaarder brings up about that amazing man he also explicates well the central concepts of empiricism and marxism the sections that i thought were weaker involved romanticism and existentialism finally gaarder unleashes a truly delicious attack on the new age phenomena that also doubles as a defense of western philosophy as an appropriate field of study despite being written by dead white males the chief strength of gaarder s presentation of philosoph...