All of the Drama, All of the Con. And More.

Svetlana Chmakova's Dramacon was one of Tokyopop's most critically acclaimed OEL manga so it's no surprise that the series received a compilation in the form of the Ultimate Edition. This is the definitive version, and comes with extras that weren't present in the original releases.

Dramacon begins when naive high schooler and aspiring writer Christie Leroux goes to her first anime convention with her artist boyfriend Derek and two of their other friends. She is initially off-put by the experience, in no thanks to the lack of attention from Derek, but has a chance encounter with enigmatic cosplayer Matt Green. He is guarded and sarcastic but when he reveals the kinder and more noble side of his personality, she finds herself drawn to him. A chain of events follow that will pick up and end with the beginning and conclusion of each con year, putting Christie through an emotional roller coaster as she immerses further into her fandom and also tries to win Matt's heart.

Dramacon's most profound strength is that it feels authentic. The story in its entirety is like a combination of con experience snippets from 4chan's /cgl/ woven tightly together to form something believable and cohesive. Conventions are after all a place for people to connect and people... tend to have drama. The manga doesn't disappoint either in terms of its cast: from minor to important, even if they are a bit archetypical, the characters are either relatable and endearing or saddeningly real and multifaceted. When Christie's friend Bethany has to openly deal with her mother's disdain for her hobby in the third volume, I'm certain it hearkens back to many a young anime fan's own experiences. The story isn't all sap though, and the constant pepperings of comedy are well-timed and hilarious.

In terms of art, the manga is sharp, clean, and vividly carries the emotion of scenes and interactions. The sleek and slender character designs are markedly shoujo and rather fitting. There is a real sense of atmosphere from the convention center to the streets to the hotel rooms, and this only adds to the manga's tone of wonderment. Lastly, the exaggerated, super-deformed segments are incorporated in a way that keeps from being obnoxious or overbearing, but instead clever.

The Ultimate Edition, as I pointed out, is the definitive version of the manga. The story and original omakes are almost all intact, and extra materials plus a cute epilogue is added that expands upon the ending. There is little reason to get the individual volumes of the manga save for collection's sake.

While Dramacon has a reputation as a solid piece of work, it's often dismissed as a light read. But I feel the people who think this don't quite get its depth and subtlety. Svetlana Chmakova admitted to starting the first volume as a quick piece of fluff, but it grew to become something beyond that because of how much truth she put into it. She has stated she'd like to return to the same characters for a future manga, which is quite telling.

Stardust Memories

It took long enough but I got my hands on the last volumes of Viz's localization for Jojo's Bizarre Adventure. I've been in love with the series ever since I played the Dreamcast fighting game as a kid and I began collecting the manga when the volumes made their way to our side of the pond starting in 2005. For the past two years I thought the localization was canceled when I had trouble finding the books anywhere. It’s only recently I discovered the delay came from controversy regarding minor depictions of the Qu'ran and that the last books still managed to make their way over. I promptly snatched the remainders, and now the series stands pristine and completed on my bookshelf.

Something of note: the manga released to us under the title of JJBA does not encompass the entirety of the Jojo story, only "Stardust Crusaders", the third and most iconic series within Hirohiko Araki's universe. The plot follows badass youth Jotaro Kujo, next in line to the Joestar lineage of heroes who served as protagonists for the previous two series. Wielder of the powerful "Stand" named Star Platinum, an astral alter ego, he journeys across the world on his way to Cairo to save his mother from old family nemesis Dio Brando, himself a Stand user with an army of shifty cohorts at his beck and call. But Jotaro himself is not alone, aided by his grandfather Joseph (who was the hero of the last series) and a handful of other friends and allies.

Jojo's Bizarre Adventure deserves its name. Many people forget or don't realize that this manga was serialized in Shonen Jump; the fights highlight a ridiculous amount of one-upmanship the likes of which are typical for any SJ title, though battles so more cerebral and psychological than modern mainstays like Bleach or One Piece, perhaps reaching a level akin to Death Note. Even more than other SJ series, JJBA revels in its sense of locale, with blurbs and mini-scenes that really help ground each chapter in its respective backdrop. But the most distinct thing about JJBA is its eclectic art style, full of anatomically anachronistic posing better seen in a museum gallery of modernist expressionism. This flamboyant presentation, with idiosyncratic, musclebound characters that would be readily welcome in fellow Jump alum Fist of the North Star, gives the series its love-it-or-hate-it personality.

The localization is for the most part faithful to the original Japanese incarnation. Unfortunately, Hirohiko Araki is an avid listener of contemporary music (he states in one of the releases' Q&A sections that he's a fan of Kanye West) and habitually names his villains and their Stands after his favorite artists. On that note, some names needed to be switched around or replaced entirely to avoid stepping on any toes. While it may bother longstanding fans of the series, it won't be jarring to newer readers. Speaking of which, Viz went out of their way to add very up-to-date Q&A sections and omake material that weren't in the original tankobons. A real treat for American Jojo fans who wanted to know more about the series and Araki.

If I have any criticisms, I need to first point out that for all its symbolic coolness the concept of the Stand was shoehorned into the continuity. There is no mention of anything related to Stands in Series One or Two except for Hamon, the lifeforce which comprises them, an abracadabra essence like Naruto’s Chakra or Dragonball’s Ki. Also, the series makes a few arbitrary twists and turns in plot or introduces smalltime characters that ultimately end up being irrelevant. Perhaps the biggest knock against the series is in its suspenseful and action-packed conclusion; many of the hero deaths toward the end of Stardust Crusaders come so swiftly that there is little room for drama or emotional impact, as if Yoshiyuki Tomino had suddenly took reins over the series.

JJBA Series 3 was a highly entertaining read, though I recognize my bias and again point out that the series isn't for everyone. I hope that another story from Jojo eventually finds its way here, preferably Stone Ocean with Jojo’s daughter Jolyne or Steel Ball Run, set in an alternate universe during the 1890’s. Seeing as how Araki originally titled Stardust Crusaders "Heritage for the Future", it's only fitting.

The Boondocks Season 3 is Dope

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The second episode of the final season already aired last Sunday and as the series was meant to do, I've been between rofls and pensive hums.

Incumbent satire is a mainstay for a series whose primary point is political and social commentary. But though I doubt the series can top itself in terms of controversy since the MLK episode, I was surprised how well I was entertained by "It's A Black President, Huey Freeman". The Boondocks managed to perfectly summarize America's views on O-bizzle with its cast and I had no idea Sarah would consider Obama a sexier version of Tom (but it makes sense). Amazingly clever. We also catch a subtle but important turning point in Huey, who now establishes himself as a "retired" terrorist. What this bodes for the rest of the series is uncertain; but unlike other animated comedy acts like Family Guy, the Boondocks never eschews continuity in the name of humor.

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As if continuing from his humiliation on the political talk show in the previous episode, Thugnificent just can't catch a break in "Bitches to Rags" and his life steadily slides into ruin. And yet it's hilarious all of the way there because Thugnificent is so shortsighted. It's like Riley says toward the end of the episode, he's "like Ray Charles, except without the piano skills or the ability to sing or compose music!" At least we see him somewhat at ease in the end, even if his reality show is probably just a ploy to keep Riley happy.

But for all of the occasional happy endings, Boondocks was always cynical at its core, especially the first season and the comic strip. From what I got out of the teaser trailer and the first episode, things can only get worse for the denizens of Woodcrest hereon in. Before they get better at least, if that may even happen.

If I'm disappointed by anything, it's that the final chapter of the Boondocks tackles "current events" issues already a year old. There's that unavoidable delay between when the episodes were in production and when they actually hit Adult Swim, but it's a bit jarring how the subject matter isn't 100% fresh, even if it is still relevant. Regardless, it's a minor annoyance to deal with for one last season of awesome.

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Tl;dr. I'm really looking forward to the next episode right now. Dodgeball is always funny.