Mashle and the Difference Between Fighting and Self-Defense

In the past few years, I’ve developed a terrible interest in reading and viewing arguments about martial arts, from kung fu to MMA and beyond. There’s a combination of established knowledge, lost knowledge, myths and legends, fraudsters, hero worship, dick-waving, differing philosophies, and genuine curiosity that makes it a weirdly compelling shit soup. During these trawls, I occasionally see an argument that goes something like “If their kung fu is so great, why don’t they prove it in the ring, and also make a ton of money?” 

But what I was surprised to find is a response of sorts to that question in the pages of the manga Mashle—a series that asks, “What if Harry Potter was a non-magical himbo who overcame all obstacles through comically absurd physical prowess like Saitama from One Punch Man?” Not only does Mashle do a surprisingly good job of addressing the inequality inherent in its world, but it also cuts through expectations in other ways too, including how and why people learn to fight.

It’s important to note that con artists are a dime a dozen in the world of martial arts. It’s the realm of claims of supposed no-touch knockouts, poison fists, and chi energy. Even when you put such ridiculous “feats” aside, there are plenty of generic schools that are justifiably derided as “McDojos” or “belt factories,” essentially teaching nothing of substance. Because of this, many have reasonably become skeptical towards anyone who purports to fight with superhuman abilities. Asking for real proof makes sense, but there’s this peculiar jump in logic I see sometimes, where “prove it in the ring“ becomes “doesn’t everyone want to prove themselves?”

That’s where Mashle and its hero, Mash Burnedead, come in. During one of Mash’s most fearsome battles to date, his opponent says, “I’ve found someone who I can unleash my full powers against. I feel…invigorated. You must feel it too—the desire to fight even greater opponents.”

To which Mash responds, “Not really. I don’t want to fight stronger people. I don’t find it exciting at all. I still…just want to go home.”

This whole scene is a brief gag in a larger action scene, but Mash’s answer is a succinct counterpoint to the notion that everyone who truly learns how to fight has this killer instinct they need to unleash upon the world, whether for profit, fame, or to prove something. It actually takes a particular kind of person to want to willingly get in harm‘s way in order to show the world what they’re capable of.

One of the martial arts videos I‘ve watched (see above) is from an instructor on Youtube named Adam Chan, about the Hakka fist. As Adam explains, the Hakka are an ethnic group in China who were historically very poor and had to migrate a lot, and the various martial arts they developed came from civilians needing to survive against prejudice and xenophobia rather than as part of an army or in order to engage in duels. This is where Mash is: he didn‘t learn how to fight because of ego, bravado, a thirst for more, or because of a chip on his shoulder. He did it to protect himself and those dear to him. 

Within online discussions of martial arts and fighting, conversations end up getting geared towards “Whose kung fu is strongest?” in the literal sense. But Mash Burnedead represents the reminder that sometimes it’s the wrong question to ask. The desire to hurt others and risk getting yourself hurt in the process is not the only way to view things, even if there is a certain glamor to the idea of honing oneself into a human weapon. 

I Started Reading the Saint Seiya Manga

Pegas Seiya and Dragon Shiryu facing off with their armors shattered, their respective constellation animals prominently shown in the background

Saint Seiya is a series I’ve long known about, but one I’ve never really engaged with at its core. Sure, I loved Saint Seiya Omega. The opening theme and anthem of the franchise, “Pegasus Fantasy,” is always great at karaoke. When the characters came around on SaltyBet, things were bound to get interesting. And years before all that, I caught episodes of the English dub that committed the sin of replacing the aforementioned anthem with a middling cover of “I Ran.” Yet, I put off experiencing the original works—until now. I began to read the manga (available in English on the Shonen Jump app), and I certainly have Some Thoughts.

Because of subcultural exposure and the fact that I explore and research a lot about manga, I already have an image in my head of Saint Seiya as a work about guys teaming up to fight gods from Greek mythology using special celestial armors called “Cloth.” I know it is the pioneering work in the “boys in armor” subgenre from which spawned works like Samurai Troopers, Shurato, and Reideen the Superior. I’m fully aware that in terms of worldwide popularity, the US is the exception rather than the norm: the franchise is a beloved classic. And as for its reputation for featuring pretty boys engaging in passionate battles rife with blood and tears—a combination has made it a hit with all genders—that really says it all. Intensity, thy name is Saint Seiya. What I wasn’t prepared for is just how different the manga feels at the beginning, and how many twists and turns it takes even in the first handful of chapters.

Nothing says a certain series or franchise has to stay the same forever. Consistency can be good, but it’s not the only path to greatness. When it comes to classic Jump manga especially, there’s more than a few examples of significant pivots. Kinnikuman starts as an Ultraman parody and ends up as a wrestling story. The card game that defines Yu-Gi-Oh! in pop culture was originally a one-off story. YuYu Hakusho goes from detective mysteries to tournament arcs galore. While Saint Seiya doesn’t stray quite that far from its early roots of armored boys fighting fiercely, there are definitely points at which it feels like the author, Kurumada, was playing it by ear. 

There’s a lot about different characters defying established order without readers having knowledge of what that order is, exemplified by the protagonist Seiya. He’s trying to find his sister, and in order to do so, he has to get this magical Greek armor, but then he refuses to play by the rules and instead escapes to Japan to…enter a tournament? But even that ends up being a pretense to meet the other “Bronze Knights,” who are adversaries turned eventual allies. And the incarnation of the goddess Athena, whom they’re apparently meant to fight for, begins the story as a snobby rich girl whose dad has adopted like a hundred orphans to be potential Cloth bearers. Well, okay.

Saint Seiya seems more built on spectacle than anything else, or perhaps its plot is just a pretense for putting on display these cool guys in hot fights. I say that not as a criticism but more as an observation, because I think that such an approach does make for a memorable work, as it’s more about the aura of excitement than trying to dot every “i” and cross every “t.” This early on, I know that Saint Seiya hasn’t reached the pinnacle of its power level yet, and I think I’m going to appreciate that journey. 

Mashle Is the Answer to Harry Potter (No, Really)

Harry Potter is synonymous with magical school fantasy, defining the genre for an entire generation. However, one criticism I increasingly see is that it’s more about maintaining/restoring the status quo rather than trying to effect a real and lasting positive societal change that goes beyond defeating evil. While it’s a bit unfair to pigeonhole the books in this way, it’s also hard to deny that Harry Potter eschews structural issues about the world it presents, and that this is not all that uncommon in similar fiction.

That’s why the last place I expected to see a more boldly progressive take on the inequities of a wizarding society would come in the form of a comedic shounen manga called Mashle: Magic & Muscles.

I want to be clear that Mashle is not some leftist manifesto that proudly announces its overthrowing of capitalist oppressors. Jack London’s The Iron Heel this most certainly is not. But when you compare how Mashle and Harry Potter tackle the same premise, the differences stand out.

Both protagonists, Harry Potter and Mash Burnedead, enroll in a magic school where they must deal with being outsiders while also being under the benevolent watch of the school’s wise, old leader. However, whereas Harry Potter at the start is simply inexperienced with wizardry but has potential for greatness, Mash is completely incapable of magic. In order to get through his classes and achieve his goal of becoming Divine Visionary (a motivation from the beginning unlike Harry’s initial uncertainty), Mash has to overcome his disadvantage through sheer physical power. 

The contest between Mash’s muscles and the occult abilities he contends with is generally played for laughs, but there’s another layer to that contrast. Sure, it’s funny to see his “magic” be activating different muscle groups and his “spells” amount to suplexes and punches to the face. Yet, because he is doing this purely through his human physiology, his victories over other students both read differently from Harry’s accomplishments and are received differently by the very mages he bests. By beating them without magic, Mash makes his opponents realize on some level that they are themselves victims—because they get drawn into the incessant and blinding obsession with hierarchy and power. The problem is not exclusive to any specific group of rogue ne’er-do-wells, it’s systemic.

Mash himself is not a sharp mind capable of bold leadership. He’s from that Goku/Luffy/Saitama lineage where thinking is not their strong suit. He merely wants to live a comfortable life with his grandfather, but he’s forced to attempt the impossible and become the top of a magical school because his world despises the weak. Mash defies his society in multiple ways: upending what strength means, as well as rejecting the notion that those with less deserve less.

Around Chapter 65, the “Voldemort” of the series is revealed, as are Mash’s true origins. While not quite the same as the concept of horcruxes relative to Harry and Voldemort, Mash and the main villain share a similar connection. Mash turns out not to be the everyman he assumed himself to be, but that doesn’t change the fact that he uses his particular skills to upend people’s preconceived notions. The difference between Harry discovering the magic within and Mash working to overcome the magic he lacks remains stark.

That all said, it’s hard to think of Mashle as being in the same league as Harry Potter when it comes to the ability to capture people’s imaginations. It simply doesn’t have that sense of wonder that makes Harry Potter so enduring; instead, it goes for lots of comedy, absurdity, and the occasional cool fight. Spiritually, it’s cut from the same cloth as Kinnikuman and early Dragon Ball, during the kid Goku era. I have trouble seeing children running around pretending to be Mash because Mashle doesn’t really provide for that.

Mashle and Harry Potter both operate under the idea that the power of love is in a category of its own. But where Harry Potter’s is either abstract in its sentimentality or all too literal, Mashle’s manifests in a grandfather taught the value of human life, and a grandson who strives to live up to that ideal through both word and deed.

The Shonen Jump Meat Grinder: Why So Many Manga Die Young

feb2017jumpstart

With a bunch of new Shounen Jump titles debuting as of late, I’ve written a new post over at Apartment 507 about the high turnover rate of Jump manga. Check it out!

Shounen Sports and Girl Appeal

I’ve been watching two shounen anime adaptations as of late, Yowamushi Pedal and Kuroko’s Basketball. The former runs in Weekly Shounen Champion, the latter in Weekly Shounen Jump. When you look the contents of each series, it’s almost obvious, as if they embody the general direction each magazine has taken, but not in a way which denies either their contemporary nature or their shounen-ness.

In this age where the definition of shounen manga has been in flux, Shounen Champion is the most primary source of classic, old-fashioned shounen manga where a boy does his best to fight and improve. It fits the basic goal of that magazine quite well, which is to be a boys’ magazine for boys, though Yowamushi Pedal isn’t without its modern flairs, including having a more handsome rival for the main character.

Shounen Jump on the other hand is arguably the mainstream boys’ magazine which has embraced its female audience the most, outside of Jump variations which specifically target that audience. Kuroko’s Basketball, like Prince of Tennis before it, is filled with good-looking guys handsomely showing their best. Even if they’re not fujoshi, there’s a clear appeal to girls in it, though overall the series still has in common with Yowamushi Pedal the thrill of sports and competition.

One thing that both series share is the female manager archetype, who more broadly fits into the “knowledgeable supporter” role as well. The idea is that, while they’re not participants in the main activity of each series, they bring an enthusiasm and a set of knowledge that helps the reader understand the sport better while also acting as a cheerleader for the main character and maybe providing a bit of eye candy, though I don’t think either Miki from Yowamushi Pedal or Riko from Kuroko’s Basketball are quite the characters you’d go to for cheesecake. At the same time, I think there’s a certain substantial difference between Miki and Riko, which is that Miki is clearly a love interest for the main character, whereas Riko if she has any romantic involvement at all is with a side character in the series.

I think the fact that Riko is not a love interest, and arguably that Kuroko’s Basketball has no main female love interest for its main character at all (Momo is ostensibly one but her connection to Aomine seems stronger) speaks a lot to the difference in their magazines.  I don’t think this just has to do with Kuroko’s Basketball having a fujoshi fanbase which prefers pairing the guys together, either. If anything, I get an almost shoujo manga-esque impression of Riko’s relationship with Hyuuga and Teppei due to their interactions, not in the sense of hearts and sparkles in the background, but from its use of Riko as a character in her own right.

Like Casting Pearls Before Artificial Intelligence

If you’ll allow me a moment, I am going to rant about them there video games.

I’ve been playing Jump Ultimate Stars recently, trying to finally unlock all the characters and such, and in order to do so you need to collect these gems that appear when you break open containers or you defeat enemies. A simple, if tedious process, gem collection is made five times worse when you find out that your computer opponents collect the gems as well.

Now keep in mind that unlike other items which might cause status effects or buffs/de-buffs, the gems serve no function other than as currency, and so serve no use to the computer opponents who will occasionally go out of their way to collect them. It just slows down the grinding process unnecessarily and can make you want to punch Yugi in the face when he grabs your damn knowledge gem for the umpteenth time. Fortunately with this game you can do exactly that.

If you’ve played Super Smash Bros. Brawl, then you probably know what I’m talking about. In Brawl, you get additional background music by collecting CDs which will randomly pop up in the middle of a fight. Again, if a computer-controlled opponent picks that CD up it means that you’re going to have to wait another day for that disc to reappear.

Why, Nintendo? Why, Ganbarion? Why put this into your games? It just leads to annoyance and frustration, and not the good kind either.

Oh yeah, if you do reply, please don’t turn this into an argument about tripping or whatever.

How to Tell If You’re Tiring of Bleach: BANKAI GYAKUTEN

Now there are a lot of fans of the Shounen Jump manga and anime, Bleach. It’s one of the more popular series in the US, and of course does well in Japan too. However, along the way many fans fall off of Bleach or start to feel as if it’s dragging. Something is missing, something that drew you into the series initially and kept you reading for a long time. I believe there to be a simple indicator of whether or not you feel like either dropping Bleach or putting it on hiatus or whatever.

When a character reveals their Bankai for the first time, are you excited?

If you said, “No,” then it’s possible you need a break.

It’s difficult to tell with whom the “fault” lies. Maybe it’s that you the reader have read so much Bleach that it’s starting to become old hat. Maybe you’ve lost a taste for endless Shounen Fighting. Or maybe the author Kubo is losing his touch, or at the very least losing his touch in your eyes. Whatever the reason may be, you have the option of sitting back, avoiding the comic, and who knows? Maybe you’ll come back to it a month later and appreciate it anew. Or you might just never read it again.

But really, it all comes down to the Bankai. The reason why I use this specifically is that because the Bankai Reveal is always supposed to be a Big Deal in Bleach, and if the Big Deal moments aren’t grabbing you, something is up.

Oh, and if you tired of the manga before the first Bankai is ever revealed…well I can’t help you there.

“Be a Man!” Otokojuku Live Action Movie Saturday, June 27th

The New York Asian Film Festival is going on right now, and Saturday they’re going to be showing a movie based on the 80s Shounen Jump property Sakigake!! Otokojuku, about a school full of delinquents and the Samurai-esque main character who unites them with his manliness and his wooden sword. Advertised here as “Be a Man! Samurai School,” the movie will be shown at 8pm at the IFC Theater in Manhattan, on 6th Ave and West 3rd. I will be attending, as well as quite a few other anime bloggers in the New York area, such as the Reverse Thieves, Subatomic Brainfreeze, and Anime Almanac. Good times will be had, and a generation of moviegoers (limited to those who are inside the theater) will have a taste of true manliness.

The original Otokojuku opening:

And a choice scene from the anime:

Nowhere to Go But Everywhere: Kinnikuman

I’ve recently been reading the Shounen Jump classic Kinnikuman (literally “Muscleman”) by the creative duo known as Yudetamago. If I had to describe it in one word, it would be “transparent.” A transparent work, as I’m using the term, describes something where you, as a reader, are able to see the creative process used in creating the series, and in that sense Kinnikuman is the most transparent manga I have ever seen. Plot points and important climaxes are revealed with little prior warning, and the reader isn’t given much time to parse any logic, which is good because there never is any.

The basic premise of Kinnikuman is that it’s about a bumbling oaf named Kinniku Suguru trying to be a superhero. It starts off as an Ultraman parody, but as the comic progressed the creators got into pro wrestling so, “Hey why not!” they said. “Let’s turn the whole comic into a wild and crazy version of pro wrestling where people wear hats on their feet and hamburgers eat people!”

One of the later villains in the series is named Sneagator. His name is a portmanteau of the words “sneaker” and “alligator,” and that’s exactly what he looks like. But he also reveals that he has the ability to shed his skin and turn into different reptiles, such as snakes and lizards, and according to Sneagator he can turn into the most terrifying reptile of all, a frilled-neck lizard! Except this frilled-neck lizard can SPIN ITS FRILLS LIKE A BUZZSAW.

But that’s not even Sneagator’s true form! In fact, I think I’ll let the images do the talking.

Yes, his true form is THE FOOT OF A TYRANNOSAURUS REX. Now consider that the whole series is like this. You can pretty much tell that every single moment in Kinnikuman had its creation preceded by at least one of its authors saying, “Wouldn’t it be cool if _________.” Repeat this for 36 volumes.

You might think I’m complaining about its lack of structure but I’m really doing quite the opposite. This transparency is the charm and primary strength of Kinnikuman. Oda (One Piece) and Toriyama (Dragon Ball) have both been lauded for understanding what boys like and want, and appealing to their senses, but they both have a level of self-control and an idea of what would happen at least as far as the current arc. Series such as Pyuu! to Fuku Jaguar are crazy and frenetic, but you can tell that the jokes are planned out well, that there’s a method to the madness. Kinnikuman has none of that sophistication and doesn’t really need it. On top of that, it’s about as extreme as a series like Violence Hero Riki-Oh but unlike Riki-Oh it’s still definitely meant for children. Kinnikuman is unique among its peers.

Seriously, check it out if you want to see the kind of wonderful Shounen comic that just can’t survive these days.

Reminder that Shounen Jump’s Special Anime Streaming is About to End

I’m here to remind everyone that January 31st, 2009 is the last day you can see the three  exclusive Shounen Jump anime specials airing on their official website.

I already wrote a review for their Dragon Ball special, so check it out.

The One Piece special is an isolated episode, but it’s the fun and wonder you’ve grown to expect out of One Piece. Even if you’ve never actually seen One Piece before it’ll be all right as long as you’re not afraid of spoilers, as the Straw Hat Pirate crew is pretty far along by this point.

This is Letter Bee’s first anime, and it’s really nice to look at. Kind of atypical for a shounen jump series, Letter Bee feels a little more subdued than expected, which I can only call a good thing.

I’d write longer reviews but I realized that by the time I wrote them, it’d be already too late.

So go forth, young anime fan!