Frédéric. Boiled and the Notwvelle Manaa - Zz Volta HrweAs NEARLY FURRY RON around the world enjoys its own domestic brand of visual storytelling, there are three contemporary traitors that canbe set ‘apart as ether the source of er secondary influence on all the others—namely, bande dessinie(Franco-Belgian), ‘comes (English), and mange (Japanese). Despite the geo graphicand cultural isolation thatallowed each to devel- ‘ep essentially uninfluenced if rot completely unaware of ‘he others al three traditions followed a parallel contour of development from being a medium associated with clspasable novelty atthe davn ofthe twentieth century to one already commanding the stage as a vibrant and literary form in the emergent twenty-first. In a however, the el past two decades, centripetal forces that kept each particular tradition fnolated to ite zone of influence have boon scoded by the social and economic tends commonly thought of a3 slobalization. The recent explosion of awareness about graphic novels in the United States. in particular can be attributed to heavy lifting by all three trations in tan- demas evidenced by the critical and commercial success ‘enioved by such disparate works a5 Marjane Satrapi’s Persepolis, Craig Thompsons Bales, and Rumiko Taka- hashi’s nw Yasha, amorg many, many others. As these 34 fold erste Today ROB VOLIMAR respective markets have drifed unmistakably closer ‘over the past hwenty years, the impulse to cros-pol- linate both creatively and economically between them ‘as proven equally iresistible. One such effort, Noavelle “Manga, aligns like-minded creators of bande dessin (to) land manga unvder one conceptual banner, Its architect, ‘retor, and criti, Frédéric Boilet, fourded the move rent in 2001 and has since orchestrated the publication ‘of an impressive array of work originating, primarly from France and Japan in over nine different languages. Bovlet made his debut as a dessnateur de BO curing, the early 198s. While the French market at the tne was dominated by meticulously illustrated science fiction and fartasy stories, Boilet ound himself more at hhoine during the 1998 when 9 confederation of emaler album publishers, most specializing in auwobiographi- cal material, reignited the general public interest in boone dessins. As early x6 1990, he ravoled to Japan to research Low Hot a collaborative graphic album with writer Benoit Peeters. Three years later, Ballet received the Moming Manga fellowship from Japanese publisker ‘Kodansha and spent a year in Tokyo as one ofthe fist Westerners invited t9 learn the craft of making, marge clrectly from the Japanese. Though Boilet would return to Franc, the impact of his extended stay in Japan on his NEXTTmane CLOSE & graphic literature PREV NEXT work is profound. A careful study of Love Hotel reveals a number of stylistic tendencies that would not survive this early pericd. Boiet regularly invests his consider able dratting abilities on complexiying backgrounds, 3 ‘practice well line with the illustration intensive work ‘ofthe peciod. His page layouts can also be seen as trend- ing toward the conservative elements ofthe tration in which he is working, rflsting, storytelling, strategies long since codified by the time that Bile is coming to thom {Boilo’s next beok, Tokyo Is My Garden (published in 1997 and 1998 in France and Japan respec tively), unveils the narrative and visual blueprint for the artis’s work to come. Completed in collaboration again with Peeters but also including mange atist Jiro Taniguchi, Tokyo is an ambitious experiment that will. fully bridges the visual gap implied by the distinction between honde desing and manga. Boles own pages offen reflecta new organizing principle, asixpanel grid thot soberly divides up a discrete moment from a fixed perspective. Boilet, who extensively utilizes photograph- sereference, draws upon the familiarity of seeing through the journati’s eye w empower his autobiographi slencies with rich detail and thematic gravity. Returning, to Tokye in 1997, Bolet would undertake the unpree Frédéric Bailet Maren -Apel 2097195Peete CLOSE X Kazeichi Haraoa PREV NEXT 36 1 ore urate ToayImage 4 of S PREV tedented in establishing markets for publishing his work {mn Japan. Though his next fully realized graphic novel, ‘Yakilo's Spinack, would take over three years to serial- ie and complete, he created and placed a considerable number of ether shorter pieces with 2 variety of manga ‘gavin. Given the appetite for maga in Japan, each new success granted Boilet access toa domestic audience ranging anywhere in size from ane hundred thousand 10 five million readers. “The compete editions of Yukio’s Spimaty were simuancously release in France ane Japan in 301 ar marked the beginning of a pasticularly ambitious leg of ite author's carcor In Seplember of that same yer, Boilet organized the fir Nouvelle Manga event, Ix conjunc tion with the Tokyo National University of Fine Anis ard Music and several nearby art galleries, Bellet and an eclectic mix honda dessinde and mara artists (also known a5 manga) presented their work tthe public In anessay that was included in the show's program, Boilet aniculates for the fist time the meaning and purpose fof the Nouvelle Manga movement to come. Opening ‘with an in-depth discussion ofthe traditional differences between manga and bude deine, Foilet makes an essen- til distinction between the impulses that motivate the nists erating them, noting that “in Japan, a ming is ‘someone who wants, above all, 0 tell stores, as opposed tothose authors of Wes dss, "SDs" France, bho ‘generally come into thelr craft theough an interest in drawing” Bolle further distinguishes what he considers tr ditional ‘DDy’ and Nouvelle BD, the tenn be offers 0 describe the amal:press revelution of which he was a port in France. Li 2 bode dessin, mary, he note, ako has ifs awn commercial sector tha i largely incompat ile with the other triditions due to the insulated ard highly stliaed visual storytelling techniques that typity it Ths type of marga, despite its popularity internation- ally, only represents a portion of the total outpat of Japan's domestic industry. The rest, ike Nouvelle BD, are rooted, a east in the cyt of autobiography if not always its form, and shave a common value of provtie~ ing the believable depiction of everyday le. na mere recent piece entitled "Nouvelle Manga in 2006," Boilet succinct recalls his reasoning in pairing ‘work from these partculat authors together, despre thai cultural diferences, observing that while cerain formatted ane targeted series, which feature the tricks ard characterises ofeach “ger are aimed specically at the fans of manga, comics cLose X graphic literature le BD, the work of such innovators as Japan's Kiro Nananan (lu) Arian Tomine (Sanne Blonde from the US. or France's Fabrice Neus! (jour) can most likey be appreciated by readers of mangr as wall as thine of comics or BD... In reality, the Borderline that divider the commercial graphic novel fom the graphic navel dutour seems more significant than thst between mauga, comics, nd BD. Its this con- nivance and the conscicusness of the universalty of the graphic novel deur thatthe Nouvelle Manga overeat seeks to express One of the greatest strengihs of Nouvelle Mange sit has developed since 2001 ie the loscbilty i offers the creators aligned with the movement. The aesthetic loscribed in the Monies i simple and broad oncugh (comics auto that are adult and sniversa, that speak ff men and women and thei cay life") to cukivate a dliverse batch of rekases for each participating language base." While these aims do enjoy a pragmatism associat ced with the acquisition of ew markets fo often proven ‘material, they also ably push the creative momentum of the movement toward the substantive ard, often, liter ary. In emphasizing the naturally occurring similanitcs between particular segments of both the bande destin? and nana tadition, Nowvedle Manga is able to draw upon pre-existing Nouvelle BD of exceptional quality from authors like David 8 and Joann Star to tap esser- tually untouches markets in Japan, ‘Conversely, it 18 also used to round cut ang, in some cases, eehablitate the impression of mung? in the ‘West through the export of substantive work from ver een nga like Kaichi Manawa aad fro Taniguch. The complementary advantagcs of the Nouvelle Meng tratogy for authors from both markets are compelling, “The desolate de 8D, who for the most past vill not lien ther work ax anythinggbut BD domestically, ‘til gain access to the otherwise impervious Japanese market (hich is the feeder for the rest of East Asi) by virtue of their thematic commenalties with Boilers own BD-mange hybrid. The mmgoit, many of wom are not actively engaged in the commercial mange secter and, thus, exempted from the fll dollars thatsometimes accompany it, gain an important sense of community with other noretraditional manga creatoss in Japan 28 well as foreign markets to help subsidize the production fnew work ‘An equally vital segment of Nouvelle Manga’s output is made up of younger maygaen that have been discovered and cultivated by Boi. In 2203, artist Kan. NEXT ae Agel 00 37PREV s 381 wort ‘Takaharm joined the Newvelle Manga collective alter meeting and discussing the principles ofthe movement ‘with Botlet: Her first book, Monoture Kinderbeok, had been released before this meeting but showed already fan artistic sympathy with the movement's thematic and illustrative corcems. For her first work with Nov- vole Manga, Takahama collaborated with Boil on 3 sequel to his Yukil’s Spinach entitled Mariko Parad. In It, Bolet is able to create a new content for some of his shorter pieces produced while making YuAiio by weit ing connecting and framing sequences that are then illustrated by Takshama. While the Phematic concerns ‘of Marke Parade ate stil reminiscent of Takshama’ atl flor, Brle's influonce and process can be see quite clealy compleyed. Takahama describes her work today at “quits, influenced” by her esrly involvement not only with the Nouvelle Manga movement bat “from Mr. Bailet himself, his way of thinking, and his method of produc tion Another Nowvelle mangain Little Fish, began his career in the avant garde sector of maga. He describes his work, then and now, a, “ignoring the exmmon work in the Liyout eralogive and pacing knowledge and rules of the japanese manga world” but recalls that “at the beginning, ever | myself felt lost and hesitant about such a style.” Lite Fish, who also uses photographic olerence and computers extensively inthe prediction of his mia, found « kindred spit in Boies ‘who facilitated the publication of his work abroad. As 2 result of his saccessin those markets, Lite Fish says thal he has now “become completly indifferent tothe rules of the japanese manga world.” “To briefly recap, Nowvelle Manga is a sophisicare, International organization that has, in the span of five years, succesfully alfiliated its efforts with broad elwork of publishers rorching the three fundamental markets for narative at: namely, the Japan, Franco- Belgian, anal English. Moroover, the critical aclaim tha! these works have generally received upon their arrival is often adequately siperlative to open up adjacent language marke's ice Spanish lalian and Complex Chi nese that reach wider asdiences yet. Despite these many accomplishments, most of which would have been con- sidered a foc's venture a mere ten years age, late 2005 Little Fish CLOSE X NEXT—s eee PREV graphic literature Kan Takahara saw the completion of Frédéric Boilet’s most ambitious ‘project toate, Jypan as Viewed by Sevenicen Creators, The introduction tothe bookis an e-mail from Beilet to one of the French contributors, Etienne Davodeat, Wherein he describes the project more succinctly that it ‘could be parapheased. Within the framework of 2 project fhe a callective alum, curenily named Japan, the French Institutes and Aliances in Japan have ceme together to invite fight French come creators o visit... The work will bring together cight short stores by cight French speaking authors wil be invited t vst eight iis in Japon... Wo'm asking the visting authors to create a Jen-tosixter-page story in black and white—ficon, chronic, autebiography—around the place, town, or ‘ree to which they are invited, The Japanese authors and myselt wil emate stories around the place where Wwe ive, our neighborioeds or, a the ease ofthe Japor nese, their native country" It is not hyperbole to suggest thut the seventeen creators that Bollet brings under the Nouvelle Manga banner for this publication representa staetling percent- age of the world’s finest narrative artists. Despite the Widely divergent approacses on display throughout, the editorial restraints harmonize even the most eclectic pieces with the rest f the collection. The visting, French artists, n particular share @ number of common factors {the limited time span o! thelr vist, aryphoun that visits the island, the culture shock of being abroad) that only Lnderscore more boldly the Flexibility that ean be coaxed from autobiography as form. It doss not hinder their ‘aves, of course, that many of those particular creators wore fundamental players in the autbiographical revo- lution that began inthe 10906 (and continues to this day) and have been honing their craft, one might say, almost in preparation fora projctjust lke this one for, in some cases, twenty years or more ‘The Japanese contributors make up 2 more het- rogencous group than their French counterparts and ‘an be distinguished into essential three groups. The firstis made up of mamgola like Taniguchi and Hanawa who have been making mange for decades out recently have enjoyed the benefits of working within the Nou- velle Manga structure as their work, beth old and area 2007 139 CLOSE X NEXTPREV new, finds new audiences abroed. Japan Second are the younger mangekt like Takshama, Little Fish, and Daisuke Igarashi, who often see ther involvement in the movement as an extension to and’ improve- ‘ment upon their participation in the avant-garde manga sector. The last is perhaps the most important as it seems to represent a new develep- ment for the group. Moyoko Anno and Taiyo Matsumoto have beth experienced considerable successin the commercial marga sector, both Joe Sacco was brn in Maa in 1960. The flowing yer, is a ily nove to Ausvaa before settling it Porta, Oregon, 1372 Sacco ecivedhis8.A in jourais fom th University of Oregon in 1981, Two years ate, he retuned to Mate and pubs his first profesional cartooning wock—a series of romance cami. In 1985, ater moving back to Podlard, Saco co-ested and copublsted Rortand Permanent Press, the monthly comics enspaper He moves to Los Arges in 1986 and werkes for Fantagraphics Books. Thee, he ete the news secon fr the arcs Jowna an create te sata comic magazne Cent gal Bunbi-ropy, {40 Worle Uiveatee Toy snd abroad, The leap from commercial to Nouvelle menge is re doubt a shorter one for these ‘sco particular artists, both ofwhom imbue an idioxyneratic quality to their work. than for thers working in these stylized markets. Still as the anthology is able to incorporate otherwise marketable authors with the range necessary to harmonize with its goals, its chances of being accepted by @ broader range of readers are improved, usc to Boile’s editorial and tise input, Japon ae Viewed by Seventeen Creators stands as a com palling document to the vitality of the ideas contained within the Nou velle Manga experiment. In show casing, some of the most forward looking aitists from two of three dominant narrative art traditions, Japan paints @ comprebensive pi ture of the possibilities contained within those traditions while offer- ing encugh limiting factors to keep the collection as a whole cohesive, J oe Sacco Sacco traveled around the wolf 1988 te 1992 uring hic tine he produce sixsses of his own comic book, Yahoo, for Famtagrapis Books. Sacco then spent a couple of months with a eck bang in Europe, documenting her experiencesin ut ke (2006), He asa drew record sleeves ard poste for Ge- san recor labels and concert promoters Bein inate 1931 2d tary 192, e spent two months nial and the occuped ternones. Comevnng Ms jounste and staying abi, sacco produce Palstre in 1993, a quarterly seization which receved the resighus American Sook Amarin 1996 Author NEXTPees PREV despite the cultural diferences that distinguish if rot separate the two ‘groups. By the end of 2006, apa will be available in seven dilfer- cnt editions worldwide and will 0 cloubi serve as an able ambassador in thowe now markets for mow Now- velle Manga works to be translated and published. If this rend contin- ues, it is only a mater of time until the American comics market, which featutes its own Comics Nouveaux (@ fact to which Boilet alludes in ‘mentioning Adrian Tomine in his conversation spesch quoted above), becomes the final meling pot into which the world’s literary narrative tions will blond into 9 wholly new tradition ofits own, Norman, Okiahoms Autlor note: Special thanks to lie AAbou-Nassar and Zachary Francks for their ad bn fk Frdderic Bellet, “Manifeste de la Nouvelle Manga,” te. Olivier Peit- 2006), CLOSE X graphic literature pas & Ken Hollings, 2001, wow holt net ade, *Erédéric Boilet, "Nouvelle Manga en 2006." tr. ric Bole, 2008, worwboilet net, "Frederic Built, “Manifeste de bs Noavelle Manga,” 2000 «+ Kan Tekaharea, emai interview, Zachary Francks, September 208, > Litde Fish, email interview, tt Zachary Frencks, September 20%, ‘ Frédéne Boils, ed. introduction to lapon as Viewed by 27 Creators (Madrid: Ponent Mon/Farfare, tng this global Profile Sallevang the euces of Paes’: pulstion, Ssccourote a her sry, "Chita with Kara” tat appeared n Zi 247015, an ornate comics anthology in 1985 Sacen taveed te Saale and the sureuncing areas, where he started his book Se Area. Govaade (2010), whch addesses te polical sates suurouncing tv Bosnian contict hh 1998 Detais magannes comic editor At Spigelran conmisoned Saco to cover the Bosnian War Creme Tra. Fl lowing ta, Sacco was sent on tou withthe gfeat Mssisipoan blues musa RL Burnside fora second snp n 2001 Saeco received 4 Guggorhain felowsho 10 help persue hit work He late pulblahed Th Fixer (20031 another lof his aranhi jouralim neces on Bosnia, and became a sta catenist forthe Washington Monti 2008 for a yas, ceat- ing two-page satriee-poitcelstps. Mere recently, he has been working on abodk about thesouthem Gaza ro caled Foctnotes In Gaza forthcoming. corse tory about Chechen refuges in Inqusheta was pulsed in Lue Here, 2 2006 anthology. ome oy ing Ch 90 Noveh- Age 2007 42