Ultraman made his television debut in 1966, defending Earth from the dual scourge of aliens and giant monsters. What began as a 39-episode series blossomed into one of Japan’s most prolific franchises, yielding dozens of sequels, spin-offs, movies, video games–and now a manga, which has been running in Monthly Hero’s magazine since 2011. Today’s column looks at this incarnation of the Ultraman story, which arrived in stores on Tuesday.
For extra insight into Ultraman‘s history, I encourage you to check out Brigid Alverson’s interview with Tomohiro Shimoguchi and Eiichi Shimizu, the creators of the latest Ultraman manga.
Ultraman, Vol. 1
By Eiichi Shimizu and Tomohiro Shimoguchi
Rated T, for teens
VIZ Media, $8.99 (digital edition)
Dusting off a beloved franchise and making it appeal to a new generation is a hazardous undertaking: stray too far from the source material and incur the wrath of purists, but hew too closely to the original and risk redundancy or camp. Manga-ka Eiichi Shimizu and Tomohiro Shimoguchi have found an elegant strategy for introducing Ultraman to contemporary readers, using the original premise of the 1966 TV show as a starting point for a new chapter in the story.
The prelude to volume one neatly outlines Ultraman’s origins. Shin Hayata, member of the Science Special Search Party (a.k.a. the Science Patrol), unwittingly becomes the host for Ultraman, a powerful alien tasked with ridding Earth of dangerous monsters. Only a few members of the Science Patrol know Ultraman’s true identity–a secret they keep from Hayata, who is unaware that he is the vessel for Ultraman’s powers. The story then leaps forward thirty years: Ultraman has returned to his own world, Hayata has retired from the Science Patrol, and his son Shinjiro is beginning to manifest powers of his own.
In contrast to the introduction, which is a model of economy, the first chapter sags under the weight of too much expository dialogue. The pace improves with the sudden appearance of Be Mular–one of Ultraman’s old adversaries–who lures the inexperienced Shinjiro into a rooftop battle. Although the action scenes follow a familiar rhythm–powerful attacks punctuated by snappy one-liners–the brisk pacing and expert staging bring fresh energy to the proceedings; every punch plays a crucial role in determining the outcome of the fight. The confrontation ends on a poignant cliffhanger as Shinjiro realizes that he may not be strong enough to defeat Be Mular.
Complementing the action scenes are smart-looking character designs. Though Shimizu and Shimoguchi have done a nice job of bringing Ultraman and Be Mular’s appearance in line with contemporary seinen aesthetics, they’ve preserved the look and feel of the original characters. Ultraman and Be Mular don’t exactly resemble their rubber-suited predecessors, but a long-time fan will recognize them as spiritual descendants–a fair compromise for a series that’s toeing the line between 1960s kitsch and 2010s pop culture.
The verdict: The first chapter is a tough slog, but the combat is staged with enough panache that I’ll be checking out volume two.
Review copy provided by VIZ Media.
Reviews: Here at Manga Bookshelf, Sean Gaffney and Michelle Smith tackle the latest volumes of Black Rose Alice, Citrus, Evergreen, and Food Wars! Further afield, Megan R. takes a nostalgic look at Kare Kano: His and Her Circumstances; Aimee A. deconstructs shojo stereotypes in Skip Beat!!; Seth Hahne praises Ajin: Demi-Human for its “fantastic cat-and-mouse” plotting; and Erica Friedman reviews Manga de Tsuzuru Yurina Hibi, a “non-fiction comic essay” about the relationship between a businesswoman and her girlfriend.
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