I just finished reading
Mahoraba.
While, till now, I stubbornly refused to try and futilely rank any manga I read or pick out particular favourites—for they are often so diverse and unique that it is simple impossible to evenly compare two and declare one ‘superior’ to the other when they are both great in their very own ways—this is the first time I felt I can confidently claim a manga to truly have been the best one I have ever had the pleasure of reading.
Every single character is lovable and has depth and authenticity. Even minor side-characters who rarely appear all develop a unique personality, growing dear to me soon.
Indeed, probably the one thing I adore the most about Mahoraba is how it leaves nothing and nobody behind. ‘Shallow’ joke characters are fleshed out, and sometimes even get entire subplots devoted to them that keep going on in the background, and, as time goes on, change them and their fates.
Every story told, no matter how brief it is or how irrelevant it might seem, has a lasting effect on the cast and their world. Barely noticeable, seemingly unimportant details come back volumes later to reveal yet another layer of depth of a character, and turn out to have held a meaning all along, and nothing—nothing—is simply picked up once and then abandoned.
So much love was spent on this manga, so much attention to detail, thought, and passion, that it could not show more obviously.
Then there is also the magic—which I have felt already in the artist's newer and sadly frozen work Manabiya—which Akira Kojima filled Mahoraba with. His drawings are simple, and yet they convey such a lot; in the characters' ‘moe’ (a term, due to its association with shallowness and fanservice, undeserving of being used here) faces, even the most subtle nuances of expressions can be seen, and through very skilful use of spaces and of scenery, memorable feelings and impressions are created.
Atmosphere permeates every page, and the pacing could not be more appropriate at any time: it sensibly changes between 4-komas during sillier or cute episodes, while longer, slower layouts are employed for more serious or emotional moments.
At one point, during a particularly major scene, two (actually three) entire double pages are spent just to show how—in reaction to something—, a character's expression transforms from surprise into a delighted smile. The effect of this cannot be overstated.
I would fail to name any other manga that has brought me to tears—of sadness and of joy, in equal proportions—as often as this one, and which has left me this happy whenever I read more of it.
Somehow, and this is no exaggeration, every single page was delightful to read, filled either with condensed hilarity and cuteness, or, as little pieces of art, with feeling and wonder.
Even the very last page of the last volume. As a bonus at the end of every tankobon, there is a “Subcharacters' Heaven” series, where a few characters who don't appear much in the main story fool around a bit. For the most part—in my opinion, these seemed a wee silly and expendable. But then, the last episode, after the epilogue of the main story, consisting of a single panel continuing the setup from the previous book, yet again managed to wet my eyes and made me appreciate it.
Lastly, there is also the fact that the love central to the plot matches perfectly my ideal of “love”. That is, avoiding sudden and abrupt falling in love, foolish and desperate pursuit, and attempts to ‘win’ the object of one's affection as though it was a trophy.
Instead, over time, a deep bond is formed between the two main characters; they grow closer and closer, and only eventually realise that they had been in love all the time.
There is no violently craving the other, no conflict arising from trying to force something to come true, no clinging—just pure love, grown naturally, slowly, and holding firmly as a result.
I might sound overly sentimental, but it is this manga that has brought forth such emotions within me. While I have read a couple ones that have touched and amazed me already, none to date has reached this deeply into my heart. And there it has firmly lodged itself—Mahoraba is absolutely wonderful, and I will forever hold it dear.
I wholeheartedly recommend it to anyone, and, should any publisher ever bring it to Germany, or at least translate it to a language I can understand and import, I will be sure to pick it up immediately.
Makes it even more depressing that Manabiya is still on a hiatus, and that the author—despite his genius—is employed as a mere animator at Square-Enix, apparently only drawing manga between his usual work there. orz
This post has been edited by P.P.A.: Oct 18 2011, 10:14 PM