Review by Clark A.
Rumiko Takahashi is one of Japan's more prolific manga
authors, cranking out long-running hits for the entirety of her adult life. The
likes of Inuyasha left an impact on western audiences back in the early 2000s. Her
earliest hit, though, the science fiction-romantic comedy Urusei Yatsura, is
now over 40 years old and could use that recognition from a younger audience.
Despite its age, Urusei Yatsura is worth seeking out. The first volume of this re-release sets the tone for a transcendent manga with influence on decades of media.
The mere existence of Ataru Moroboshi, the most lecherous
and ill-starred high school student on earth, seems to attract supernatural phenomena.
That escalates to a new level when tiger stripe-obsessed alien invaders
challenge him to a duel with the fate of the world at stake. His mission?
Grabbing the horns of the bikini-clad alien princess, Lum. Determined to grab other things at the behest of his own
"horn", Moroboshi pursues the flying gal with mastery over
electricity. It takes his childhood friend, Shinobu Miyake, proposing to him to
sufficiently psyche himself up. Upon saving the world, Lum misinterprets his desire
to marry Miyake as a proposal to her
and falls in love instantly.
From here we get a sort of twisted harem story that, at
times, almost reads like a response to future writers in the medium. Rather
than focusing on the romance and tantalising the audience with "will
they/won't they" pairings, you have a pervert actively pursuing them and
being rejected (or waffling back and forth depending on his idiocy). It's a far
cry from many modern manga, wherein the nondescript protagonist passively
manages to a cult of women around him. You'd think the skirt-chasing Moroboshi would
be sold on a loyal and attractive princess who forgives his folly, but her
personality and otherworldly baggage make him hesitant. Or maybe he's just too sick.
In this introductory volume, audiences get a taste for the type
of nonsense the denizens of Tomobiki Town are subjected to. Watermelon-eating imps
emerging from mirrors, intergalactic taxi drivers siphoning oil as payment
rather than cash, and ramen-eating tigers begin to seem like natural occurrences.
The opening chapter doesn't beat around the bush, effectively establishing the
setting and characters from the first few pages. You get a decent read on who
the characters are and they're already being thrust into comedic situations.
Individual chapters usually have a three act structure conducive
to casual reading but the plot threads, new characters, and general progression
carry over. The events that play out are simple enough to digest despite the
absurdity. It's how Rumiko Takahashi depicts them that give them hilarity and substance,
though. As a result, you've got a formula where anything can and will go down. The
characters don't necessarily evolve to the extent witnessed in more modern
romantic comedies, however, so the relative predictability can weigh after a while.
It's best enjoyed a chapter or two at a time, savored to appreciate every minute
intricacy that makes those chapters unique.
Adding an extra layer to Urusei Yatsura's jokes is its use
of Japanese mythology, linguistics, and cultural references. This is something
Takahashi has regularly incorporated into her works, including the aforementioned
Inu Yasha. Some are famous enough worldwide to catch immediately like the three
wise monkeys reference in chapter 7 or the English version of the word game
Shiritori in chapter 9. Not every pun or double meaning lands flawlessly due to
the nature of localisation and cultural inside jokes, but some can be intuited
via context. I caught the kanji for back luck or evil appearing in Sakuranbo's
soup, no doubt foreshadowing the peril about to befall Moroboshi, but the
dialogue would have covered it anyway.
Thankfully, Viz also includes an appendix for some of the
references as well so the cultural barrier is by no means impenetrable. The comedy
has enough slapstick, charm, and inherent surrealism to carry it, but it might
even spark an interest in further reading for those looking to get the whole
picture.
The manga's characters in particular transcend the language
barrier. Moroboshi is unabashed about his laziness, selfishness, and perversion.
He'd be thoroughly detestable and unsavoury in the real world. As a caricature of
a high school ne'er-do-well, his antics are amusing and his trickery inspires a
begrudging respect. Much of his charm probably derives from the smirks and mischievous
mug shots Takahashi's art bestows upon him. When he's thrust into unlucky
events, it feels like his comeuppance rather than mean-spirited abuse.
Lum is comparatively saintly, even putting aside that
bias-inducing character design. She's honest with her emotions and devoted to
Moroboshi through thick and thin (to a fault perhaps, considering the apple of
her eye). Her simultaneous intellect and naivety is logical given her alien status.
When she's angry and destructive, it feels justified enough; she'll electrocute
Moroboshi for his lechery but also those who would berate her sweetheart. She even
winds up saving the earth despite once being the invader.
The supporting cast keeps things fresh throughout too. Moroboshi
regularly finds himself caught up in love trianges (or whatever misshapen love
polygon the plot demands), but there's plenty besides love interests. The
obnoxious monk Sakuranbo is a regular, inspiring irritation from all those
around him as he "helps" deal with the supernatural. The responses to
Moroboshi's tomfoolery from his parents are often hilarious, particularly when
they wind up caught up in his antics. The worst you could say is that the characters
are a bit formulaic in their reactions and behaviours here, but there's more to
the gags and plots than that. It's also counteracted a bit by the ever-expanding
residents of Tomobiki. Even if some are one-note, they serve their purposes
admirably or have interesting relationship dynamics with others.
Though not a seasoned veteran at this point in her career, you
can discern how Rumiko Takahashi's expressive characters and transitions from
panel to panel reveal the strength of manga as a medium. This original version
of Urusei Yatsura actively benefits from not having the fluidity of movement the
animated equivalent does. Some manga struggle to find that equilibrium between conveying
information effectively visually and textually, but you can tell Takahashi's
talent from chapter one. Being a comedic manga first and foremost gives this
one a certain license to be extra expressive, I'll readily admit, but she takes
full advantage of it. As well, her simple yet detailed backgrounds instantly transport
you to the space she's depicting.
Not every slapstick beating of a character needs motion
lines and not every joke needs a grandiose multi-panel buildup. Takahashi orchestrates
various visual ploys to diversify her jokes and invoke a sense of suspense or
surprise accordingly. You'll miss gags just drifting from text bubble to text
bubble. Sometimes the funniest ones simply appear without any real acknowledgement
from the characters. An incompetent monk studies American sci-fi in order to
send an imp home, an idiosyncratic background character walks through the
street carrying a cat by the tail, and the streets of Tomobiki are flooded in
fire safety signs after the world is briefly flooded in oil. The flexible
pacing of manga versus anime better lends itself to these understated chuckles.
As a side note, even if you've seen the anime, there's quite a few differences and
stories you won't find there.
The bonus material encourages an extra appreciation
for the series. Quotes from Rumiko Takahashi herself, esoteric statistics on
how many times Lum has used her electric attacks, and details about Tomobiki
Town's weather all deepen the connection to this fictional universe.
Some might claim Urusei Yatsura's art style is
"dated" or get intimidated by the series' length, but I implore remotely
interested parties to give this jumbo re-release a chance. Most anime and manga
fans have probably tasted a little of it vicariously, what with its influence spilling
into every entertainment industry under the sun. Deceptively clever comedy
injected with a proud Japanese heritage makes this an enjoyable history lesson.
- Clark A.
Anime Editor
