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Aug 26, 2025
Dorothy Band is a rip-roaring radical spin on The Wizard of Oz, but is perhaps a bit too haphazard for its own good. The twist with this adaptation is that after arriving in Munchkinland, Dorothy forms a punk rock band, where the Scarecrow, Tin Man, and Lion are her bandmates and Oz is the manager of a major music label who they hope to sign with. It’s a fun spin on the musical aspect of the original film adaptation, and with silly yet amusing comedy, it makes for a fun & breezy beginning.
When Dorothy Band starts to enter more semi-serious territory, it stumbles a
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lot. It jumps into plot lines of overthrowing tyranny and corruption through musical revolution, which is pretty fitting for the punk themes. But the series forgot to really define its world, and these short arcs hardly expand on this in meaningful ways. The storytelling largely feels quick and loose, making the exploration of the setting always feels skin-deep. As a result, the story becomes unengaging and whatever it was going for fell flat.
Characters are also a bit mixed. It’s initially fun when the cast is introduced, as the author created fun connections between them, which was an engaging way to introduce them. Subsequent exploration is not very interesting nor memorable and feels rather arbitrary. We also don’t get to know much about Dorothy, perhaps an effect of having the character-establishing ‘Kansas’ sequence entirely cut out.
The artistic aspects are generally solid. Hong Jacga draws the series in a pencil, sketchbook style, giving Dorothy Band a unique look. There’s fun usage of panels and framing here and there, and fantastical imagery fills the pages. Even so, said imagery feels empty, like collages of concept art which never find a place or function in the story's world itself. The pencil style is a cool approach, but it adds to the sense that the author is sorta just trying out whatever, a sort of "storytelling doodling”. This being a musical series, there’s a few songs here and there, but while they aim to be cathartic, they mostly feel nonsensical.
All things aside, at least the ending is strong, which is something the Hong seems to have a knack for. The general haphazard shortcomings regarding the plot, characters, and art can also be understood as a deliberate part of the storytelling. That still doesn’t make it very enjoyable, as these elements all amalgamate to make the series feel all over the place, keeping the tale from really finding its stride.
[Read on Tapas, review originally written in 2022]
Reviewer’s Rating: 6
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Jun 6, 2022
Tono Monogatari is a sort of series of passion projects: Kunio Yanagita was dedicated to recording the spiritual folktales of the Tono region that were in danger of disappearing from modernization; Shigeru Mizuki, the godfather of yokai manga, seeked to further immortalise these tales in manga form; and adding English translator and Mizuki scholar Zack Davisson into the mix, he shared his love for the mangaka by bringing the work to the Anglosphere.
Admirable motivations aside, the work itself is not the most fulfilling. For the most part, the stories of Mizuki's Tono Monogatari are not individually impressive: they’re short, abrupt, and hardly memorable. But
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what I got from Tono Monogatari was not a book that was aiming to present a series of individually striking, well-written stories. Rather, the collection functions to give a sense of the land and the people of Tono, how the inhabitants interacted with the environment and the stories that arose from this. So yes, a story about a man who sees a yokai and then goes home and dies in his sleep is slight, not particularly exciting, and the reader may wonder why it was even told. However, even this short a story provides a cultural commentary of the people.
Still, this doesn't necessarily alleviate the reading experience. As mentioned, the stories are short, and the book is packed with them, with each of the 29 “chapters” containing multiple stories which start and stop all over the place, sometimes within the same page. Having not read the original Tono Monogatari, I can’t attest for how jammed it all feels. But as for the brevity of the tales, in my experience, old Japanese short stories simply can be quite abrupt, probably due to them originating from a time which were quite removed from our modern sensibilities of what a story should be. If anything, Davisson suggests that Mizuki embellished these stories in small ways by filling in the gaps here and there. For instance, it's neat when Mizuki injects himself into the stories, like when hearing a storyteller relating a tale, he finds himself amongst said story’s characters, witnessing the events as if he were there. My favorite aspect however was perhaps the artwork, which is beautiful and fantastically detailed, often leaving me poring at the backgrounds when the stories didn't really retain my interest.
The English edition also contains Davisson's cultural insights which are quite helpful and interesting, particularly with the history of how Yanagita’s original Tono Monogatari book came to be. At times however, I felt that there were some explanations I wasn’t getting, like why some characters were so quick to jump to violence, such as when one man saw a mountain woman spirit and proceeded to shoot her down without hesitation, among other examples. I can make guesses, but it seems there were still some cultural gaps that I wasn't getting. The translation itself can also be odd in the way it chooses to romanise some words instead of translating them, without an explanatory note. Of course this adds some flavor to the text, but it would've been nice had it provided a complete picture.
While not really my cup of tea, Tono Monogatari is worthwhile for those with a cultural interest in Japan, yokai, or folktales. The stories here may feel clipped, but they act as a window into the culture.
Reviewer’s Rating: 6
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Jan 21, 2022
Mosquito Wars is the 3rd work from Ji-Hoon Jeong (JH), following I Have Something to Tell You and The Horizon. While an enjoyable series overall, it does feel undermined by its mismanagement of tone and relevancy.
In its beginning, Mosquito Wars is uber grim and uber serious. The stakes that are established are thoroughly unforgiving, the immediacy and danger of the threat is very real and felt, and hope lies on a string balance which could be lost at any moment. I've got to hand it to JH for doing a great job establishing the scene through his knack for combining his artistic talents with cinematic
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scene-setting. But then it all changes when suddenly, a new element aggressively bursts to the fore: humor. This may sound welcome, and perhaps even necessary, yet so much is profused that it creates a huge imbalance. The previously established seriousness evaporates almost instantly as the reader is barraged with silly jokes ranging from fourth wall breaks to characters prancing around in the nude. It's strange that instead of beginning with a balance, these two elements were kept separate like oil and water. This creates a real tonal inconsistency which Mosquito Wars somewhat slowly adjusts and recalibrates as it heads into its middle section.
In its mid-section, Mosquito Wars has a more comfortable balance of humor, seriousness, and action. In a sense, it becomes more like your typical, well-balanced superpower action series. Characters duke it out, ideals are thrown about, and unique abilities are put on display, all while it inches towards the final confrontation. The issue with the mid-section is with how it doesn't really add much to the story. Despite how exciting the fights may get or however interesting the abilities are, it could be plucked out and the story wouldn't really be affected. In the afterword, JH reveals that the middle section was not in the original plan of the series. This admission only undermined the mid-section's value for me and made it feel very tacked-on. After all, nothing of real substantial value happens here, aside from one "power-up" moment which itself is a bit random and could have happened at another time.
The finale is where the series turns into what I'm feeling is characteristic of JH: unrestrained commentary on human nature and its failings. The end is pretty bold and strong, and stands out despite the missteps taken to get there. It isn't able to stick its message very strongly (considering the bloated middle), but it's able to make itself heard enough to get its message across.
There are some elements in the finale that highlight how lacking Mosquito Wars is in world-building, which overall is slight and mostly functions to explain certain elements necessary for the plot to make sense. Whatever world-building elements are introduced lead to more questions, but they are not answered. As for the artwork, its pretty nice, particularly in the action set pieces which utilize the webtoon format’s vertical canvas for some very, very slick action scenes. Some elements are lacking however, such as backgrounds which are rather bland and lack detail.
[I read the translation by Webtoon]
Reviewer’s Rating: 6
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