Banana Fish

Last updated

4-09-132451-7
Banana Fish
BananaFishVol1.png
First tankōbon volume cover, featuring Ash Lynx
Genre Drama, thriller [1]
Created by Akimi Yoshida
ImprintFlower Comics
Magazine Bessatsu Shōjo Comic
English magazine
Demographic Shōjo
Original runMay 1985 (1985-05) – April 1994 (1994-04)
Volumes19 (List of volumes)
January 8, 1999 (1st ed.) [18]
March 3, 2004 (2nd ed.) [19] 		978-1569313206 (1st ed.)
978-1569319727 (2nd ed.)
2 January 26, 1987 [20] 4-09-132452-5 May 6, 1999 (1st ed.) [21]
May 5, 2004 (2nd ed.) [22] 		978-1569313695 (1st ed.)
978-1569319734 (2nd ed.)
3 March 26, 1987 [23] 4-09-132453-3 December 8, 1999 (1st ed.) [24]
August 17, 2004 (2nd ed.) [25] 		978-1569314388 (1st ed.)
978-1591161066 (2nd ed.)
4 June 26, 1987 [26] 4-09-132454-1 March 8, 2001 (1st ed.) [27]
October 19, 2004 (2nd ed.) [28] 		978-1569315446 (1st ed.)
978-1591161332 (2nd ed.)
5 November 26, 1987 [29] 4-09-132455-X January 9, 2002 (1st ed.) [30]
December 14, 2004 (2nd ed.) [31] 		978-1569316733 (1st ed.)
978-1591164173 (2nd ed.)
6 May 26, 1988 [32] 4-09-132456-8 March 12, 2002 (1st ed.) [33]
February 8, 2005 (2nd ed.) [34] 		978-1569316955 (1st ed.)
978-1-59116-418-0 (2nd ed.)
7 December 15, 1988 [35] 4-09-132457-6 November 13, 2002 (1st ed.) [36]
April 5, 2005 (2nd ed.) [37] 		978-1569318430 (1st ed.)
978-1-59116-419-7 (2nd ed.)
8 July 26, 1989 [38] 4-09-132458-4 June 7, 2005 [39] 978-1-59116-420-3
9 October 26, 1989 [40] 4-09-132459-2 August 16, 2005 [41] 978-1-59116-863-8
10 July 26, 1990 [42] 4-09-132460-6 October 11, 2005 [43] 978-1-4215-0048-5
11 October 26, 1990 [44] 4-09-133531-4 December 13, 2005 [45] 978-1-4215-0134-5
12 April 25, 1991 [46] 4-09-133532-2 February 14, 2006 [47] 978-1-4215-0260-1
13 October 26, 1991 [48] 4-09-133533-0 April 11, 2006 [49] 978-1-4215-0390-5
14 May 26, 1992 [50] 4-09-133534-9 June 13, 2006 [51] 978-1-4215-0524-4
15 October 26, 1992 [52] 4-09-133535-7 August 8, 2006 [53] 978-1-4215-0525-1
16 April 26, 1993 [54] 4-09-133536-5 October 10, 2006 [55] 978-1-4215-0526-8
17 October 26, 1993 [56] 4-09-133537-3 December 12, 2006 [57] 978-1-4215-0527-5
18 March 26, 1994 [58] 4-09-133538-1 February 13, 2007 [59] 978-1-4215-0876-4
19 September 26, 1994 [60] 4-09-133539-X April 10, 2007 [61] 978-1-4215-0877-1

Side stories

In addition to the main manga series, Yoshida wrote and illustrated four one-shot (single-chapter manga) side stories:

All four stories were encapsulated in Banana Fish: Another Story, a collected edition published by Shogakukan in 1997. The collection also includes Ura Banana (うら BANANA), a comedic fourth wall-breaking story where Ash and Eiji discuss fan mail the series has received with Yoshida. [63]

Anime

Banana Fish was adapted into a 24-episode anime series produced by MAPPA and directed by Hiroko Utsumi, which aired on Fuji TV's Noitamina programming block and Amazon Prime Video from July 5 to December 20, 2018. [64] [65] The series was produced as a part of a commemoration project to mark the 40th anniversary of Yoshida's debut as a manga artist. [66] The adaptation revises the setting of the series from the 1980s to the 2010s, adding modern references such as smartphones and substituting the Vietnam War with the Iraq War. [67]

The anime gained popularity in 2020 during the COVID-19 lockdown, being linked with the musical artist Ricky Montgomery. His song, "Mr. Loverman" was used to describe the relationship between the two main characters of the manga and anime. [68]

Other adaptations & tie-ins

A radio drama adaptation of Banana Fish was produced by NHK in 1994, with a cast that featured Tohru Furusawa as the voice of Ash and Kazuhiko Inoue as the voice of Eiji. The adaptation was later released on CD, and was re-broadcast in 2018. [69] Two novelizations of Banana Fish have been published. The first, a four-volume series written by Akira Endō, was published by KSS Comic Novels in 1998. Titled Banana Fish: Makkusu Robo no Shuki (Banana Fish マックス・ロボの手記, "Banana Fish: Memoir of Max Lobo"), the series tells the story of the manga from Max's perspective. [70] [71] The second, a three-volume series written by Miku Ogasawara based on the Banana Fish anime, was published by Shogakukan Bunko in 2018. [72] [73] Stage play adaptations of Banana Fish have been produced in 2005, 2009, 2012, and 2021. [69] According to Yoshida, film rights for a live-action film adaptation of Banana Fish were at one point granted to Ryuichi Sakamoto, but no film was ever produced. [6]

Shogakukan, which published the Banana Fish manga, has published several art books related to the series, including the art book Angel Eyes in 1994 [74] [75] and the companion book Rebirth: The Banana Fish Official Guidebook in 2001. [76] [77] The company also published New York Sense in 2001, an art book credited to "Eiji Okumura" and marketed as a book of photographs taken by the character. [78]

Themes and analysis

Homosexuality

There's nothing wrong with manga that make eroticism and teasing their focus, but if you want to make character and narrative your focus, I think you have to show some self-discipline as a creator. If you do so, you may also achieve more profound effects than if you just went for the fan service and easy thrills. I think some Banana Fish fans would argue that Ash and Eiji's relationship ends up being much more romantic because Yoshida places the emphasis on the struggles they face together, not the snuggles.

— Carl Gustav Horn, editor and translator of the English language edition of Banana Fish [14]

Banana Fish depicts homosexuality both in the text of the story through representations of male-male rape, and as subtext through the ambiguously homoerotic relationship between Ash and Eiji. [79] Male homosexuality is a recurring motif in shōjo manga; [2] while works created in the 1970s by artists associated with the Year 24 Group formalized shōjo manga featuring male homosexuality as a distinct subgenre known as shōnen-ai, homoerotic themes and subjects had long been a feature of shōjo manga. [80] Banana Fish would come to represent a shift for depictions of homosexuality in shōjo manga, towards older protagonists and realist writing and artwork, and away from the schoolboy romances and melodramas that had previously defined the genre. [3] [81] Some manga scholars such as Yukari Fujimoto consider Banana Fish as belonging to a continuous artistic canon that includes works by the Year 24 Group, while others such as James Welker argue that Banana Fish is narratively and stylistically closer to the boys' love genre of male-male romance manga that emerged in the 1990s. [3]

Despite Banana Fish's influence and prominence as a manga depicting homosexuality, the central relationship between Ash and Eiji is never rendered as overtly romantic or sexual. [13] [14] Critic Ted Anderson argues that a romantic dimension to Ash and Eiji's bond can be readily inferred from the subtext of the story, writing that "the astute reader understands the unspoken elements of Ash and Eiji's relationship". [13] Manga critic Jason Thompson similarly describes the series as a "love story" expressed "so subtly as to be invisible", [82] noting how "the sensuality in this manga is in Ash teaching Eiji how to shoot a gun, or Ash and Eiji's friendly, teasing, couple-like dialogue." [14] Manga scholar Christina Parte argues that the non-physical nature of Ash and Eiji's relationship mirrors typical shōjo manga romances, which commonly focus on a chaste relationship between a man and woman that is never physically consummated; Eiji's sexual and romantic inexperience is similarly typical of a shōjo manga protagonist. [79] Thompson considers several potential explanations for the largely subtextual nature of Ash and Eiji's relationship, including Yoshida's stated desire to focus on the emotional connection between the characters, that Yoshida did not wish to risk eroticizing the manga's themes of rape by depicting a romantic or sexual relationship, and the potential influence of manga censorship codes in limiting displays of same-sex romance and sex. [14]

Gender

While the cast of Banana Fish is almost entirely male, several characters – notably Ash and Eiji – are bishōnen (literally "beautiful boys"), a term for visually androgynous male characters who blend masculine and feminine qualities. [2] [7] [83] Scholars have considered how bishōnen are regarded as desirable by a female audience not merely for their physical attractiveness, but because they allow this audience to vicariously experience romance, agency, and personal autonomy through a character that is unconstrained by patriarchy. [84] While romance between bishōnen is tolerated in some contexts in Japan and is thus not necessarily transgressive or subversive on its face, Parte argues that Ash and Eiji's status as bishōnen allows them to "transgress Japanese gender norms" by resisting gender roles typically associated with female Japanese adolescents. [83]

Per Parte, Ash and Eiji express a degree of gender ambivalence by alternating between masculinized and feminized agency. Ash embodies typically masculine agency in his position as a leader of a street gang, but is frequently feminized though the rape he suffers at the hands of men. Conversely, Eiji possesses the typically feminine trait of nurturing domesticity – he soothes Ash when he is troubled, treats his wounds, and remains at home while Ash fights – but towards the end of the series, it is ultimately Eiji who takes up arms to free an emaciated Ash from Golzine's clutches. [85] Parte argues that despite the American setting of the series, Ash's quest for self-determination ultimately represents a rejection of restrictive Japanese gender roles: both the "good son" (becoming Golzine's heir) and the "obedient wife" (becoming Golzine's sex slave). [86] Thus, through Ash and Eiji's struggles, the ostensibly female reader is able to "escape from Japanese reality" [87] and "resist the pressures of a highly hierarchical gender and sexual system". [88]

Occidentalism

The title of the series references the short story "A Perfect Day for Bananafish" by J. D. Salinger (pictured in 1950). J. D. Salinger (Catcher in the Rye portrait).jpg
The title of the series references the short story "A Perfect Day for Bananafish" by J. D. Salinger (pictured in 1950).

The release of Banana Fish in the late 1980s coincided with a period of fascination with New York City in Japanese popular culture. [89] [90] Schodt notes how the series reflects the Japanese perception of 1980s New York as a "modern Wild West" characterized by rampant crime, drug use, poverty, and racial tension that was "a symbol of everything that was wrong with America", but which at the same time "seemed symbolic of America's raw energy and exciting individual freedoms". [91] Within the New York of the story, Eiji functions as an intermediary for the Japanese reader, echoing earlier manga such as Fire! that used Japanese characters to link works in American settings to their Japanese readership. [7] Parte argues that it is "tempting to see in Eiji the personification of reverse orientalism" as a Japanese character who is captivated by an American, but that his status as a bishōnen representing a blending of male and female traits allows him to embody a "female internationalist occidentalism" [85] wherein the female reader can vicariously experience an "exotic American setting" that has fewer limits on personal expression. [87]

Beyond its American setting and characters, Banana Fish features frequent allusions to American literature: [92] Blanca's character arc is drawn from Ernest Hemingway's Islands in the Stream , Ash compares his life to Hemingway's The Snows of Kilimanjaro , [90] and the title of the series itself is a reference to J. D. Salinger's short story "A Perfect Day for Bananafish". [93] The "bananafish" of Salinger's story are fish that eat to excess until they are unable to move, and the story ends with the sudden suicide of the protagonist. [13] The symbolic meaning of the bananafish within "A Perfect Day for Bananafish" is the subject of debate, and the significance of manga's title as an allusion to the story is similarly obscure, as there are few direct references to "A Perfect Day for Bananafish" within the manga. [13] [93] Anderson writes that "there are perhaps connections to Golzine's self-destructive greed and Ash’s seemingly suicidal tendencies, but these connections are tenuous at best." [13] Thompson considers how "both the manga and the story involve life's cruelty, and traumatic experiences, and sudden death", [14] while Parte considers the manga's banana fish drug as symbolizing "male greed, materialism, and destruction". [93] Critic Hisayo Ogushi considers a less allegorical explanation, noting that the protagonist of Salinger's story commits suicide after he envisions the bananafish, just as characters in the manga lose control of themselves after they are given the banana fish drug. [90]

Violence

The action-oriented plot of Banana Fish, characterized by frequent fight scenes, multi-chapter action set pieces, and the extensive use of speed lines, represented a break from the typical visual and narrative conventions of shōjo manga. [2] [14] Yoshida has stated that her interest in action stems from childhood, specifically her desire to play active sports like soccer instead of typically feminine pursuits such as rhythmic dance, and that the preponderance of male characters in Banana Fish stemmed in part from her difficulty in imagining stereotypically passive girls in these active scenarios. [4] Violence and its dehumanizing effects recur as a major theme throughout the series, as character struggle to reconcile their humanity with the violent acts they commit and endure. [13] Ash represents the apex of this theme: a character whose traumatic past has left him resigned to a life of violence, and who faces the conflict between his desire for a "normal" life with Eiji, and his desire to "protect Eiji from the horrors of his violent life". [13]

Sexual violence also recurs throughout the series, with depictions of rape that Parte argues echo scenes of sexual abuse of women in erotic manga. [87] Thompson notes how the series does not contain any explicit depictions sex or nudity, and how rape is depicted "entirely as trauma and never as titillation", contrasting eroticized depictions of rape in BL manga. [14]

Reception and legacy

The New York Public Library Main Branch has become a tourist attraction for fans of the series. New York Public Library Rose Main Reading Room.jpeg
The New York Public Library Main Branch has become a tourist attraction for fans of the series.

By 2018, over 12 million copies of collected volumes of Banana Fish are in print. [94] A 1998 reader's poll in the Japanese magazine Comic Link ranked Banana Fish as the greatest manga of all time. [13] In TV Asahi's 2021 Manga Sōsenkyo, a ranking of the top 100 manga series calculated from a public vote of 150,000 people, Banana Fish ranked 26th. [95]

While Yoshida had published several manga titles prior to Banana Fish, the series became her most critically and commercially successful work, and "cemented her status as a great creator". [11] Though Banana Fish was published and marketed as a shōjo manga, its dense plot, heavy dialogue, and extensive action sequences led it to attract a significant crossover audience of male and adult female readers; [2] [13] [lower-alpha 3] Schodt identifies the series as "one of the few girls' manga a red-blooded Japanese male adult could admit to reading without blushing". [7] The series was similarly praised "as an example of mature, plot-driven comics" [13] when it was released in English, and became one of the earliest manga series to reach a wide audience in the United States. [96] Banana Fish was particularly influential on the boys' love genre, inspiring a wave of action-centered boys' love manga which focused on older protagonists and realist artwork, including Fake , Yellow , and Togainu no Chi . [3] [14]

The series has been praised by critics, with Jason Thompson calling it "one of the great shōjo manga epics" [82] and praising its "consciously literary" writing. [97] Its artwork has received a mixed reception among critics: Frederik L. Schodt favorably compares Yoshida's artwork to the "clean-line realism" of artist Katsuhiro Otomo; [91] Thompson, conversely, calls Yoshida's "dull artwork" the "one weakness" of the series, but nevertheless concludes that the "worldview of Banana Fish is so fully realised that the art is almost redundant, and even when the panels are nothing but talking heads, we hang on every word". [97] Banana Fish is the favorite manga of Japanese musician Gackt – the artist claims to have read the series over one hundred times – and inspired the song "Asrun Dream" on his debut album Mars . [6]

The New York Public Library Main Branch, a prominently featured location in the series, has become a tourist attraction for fans of Banana Fish; the New York Public Library reported a significant increase in gift shop revenue in the 2019 fiscal year, which they attributed to popularity generated by Banana Fish. [98] [99] Japanese tourism company Kinki Nippon Tourist Kanto offered a New York City tour featuring stops at locations featured in the series and a guided audio tour narrated by Yuma Uchida and Kenji Nojima, who respectively voice Ash and Eiji in the anime adaptation of Banana Fish, performing in-character. [100] In 2019, the tour was selected by the Japan Travel Industry Association to receive the Minister of Land, Infrastructure, Transport, and Tourism Award at the annual Tour Grand Prix, which honors tourism plans that benefit Japan's travel industry. [101] [102]

Notes

  1. ↑ Yoshida's preference for realistically proportionate, well-built men in her manga once led manga scholar Yukari Fujimoto to remark that "the body type of the men that Akimi Yoshida draws is what gay men like." [4]
  2. ↑ Additionally, Max Lobo is based on actor Harrison Ford, Shunichi Ibe is based on actor Mitsuru Hirata, Dino Golzine is based on actor Telly Savalas, Shorter Wong is based on musician Sunplaza Nakano Kun  [ ja ], Frederick Arthur is based on the musician Sting, Charlie is based on actor William Katt, and Jenkins is based on actor Danny DeVito. [10]
  3. ↑ Yoshida has stated that she was aware that the series was a crossover success during its original serialization, but she did not take the interests of a male audience into consideration while writing the series. [6]

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  13. 1 2 3 4 5 6 7 8 9 10 11 Anderson 2012, p. 24.
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  46. ↑ "Banana Fish 12". Shogakukan Comic (in Japanese). Archived from the original on January 3, 2020. Retrieved December 31, 2019.
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Bibliography

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Further reading

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