Collection of short stories by Maruo. It's almost impossible to summarize them, most of them aren't really plot driven but they deal with abnormal states of the mind and are permeated by a general surrealism. As in many of this works, he shows references to the art and culture of 1920s and 1930s Japan and Germany which had inspired his own artistic style. 1. **ＳＯＪＩＮ** 2. **Denki Ari: Waga Bunretsu no Hanasaku Toki** (電気蟻＜吾が分裂の華咲く時＞) 3. **Gansaku: Denki Ari** (贋作・電気蟻) 4. **Ishi no Shouri** (意志の勝利) 5. **Hokenshitsu no Kyuuketsuki** (保健室の吸血鬼) 6. **Nihonjin no Wakusei** (日本人の惑星) 7. **Genpin** (玄牝)

A wordless comic somewhat in the vein of "The Far Side" with a Japanese twist.

Life. Death. Eerie set of surreal short stories. 1. **Tenseijutsu-Kitan** 2. **Aozora-Shounen** 3. **Boutyou no Torso** 4. **Bizarre Police "MARUSAI" #3** 5. **Pitan no Tsubo** 6. **Yoru no Ryou** 7. **Goeman-yashiki** 8. **Team Vietnam** 9. **Salvage** 10. **Mystery chat time** 11. **Bizarre mystery story** 12. **Ningyou-hime** 13. **Koutaro Ohkoshi "Long Interview"**

All stories contained in this volume of 250 pages are placed under the theme of the pursuit race. You will discover a policeman on his bicycle, a driver of sake in his delivery van, a bank thief who takes a bus hostage, a yakuza pursued by killers, a clerk in transit... \[mangaupdates\]

Silent and taciturn, a cat demon wanders through the world of humans, meeting creatures as monstrous as they are desperate. Mixing references to Japanese mythology and surrealist quotations, this collection of short stories gives a glimpse of the author's graphic acuity. Black humor, disillusioned cynicism or onirism, all rendered by a loaded black line, it is all the strength of the author that appears in Neko Kappa. *Note: Some chapters are remakes of chapters from MaMaFuFu.*

Norie, from an all-girls school, and Yoshio, from an all-boys, wind up on the Star Festival Committees for their respective schools.

**An autobiography in manga form from legendary anime director Rintarô. Fully illustrated and with a foreword by director Katsuhiro Otomo, creator of Akira, this inspiring memoir is the unique journey of an animation trailblazer.** **Grand Prize Winner of the Tezuka Osamu Cultural Prize!** Born in 1941 in Tokyo, Rintaro joined the Japanese animated film company Toei Animation in 1958 at the young age of 17. Even in his humble beginnings, when he was involved in putting the finishing touches on the animated film Legend of the White Serpent, Rintaro made unfathomable waves for anime as we know it, with Hayao Miyazaki citing it as a core inspiration in becoming an animator and director rather than a manga artist. In 1960, Rintaro transferred to Mushi Production, an animation studio established and overseen by the “god of manga” Osamu Tezuka himself. He made his directorial debut with the TV anime Astro Boy (1963–66) and served as the chief director for the first-ever full-color TV anime in Japan, Kimba the White Lion, which aired from 1965 and made peerless contributions to the development of technical Japanese anime culture during its early years. Rintaro returned to Toei in 1977 and began work on Jetter Mars. In 1978, his directorial work on Space Pirate Captain Harlock caught the attention of the then-president of Toei Animation, leading to his appointment as the director of the theatrical version of Galaxy Express 999. Released in 1979, this film became a record-breaking hit. After being chosen by Haruki Kadokawa to direct Genma Wars in 1983, Rintaro shifted their main activities to studio Madhouse, directing major films such as The Dagger of Kamui, Yona Yona Penguin, and the critically acclaimed Metropolis. A unique journey that will take us from postwar Japan to the release of the film Metropolis in 2001, My Life in 24 Frames per Second is a journey filled with encounters, opportunities, endless nights, jazz, cigarettes, but above all, cinema. Follow Rintaro’s memoir as key milestones in the history of Japanese animation are unearthed in insightful clarity. *Source: Abraham ComicArts*

A 6 page one-shot included in the fashion book, Okimono Kimono.

The adventures of three agents from outer space who are sent to Earth to determine whether the planet, a potential threat to the universe, should be destroyed. The instrument of destruction is a device resembling a large black ball with two antennae that is variously called an anti-proton bomb, a solar bomb, and a neutron bomb. Although the three agents (Captain Bokko, Nokko, and Pukko) are originally humanoid in appearance, upon arrival on Earth they take on the appearances of a rabbit (Bokko), a horse (Nokko), and a duck (Pukko) that they had captured as examples of Earth life forms. While on Earth they travel in a tire-shaped vehicle capable of enormous speeds called the Big Wheel, which can travel on both land and water (and, with modifications, through the air). The series tackles a number of issues which were surprisingly progressive for a manga of that period; particularly ecological concerns and poverty. (Source: DMG)

The fluctuations of an adolescent girl's heart, the turmoil of her mother, and what she gained and lost while raising her child. A genial look into family life of a parent and her child. (Source: Kawade Shobou Shinsha, translated)

1000 years ago, a war between humans and space witches ravaged the stars, destroying countless planets and taking even more lives. Eventually, the humans captured the most powerful witch and imprisoned her as a war criminal under the treaty. The castle where the Magic Lord is sealed away is watched over by a village where everyone has developed weak magical powers—everyone but Mugi, that is. Determined to prove that he doesn't need magic, Mugi accidentally flies into the monster-infested forest surrounding the castle and is saved by a girl that he has never seen before...