For this book playlist, I decided to lean into the 90s-00s shoujo nostalgia I mentioned in my review. All five of the songs I picked are from anime, and four out of five are in Japanese (the other being from an English dub of an anime). Of those five, three come from magical girl anime from that time period, specifically Sailor Moon (the original, not Sailor Moon Crystal!) and Cardcaptor Sakura (not the more recent Clear Card), which were formative pieces of media for me. The central themes of this playlist are the uncertainty and growing pains of adolescence as it relates to self-confidence and friendship.
Chase the core Seek out your yet unseen potential Feel your heart Seize your freedom now You’ve learned enjoyment, right? You can’t lie to yourself Be proud of your best moment Let’s do this Chase the core The frozen time, start moving Come on, let’s go!
4. Tell Me – Queen of Hearts (Cardcaptor Sakura: The Movie Insert Song)
This song is dedicated to Lilico and Nala.
Now there’s clouds on the horizon And it’s starting to feel like rain Now I hope you’re realizin’ I want you back again
So tell me Are we gonna talk about it? Are we gonna still be friends? (Tell me) You don’t ever have to doubt it This doesn’t have to be the end
Tens of times, tens of times You gave my back a push I no longer want to cry these salty, such salty tears
Promises and bonds Do they really mean anything?
“I want you to understand me.” “I want someone to help me.” My heart is screaming that But I’m not being honest with myself
Tens of times, tens of times, I kept lying But why, tell me why Were you the only one to remain here for me
That’s why I’m not running away From myself nor from you anymore
Thanks for listening! (And I promise I haven’t forgotten about the Jade Fire Gold playlist that I was supposed to post for my last blog tour. Unfortunately, I got hit by a massive schoolwork/depression combo at the time and wasn’t able to do it on schedule. It’s coming later this week.)
So…it’s winter already, and there are only 6 more weeks left of 2021…Sounds fake but isn’t. I’ve been drowning in schoolwork since it’s the last one-third of the semester, but I managed to carve out some time for the blog tour hosted by Colored Pages for a new middle grade graphic novel release, Bounce Back by Misako Rocks!. You can find the tour information on the Colored Pages site.
Title: Bounce Back Author: Misako Rocks! Publisher: Feiwel and Friends/Macmillan Publication Date: November 16th, 2021 Age Range/Genre: Middle Grade Contemporary
Friendship, a new school, and a bit of magic converge in this full-color graphic novel.
Lilico’s life in Japan is going well. She has great friends and is the captain of the school’s basketball team. She’s happy!
Then comes her parents’ news: they’re moving to America! Before she knows it, Lilico finds herself in Brooklyn, New York, forced to start all over. And that won’t be easy with her closest friends thousands of miles away or a school bully who immediately dislikes her.
Luckily, anime-loving Nala and Henry eventually befriend Lilico and with help from them—along with her guardian spirit who looks a lot like her cat, Nico—Lilico just might figure out where she fits in.
Before I move on to the substantial aspect, I just want to note that the first thing that struck me when I looked at the cover for Bounce Back was a wave of nostalgia. The art style is highly reminiscent of some popular shoujo manga from the late 90s and early 2000s that I grew up with. In particular, I was reminded of the artwork of Natsumi Matsumoto (St. Dragon Girl, Yumeiro Patissiere) and Arina Tanemura (Full Moon wo Sagashite, The Legend of Princess Sakura, Idol Dreams), but there are others from the same era whose works that I’m not familiar with feature that cutesy, huge-eyed look (Mihona Fujii, Natsumi Ando).
The talking cat on the cover calls back to Luna and Artemis from Sailor Moon, and the story even mentions that resemblance on-page.
It’s always interesting to see how trends emerge and then go out, and when I saw Bounce Back, I felt like I was having a retro moment (not in a bad way though). I definitely feel like this book pays homage to those older shoujo manga.
Blending a shoujo manga-like style with a full-color left-to-right Western graphic novel format, Bounce Back delivers a charming and heartfelt middle grade story about a Japanese girl adapting to her new life in New York City.
Since this is a novel rather than a serialized comic spanning multiple volumes, it definitely feels denser than the typical shoujo manga. There are multiple interwoven plotlines introduced and resolved within the 250-odd pages: Lilico’s adjustment to a new culture; her friendship with the two resident otaku of her school, Henry and Nala; her ascendance to basketball stardom; a blossoming romance with Noah, a popular boy who’s the star of the boys’ basketball team; and the ever-present tension with a basketball teammate Emma who is Nala’s ex-BFF and also the catty Mean Girl of their school.
Throughout all of these events, Lilico’s guardian spirit, borrowing the body of her cat Nicco, acts as her mentor, confidante, and conscience. Though Nicco doesn’t give her a transformation pen to become a superpowered warrior, he does help Lilico tackle the difficulties of social relationships, acting as messenger and liaison in critical moments. He is the embodiment of unconditional love and friendship and a source of comfort that Lilico can depend on. Honestly, I wish I had my own Nicco to snuggle.
At first I was a bit apprehensive about Nala and Henry since interest in Japanese culture can easily slide into fetishizing Japanese people as a whole. Thankfully, their weebiness tones down a bit after the beginning and they establish bonds where they can talk to Lilico about things like fashion and interpersonal relationships rather than Japanese things. The two of them act as valuable guides to Lilico at school.
Though Noah plays a role in helping Lilico come into herself as the star of the girls basketball team and makes a sweet love interest, the primary focus of the story is friendship dynamics and the growing pains that come with them. The bigger question seems to be: How far will Lilico go to gain acceptance in her new school, and can she still be friends with Nala while trying to placate Emma and the rest of the girls on the basketball team?
One of the nice things about the art is that the full-color format allows for darker-skinned characters to shine. Shoujo manga from Japan has a colorism problem where everyone is pale by default despite the range of skin tones in the real life Japanese population, and darker-skinned characters are typically either absent or subject to negative stereotypes. In Bounce Back, brown-skinned Nala is an avid cosplayer and clothing designer who gets to be artsy and versatile while rocking colorful Harajuku-inspired fashion.
In a more general view, the ink wash texture and color patches that don’t quite touch and completely fill the outlines in the backgrounds create a softness that is easy on the eyes and brings out the earnest feelings of the tween characters. The creator’s use of exaggeratedly large eyes along with closeups of the face also helps convey a range of emotions ranging from comedic to sober while underscoring the youthfulness of the characters.
Overall, Bounce Back is a story that brings comfort in the face of big life changes, delivered in a cute and colorful package.
In my next post I’ll be sharing my little playlist I put together for this book.
MISAKO ROCKS! is the creator of Biker Girl and Rock and Roll Love. A self-taught artist from a family of law-enforcement officials, Misako moved to the United States from Japan as a teenager. She now lives in Brooklyn, New York.
Welcome to my Taiwanese American Heritage Week feature series! Taiwanese American Heritage Week is celebrated every year in May starting on Mother’s Day and ending the following Sunday. Each year during TAHW I spotlight Taiwanese authors and books in some form or fashion on my blog. You can find all of the past features in my Post Index.
Twelve-year-old Cici has just moved from Taiwan to Seattle, and the only thing she wants more than to fit in at her new school is to celebrate her grandmother, A-má’s, seventieth birthday together.
Since she can’t go to A-má, Cici cooks up a plan to bring A-má to her by winning the grand prize in a kids’ cooking contest to pay for A-má’s plane ticket! There’s just one problem: Cici only knows how to cook Taiwanese food.
And after her pickled cucumber debacle at lunch, she’s determined to channel her inner Julia Child. Can Cici find a winning recipe to reunite with A-má, a way to fit in with her new friends, and somehow find herself too?
Q: This is a question I ask most of the Taiwanese authors who I feature, and it’s also relevant to the theme of Measuring Up: What’s your favorite Taiwanese food?
A: That’s a good question! I have to say my mom’s dumpling soup. When we visit my parents, my mom, my kids, and I sit around the kitchen table to wrap the dumplings. It’s one of those things that not only is delicious but creates memories. At home, although I don’t make dumpling soup, my husband, son, and I will do movie night where we make and eat potstickers while watching that night’s movie pick.
Q: At times the publishing industry fetishizes youthfulness in authors, putting spotlights on the so-called prodigies who get published at a young age. However, everyone’s path to publishing is different, and there is value in learning from people who transitioned into the industry at an older age. What has that process been like for you, and how has your life experience before becoming an author informed your writing?
A: I think that as we age and gain life experiences, we bring some of that into our writing. I started my writing journey twelve (!) years ago. I am pretty sure that I didn’t have anything worthwhile to say at that time. Hamline University’s low-residency MFA in Writing for Children and Young Adults changed how I thought about my writing. Prior to Hamline, I had taken writing classes, webinars, gone to SCBWI conferences to further my craft but it wasn’t until I went to Hamline where we were involved in intense discussions about diversity that I thought it would be possible to write a diverse character and story.
Q: I saw from your other interviews that you were drawn to writing for children because of your experiences reading with your kids when they were younger. Children’s literature contains a wide array of subcategories segmented by age. What drew you to writing middle grade in particular?
A: I write middle grade because those stories of families and friendships speak to me. Despite my advance age, I think about family and friendship relationships because they are universal no matter one’s age. I also write picture books and have my debut picture book CHLOE’S LUNAR NEW YEAR from HarperCollins coming out Winter 2023. I had such fun reading board books and picture books to my kids when they were that age. I want to capture some of that fun in my writing for both the picture book and the middle grade groups. There is also less cynicism and more happy endings. I really like happy endings!
Q: I think it’s super cool that you had Gene Luen Yang as a writing mentor since he was one of the first Taiwanese American children’s authors I ever read when I was younger (around 14-15). When I first met him at the book festival hosted at my high school, I asked him to draw me a llama, and I still have the drawing saved. What was your favorite part of working with him?
A: I love that you still have the llama he drew for you!! Gene is not only a wonderful mentor but just a wonderful person all-around. He is so smart and was able to steer me through my story. And he did it in a way that was so supportive.
Q: I read in another interview that you had to do extremely detailed panel descriptions for Measuring Up. As someone who’s interested in writing a graphic novel script someday, I’m curious about the process of working with an illustrator. I know that you and Ann Xu collaborated through your editor. What was that triangulation like? Did Ann surprise you in a good way with any of her interpretations? And what is your favorite page or panel from Measuring Up, illustration-wise?
A: Ann is an amazing illustrator and I am so happy she not only illustrated MEASURING UP but is now working on UNHAPPY CAMPER coming next summer. As part of working with Gene, he required extensive illustration notes. It was the first time I thought about story details in that depth and I think that it helped me tremendously in figuring out who my characters were so that I could write their story. When my script went to Ann, I pulled out some of the descriptions so that she could bring her own brilliance to the book. I love the full-page panel when Cici is at the restaurant and sees herself for the first time as belonging to a place like that. I described the page as having Cici surrounded by puzzle pieces of the restaurant and equipment. I specified certain things that I knew would be restaurant versus home equipment to be helpful to the illustration process. Ann blew me away with that fantastic page. I love it so much that I created fabric with that image to make tea towels for giveaways.
Q: I love the variety of dishes that show up in the cooking competition. Did you have any systematic/meaningful way of deciding what each challenge would be and which dishes each character would make, or was it more random?
A: I thought about what kind of person each character in the competition would be so that I could decide what dish the character would make. As far as the challenge in each round, I wanted to make some of them kid-friendly but also have meaningful challenges like the sweet potato which has such a strong link to Taiwan.
Q: I’m super excited for your second graphic novel, Unhappy Camper, and can’t wait for it to hit the shelves. The premise of going to a Taiwanese American summer camp is super appealing to me because it reminds me of my own experiences attending TAA summer conferences as a kid, except those were geared toward adults with a few children’s activities on the side rather than being for children/youth. Can you tell us a little more about Unhappy Camper?
A: I’m not sure what I can say yet except that it is a sister story where my protagonist’s sister loves everything Taiwan. But for my protagonist, not so much. It isn’t until my protagonist goes to a Taiwanese American summer camp that she reclaims her cultural heritage. There’s crafting, singing, language lessons (much to her disappointment) with a tiny bit of what makes the Pacific Northwest so special.
Thank you for thinking of me for Taiwanese American Heritage Week!
Lily LaMotte is the debut author of the middle grade graphic novel MEASURING UP from HarperCollins/HarperAlley. When she isn’t writing picture books and middle grade graphic novels, she’s cooking up new recipes. Sometimes, when she sees the gray clouds outside her window in the Pacific Northwest, she loads up the campervan for a writing retreat camping trip with her husband and two dogs.
She is a graduate of Hamline’s MFA in Writing for Children and Young Adults.
This is the second part of my tour stop for the We Are Not Free tour hosted by Colored Pages. As I noted in my review, at the end of We Are Not Free, the author provides a bibliography of further readings, and I’d like to add a few recommendations of my own for novels by Japanese American authors that address Japanese/Japanese American experiences during World War II.
The Last Cherry Blossom is a middle grade historical fiction book that chronicles the tale of a young girl who experiences and survives the bombing of Hiroshima. This book takes you through a lot of emotions as you witness the tragedy through the eyes of Yuriko, who lives in the shadow of a terrible war whose purpose she does not understand but whose effects she feels deeply nonetheless. It’s a moving story of family secrets, love and loss, survival and hope. It is based on the author’s mother’s real life story. For more on the background of this book, you can read my interview with Kathleen Burkinshaw from 2017.
This Time Will Be Different is a contemporary young adult novel that centers on CJ, a Japanese American teen who is still trying to figure out her life and spends her time helping her aunt Hannah at the flower shop her family has run for multiple generations. When her family is pressured to sell the shop to the very people that swindled them back during the era of Japanese American incarceration, CJ finds a sense of purpose and ignites a campaign for reparations that polarizes her family and her community. This is an engaging story that depicts a teen dipping her toes into social justice activism and being realistically messy that also has a complex portrayal of mother-daughter relationships.
This Light Between Us is young adult historical fiction novel with an emotionally gripping and harrowing portrayal of World War II and Japanese American incarceration. It depicts the war through the eyes of a Japanese American boy named Alex and his pen pal, a Jewish girl named Charlie living in France. This book totally blew me away when I read it earlier this year. I felt completely immersed in Alex’s world, as if I were experiencing the events alongside him as he moved from home to internment camp to the battle front in Europe. The letters and bond between him and Charlie were sweet and a ray of light in the looming darkness, a testament to deep friendship. The parallels between Alex and Charlie’s lives as minorities facing persecution were striking and skillfully emphasized. The complexity of Japanese Americans’ feelings about their citizenship/identity and serving in the military were also explored in a nuanced and thought-provoking way.
Displacement by Kiku Hughes is a young adult graphic novel that weaves fact and fiction, jumping between present and past. In this book, a fictionalized version of the author/artist Kiku is suddenly transported to the time of World War II and experiences incarceration alongside her late grandmother, who was a teenager at the time. Displacement is a timely, poignant, and introspective examination of history, family, and intergenerational trauma, as well as the need to make sure history does not repeat itself in the present. The dominant color palettes of brown and orange and blue-green-gray convey the muted atmosphere of the camps very well. I also really loved the use of lines, shadows, and silhouettes to convey movement and contrast. Displacement makes a perfect complement to We Are Not Free because it includes some of the same locations: San Francisco, Tanforan Assembly Center (San Bruno, California), and Topaz City, Utah. You can see the details and events brought to life in a different medium.
When the Emperor was Divine is an adult historical fiction novel. It was my introduction to Japanese American incarceration in fiction. I read it in one of my Asian American studies courses, Gender and Sexuality in Asian American Literature. Like We Are Not Free, When the Emperor was Divine narrates the events through multiple points of view, following the four members of a single family forced into the camps. While the viewpoint characters in We Are Not Free are all teens or young adults, the ones in When the Emperor was Divine are either adults or younger children (ages 11 and 8). The characters are also nameless. This authorial choice creates a sense of narrative distance that contrasts with We Are Not Free, but it is still evocative in its own way, like watching a black and white film.
Don’t miss out on the other stops in the blog tour!
For Day 2 of Taiwanese American Heritage Week, I interviewed Victoria Ying, whose debut middle grade graphic novel City of Secrets releases July 28th, 2020!
Ever Barnes is a shy orphan guarding a secret in an amazing puzzle box of a building.
Most of the young women who work at the building’s Switchboard Operating Facility, which connects the whole city of Oskar, look the other way as Ever roams around in the shadows. But one of them, Lisa, keeps an eye on the boy. So does the head of the Switchboard, Madame Alexander . . . a rather sharp eye.
Enter Hannah, the spunky daughter of the building’s owner. She thinks Ever needs a friend, even if he doesn’t know it yet.
Good thing she does!
Lisa and Madame Alexander are each clearly up to something.
Ever is beset by a menacing band of rogues looking to unlock the secret he holds–at any cost.
And whatever is hidden deep in the Switchboard building will determine all of their futures.
On a journey that twists and turns as much as the mechanical building Ever Barnes calls home, he and his new friend Hannah have to and out what’s really going on in this mysterious city of secrets . . . or else!
Q: Where did the idea for City of Secrets come from?
A: I often dream with characters in them instead of myself. I had a dream one night of a pair of kids opening up a secret safe with an assassin chasing them. I was so curious about them that I built the story backwards from there. I asked myself “who are they?” “what are they doing?” “why?” And the story formed itself from there.
Q: Is the city in the story inspired by any real-life cities and their architecture/layout? If not, what was your process for building and designing the city?
City of Secrets is a city that’s built from many different fantasy inspirations as well as my travels. The closest real life cities are Copenhagen and Barcelona. I loved the art nouveau architecture and twisty organic shapes in their buildings.
Q: I saw that you’ve worked on some pretty big projects for Disney, such as Tangled, Wreck it Ralph, Frozen, Paperman, Big Hero 6, and Moana. What kind of work did you do on those projects?
I was a visual development artist for those films, also known as the art department. I was a concept artist and would help early in the film by designing sets, props and characters. We would then shepherd the artwork through to the next departments who would build the sets, color and light them. Our teams were in charge of what the films would look like.
Q: I know graphic novels are pretty labor-intensive, but as consumers, we may not realize just how much work goes into making them. With that in mind, I wanted to ask: How long does it take, on average, for you to finish a single page, from the initial sketch to the finished, inked and colored version?
Oof, the labor that goes into graphic novels is indeed intense. Each page probably takes around four hours each, and I’m considered fast! I spend about half an hour on the thumbnail layouts, an hour on the inks and two hours on the color process. At 252 pages, it really adds up!
Q: I know a lot of creatives have dream projects where they would get to officially create something for something/someone they’re a fan of. Is there a particular IP/writer that you would love to work on/collaborate with as an illustrator?
I’ve always wanted to work on a Star Wars story. I would love to take on a young Rose Tico!
Q: What advice do you have for anyone who wants to get into illustration?
Everyone started out knowing how to draw and paint. We all get bogged down by expectation and what we think art should look like that we get scared off. Don’t be afraid and let yourself be bad at it! You’ll only get better and that’s the only way to become a professional!
About the Author/Artist:
Victoria Ying is an author and artist living in Los Angeles. She started her career in the arts by falling in love with comic books, this eventually turned into a career working in animation and graphic novels. She loves Japanese Curry, putting things in her shopping cart online and taking them out again and hanging out with her dopey dog. Her film credits include Tangled, Wreck it Ralph, Frozen, Paperman, Big Hero 6, and Moana. Her upcoming projects include illustrating the DC Comic book, “Diana Princess of the Amazons” and her authored graphic novel “City of Secrets” to be published in 2020.
Summary: Frances has many ideas for making fabulous dresses but no outlet to express her creativity. Through a stroke of good luck, she secures a job as a secret seamstress to Prince Sebastian. The prince wears the dresses Frances designs while going by the name of Lady Crystallia and quickly becomes a fashion icon in Paris, garnering recognition for Frances’ designs. Over time, the two become good friends and develop romantic feelings for one another. However, their happiness is threatened when they are pulled in different directions, Frances by her ambitions to work in a position where her name is known to the public, and Sebastian by their filial duty to marry as the royal heir.
When I first heard about the idea for this graphic novel and saw preliminary design sketches on Tumblr a few years ago, I was so impatient for it to be released. Now I’ve finally read it! If you saw my Goodreads review, it was basically me crying about my love for this book. Initial impressions aside, I have conflicting feelings about the book that I’ll elaborate on below.
The plot made for a great coming-of-age story, with the characters’ desires and growth at the forefront. I’ll admit I’m biased in being drawn to and loving the story because Sebastian is trans (there weren’t specific labels mentioned in the book, but genderqueer and trans femme seem to fit the best from what I gathered) and there are so few trans characters in YA. Watching Sebastian transition and become comfortable presenting as a girl was super heartwarming for me as a trans and genderqueer person. Frances’ arc in developing her creative/artistic talent was likewise relatable to me as someone who writes and draws and wants to be a published author. Jen Wang’s art style is a combination of cute and elegant and really makes the whole experience a visual treat.
It partially follows the template of a typical trans acceptance narrative. While Frances and Sebastian’s manservant have no problem accepting and respecting Sebastian’s gender from the beginning, the same can’t be said for other characters. Sebastian being closeted and fearful of rejection and disgust from their parents as well as the public drives the primary conflict in the story. This isn’t automatically bad, but it’s part of a broader trend of cis authors putting trans characters through some rough situations that aren’t always handled very well in execution.
TW: outing of a trans character
There is a scene where Sebastian is publicly outed by another character who pulls off their wig while they are presenting as a girl, which results in a confrontation involving the king and queen that is pretty emotionally devastating. My issue with this scene is that forcibly outing characters, especially as a humiliating spectacle, is really overused for dramatic effect by cis authors, who may not realize how hurtful the experience can be for trans readers. It happens so much that I am desperate for more stories where trans characters are able to come out on their own terms.
Conclusion: While the the characters are endearing, the art is lovely, the ending is a happy one all around, and the overall message is hopeful for trans/non-binary people, trans/non-binary readers who choose to pick this up should take care while reading in the second half since the outing/confrontation scene is potentially triggering.