Welcome back to the Multiversity Manga Club! This month I have the pleasure of sharing what is, perhaps, my favorite manga currently being published. I hope that you’ve been able to join in and check out Soma’s adventures in fine food preparation and high school politics, but in case you haven’t be sure to check out the lead-in post for a quick primer. Now, without further ado, let the Food Wars begin!
Written by Yuto Tsukuda
Illustrated by Shun Sakei
Consulting by Yuki MorisakiSoma Yukihira’s old man runs a small family restaurant in the less savory end of town. Aiming to one day surpass his father’s culinary prowess, Soma hones his skills day in and day out until one day, out of the blue, his father decides to enroll Soma in a classy culinary school! Can Soma really cut it in a place that prides itself on a 10% graduation rate? And can he convince the beautiful, domineering heiress to the school that he belongs there at all?!
My road to “Food Wars Shokudeki no Soma” is a bit convoluted. I was first introduced to the series when it first launched in the American version of Weekly Shonen Jump in late 2014. Though new to America, the series had been going on for some time in Japan, and it began its stateside run simultaneously with Japan’s chapter 93. It wasn’t until some time later that I circled back around to the series beginning via tankoban collections. However, had it happened any other way, I might not have come to enjoy the series as much as I do.
When I first came in contact with the series it was knee deep in its longest arc to date, “The Fall Classic,” and it was truly unlike anything I’d ever seen before. It combined the intense over the top battles I adored as a teenager in “Dragon Ball” with the unabashedly addictive and entertaining formula set forth by television shows like “Chopped.” The food drew me in, the fascination of how it was made, the science and art and thought that goes into its creation, and imagining just how great it must taste!
Had it been just that, a fun little battle manga, educating readers on gourmet food preparation, it would be worth your time. While the book’s hook is undoubtedly the food (though this wasn’t always necessarily the case, more on this later), the diverse and compelling cast of characters gives the necessary depth to keep readers coming back. The titular Soma Yukihira is an archetypal shonen lead, driven by his determination to be the very best in his given field and his uncanny ability to overcome overwhelming odds in said pursuit. It’s a well-worn formula, but if you enjoy the likes of “Dragon Ball” or “Naruto” you’d feel right at home.
The rest of the cast exists on a spectrum of hallmark tropes (like Soma’s first friend Megumi) to the absolutely outlandish (i.e. the comfortably nude Isshiki-senpai). The large cast is rather intimidating, something a listed as a similar obstacle in my attempt to dive into later chapters of “One Piece.” Slowly but surely, however, Tsukuda and Saeki familiarize the reader with the expanded and quirky dramatis personae. The characters are slowly peeled back, revealing unique details of his or her past. The book’s boarding school nature speaks to my “Harry Potter” fandom, informing my emotional reaction to the character’s social interactions. While the social interactions tell us much about the characters, there’s even more to gain from private reflections into a given character’s past history. The book’s willingness to shift the focus away from the lead protagonist towards relatively tangential side characters helps “Food Wars” to develop a compelling and well rounded supporting cast.
I’ve alluded to just how quirky this book can be and I truly mean it. This is no better exemplified in than in the character’s bizarre reactions to the delicious foodstuffs. It seems that, in the world of “Food Wars,” the most proper reaction to good food is an orgasmic state of ecstasy, one that often involves the discarding of apparel. Imagine my surprise when, in the judging of a particularly intense battle near the end of the of Fall Classic, the school’s headmaster “disrobed,” exhibiting his extreme satisfaction with the dish at hand. While this is most often played for comedic value, there are times when it drifts into more uncomfortable territory. So uncomfortable, that it almost turned me away from the series entirely.
Continued below
Earlier I mentioned that one aspect of “Food Wars” rivaled its culinary-centric focus. That aspect is the gross over-sexualization of its characters. My choice of the word “gross” here carries two meanings, both the “large-scale, blatant” definition as well as “vulgar” or even “repulsive.” Female characters are depicted in various states of climactic bliss, bulging out of clothing, oft with naught but steam, cherubs, or rice(?) to cover the naughtier bits. Now, I don’t mean to be prudish, or to suggest that sexuality has no place in manga or any visual story telling. For discerning adults, it’s a valid form of expression that when used cleverly can add depth and value. Likewise, “Food Wars” may be commended for presenting its male characters in similar manner as its female ones, the latest in a growing trend of sexual equality. However, more than once the borderline nudity in “Food Wars” made reading an uncomfortable experience, without adding to the story in any meaningful way. When considering the context, the fact that these characters are high school students, no more than 15 or 16 years of age, it brings to the forefront difficult questions of taste and cultural differences.
Many with tangential knowledge of manga or anime are likely familiar with the term “hentai,” which refers to the sort of pornographic animation that dominates seedier parts of the Internet. Fewer, however, are likely to be accustomed with the term “ecchi,” a genre of manga and anime that more gingerly toes the line of sexuality. Ecchi themes and images are closely tied to what has come to be termed as “fan-service.” Fan service can be any element of a piece of media that plays to fans desires, a cameo of a beloved character for instance. In manga and anime, however, it has become most closely associated with sexualized depictions of characters, geared at titillating the readership. The merits and faults of this type of fan-service are beyond the scope of this book club (though perhaps, not outside that of a future entry).
Equal opportunity objectification, now with sea creatures!
It bears noting that age of consent in Japan is 13, though laws similar to that in America protect youths under 17 from inappropriate exploitation by adults. This sliding scale of cultural norms and morality makes it harder to judge the creative choices made. If by some bizarre chance a mainstream (relatively) American comic started depicting 14-year-old girls in this manner, Fox News would have a veritable field day villifying the medium and decrying the downfall of American values. One Million Moms might actually find a cause that the masses could rally behind. Fredrick Wertham’s accusations would come to bear once more and citizens would burn their comics in the streets.
Ok, maybe I’m exaggerating just a little a lot.
Honestly, I don’t know how I feel about the use of sexuality in “Food Wars.” In most cases I just hastily skip past the more risqué pages, hoping my wife doesn’t look over my shoulder and wonder what kind of depravity her husband is engaged in. It’s a feeling fellow anime/manga fan and DC3 cohort Vince Ostrowski can attest to. However immature or prudish my response may be, it nevertheless affects my reaction and enjoyment of the text.
Regardless, somewhere between the series’ early chapters and the point that I jumped on the series began to rely less on sexuality and more on the strong characterization and fun, intelligent presentation of haute cuisine that I have previously described. In this way “Food Wars” is a fantastic example of impeccable creative collaboration. Most comics are a two-way collaboration between the writing and artistic components. While these components can feature several distinct parts, shared writing/scripting duties or pencillers/colorists/inkers/letterers, it’s still the blending of story and pictures. “Food Wars” adds a third component in the form of a consultant, Japanese chef and model Yuki Morisaki. While Tsukuda and Saeki craft their story, Morisaki lends a sense of validity via expert knowledge and experience. Tsukuda’s input keeps the endless parade of recipes fresh and interesting, culling from a knowledge of various cultures culinary arts and sciences. Some of her recipes even make their way into the hands of readers in the tankoban collections (all of which I hope to try my hand at some day), and even a cookbook in Japan.
Continued below
It’s fun and educational!
If my reaction to “Food Wars” feels disorderly, I apologize, though I’m not entirely surprised. The book itself is quite haphazard itself, flitting between story arcs at the drop of a pin, each with vastly different themes and tones. However, I also hope I’ve conveyed that the book never ceases to elicit strong feelings; enjoyment, satisfaction, inspiration, sadness, disgust, and empathy. That’s saying a lot about a book that is, essentially, the dramatization of a Food Network reality show. All things considered, “Food Wars” is still one of the finest comics currently in publication in terms of style, content, and execution, and I truly hope you’ve enjoyed it. Check back in the coming days as we announce the Manga Club selection for February!
