The Shadow Over Innsmouth Manga

The Shadow Over Innsmouth is a gothic horror story in four acts. A college student on a self-guided architectural tour of New England takes an inexpensive bus that stops over in the isolated port town of Innsmouth. The student explores the town, and an elderly resident tells him about a wealthy sea captain who made an unholy bargain with ocean-dwelling fishpeople generations ago. The student is forced to stay in the town overnight, and the town’s hidden half-human residents chase him from his hotel. After successfully escaping Innsmouth, the student begins to question his own family lineage.

The writing in Lovecraft’s original 1931 novella can be difficult to parse, and the xenophobia of the narrative isn’t attractive to contemporary eyes. Regardless, this is an extremely influential story in the field of speculative fiction, with adaptations ranging from Alan Moore’s strikingly upsetting graphic novella Neonomicon to the ruined Fishing Hamlet of Bloodborne, not to mention countless stage plays, radio dramas, television episodes, indie films, video games, tabletop games, and even delightfully bizarre Christmas songs. Many of these adaptations, though excellent, assume a familiarity with the original that may not exist in an audience that isn’t already embedded in the speculative fiction fandoms of the twentieth century.

If you’re curious about Lovecraft’s work but put off by his prose, Dark Horse’s release of Gou Tanabe’s manga adaptation is an artistic marvel presented with an excellent translation in a handsomely published single volume.

Tanabe’s adaptation of The Shadow Over Innsmouth brings the story to life with the distinctive visual language of horror manga while maintaining as much accuracy to the original as possible. Just like the story’s protagonist, Tanabe is fascinated by the architecture of the rotting Massachusetts town. The immaculately detailed cityscapes that sprawl across the pages encourage immersion into the horror of social and moral decay. Moreover, whereas Lovecraft only hints at what lies underwater, Tanabe is gleefully explicit in his depictions of throngs of fishpeople so horrific they’d make even Guillermo del Toro uncomfortable.

Tanabe’s The Shadow Over Innsmouth succeeds not only as a faithful retelling but also as a standalone work of gothic horror. By pairing Lovecraft’s oppressive atmosphere with his own meticulous draftsmanship, Tanabe bridges the gap between early twentieth-century weird fiction and contemporary horror manga. The manga adaptation of The Shadow Over Innsmouth preserves the unsettling allure of the original while offering both longtime fans and newcomers an invitation to experience Innsmouth’s decayed splendor in disturbingly compelling detail.

Tokyo These Days

Taiyō Matsumoto’s newest series, Tokyo These Days, follows a senior manga editor named Shiozawa who suddenly quits his job at a publishing company. After an initial period of wanting nothing more to do with manga, Shiozawa visits various artists he’s worked with over the past thirty years, hoping to commission “the perfect manga.”

Like Matsumoto’s Eisner-winning graphic novel Cats of the Louvre, Tokyo These Days is a sensitive yet realistic story about artists and the industry professionals who support their work. Although Matsumoto is honest about the pain caused by frustrated ambitions in a market that doesn’t value the wellbeing of artists, small moments of kindness and hope prevent the tone of the story from becoming too bleak.

Given that Tokyo These Days is a book about books, it’s worth mentioning that Viz’s hardcover edition is a beautiful publication with a glossy canvas cover and high-quality paper that allows Matsumoto’s artwork to shine. If you’re familiar with the kinetic urban fantasy Tekkonkinkreet, you’ll know just how much love Matsumoto puts into the details of his environments, and it’s a pleasure to take your time studying each page to appreciate the ink textures and image framing.

I’m looking forward to seeing how the story of Tokyo These Days develops, but the first volume stands on its own as an episodic commentary on the difficult but still worthwhile business of being an artist and storyteller during the slow decline of the traditional publishing industry.