What titles do you think are the best so far this year? Leave us a comment and let us know!

Connie’s Picks

WE WERE THERE, VOLS. 2-4 (Yuki Obata, VIZ)
I wasn’t convinced this series was anything special at first, since it starts as a rather typical high school romance, but every new volume I read brings me closer and closer to tears somehow, even though very little that is particularly sad happens. I liked that the newest volume has carried out the dark, unspoken promise that has sat between the couple since volume one, and yet the event isn’t nearly as sad as all the love that led up to it. I also like that most emotions are shown, rather than explained in words. This is probably the series I look forward to the most.

ASTRAL PROJECT, VOLS. 2-3 (marginal and Syuji Takeya, CMX)
This one sets itself apart with its strange and surreal plot and slow pace that manages to keep things interesting. The series is about several things—about astral projection and the death of the main character’s sister, about relationships between people and government conspiracies and dead jazz performers and organized crime groups. Each volume opens up the world and story more and more while simultaneously weaving dreamlike threads to keep everything together.

DETROIT METAL CITY, VOL. 1 (Kiminori Wakasugi, VIZ)
I’ve read this a couple times through, and I’m not sure how such simple gags can be so absolutely hilarious. Is it because Negishi is perfectly pathetic? Is it because the writer knows exactly what line to cross to make excessive profanity funny again? Is it because of the strangely devoted fans of DMC that take every detail as absolute gospel truth? Everything about this series is funny, and I’ve never laughed so hard at a manga that revels in its poor taste.

A DRIFTING LIFE (Yoshihiro Tatsumi, Drawn and Quarterly)
I didn’t know what to think of this at first, because while I liked Yoshihiro Tatsumi’s short story collections, I wasn’t entirely sure I wanted to read an 800-page biography about him. I’m glad curiosity won out in the end, because I’ve never learned so much from a volume of manga. It reads more like the early history of manga than it does Tatsumi’s biography, and his sense of time and place give context to every detail, every series, artist, and movie he mentions. It’s not for everyone, but I wouldn’t have missed it for the world.

MOON CHILD, VOL. 13 (Reiko Shimizu, CMX)
This was the last volume in a series that provided a long, strange, surreal ride, and it made my list not because the series was wonderful (which it was), but because of the strange twofold ending which presented what seemed real as a dream and what seemed impossible as reality. I’m pretty picky about endings, and this was one of the most satisfying I’ve read in a long time.

Grant’s Picks

CIRQUE DU FREAK, VOL. 1 (Darren Shan, Yen Press)
The first volume of Cirque Du Freak nails so many important setup elements: estranged protagonists, memorable character designs, broken friendships, and youth dealing with mysterious powers. The story starts off innocent and goofy, then takes a nosedive into dark territory. Characters’ facial expressions often transform from bright-eyed to ferocious for a single panel, which keeps the horror elements of the story floating in the reader’s mind. There’s also a great yin-yang dynamic between the two main boys: as Darren hopes to remain more human than vampire, will Steve sacrifice his morals and become more of a monster?

D.GRAY-MAN, VOLS. 13-14 (Katsura Hoshino, VIZ)
From what I have read, I love this adrenaline-filled shonen series. I spent a lot of time in my previous reviews gushing over the artwork, so I’ll make it quick here: Katsura Hoshino is an unbelievably talented artist. Even if there were no captions, I would still find enjoyment in these volumes. Volume thirteen is packed with action and leads nicely into the next volume, which is more conversation-based. And just when it seems as if a lull in the plot is going to drag on through the end of volume fourteen, the still-recovering warriors are faced with a terrible threat inside of their own sanctuary. The pacing in these two volumes is absolutely perfect.

Isaac’s Picks

PLUTO: URASAWA x TEZUKA, VOLS. 1-3 (Naoki Urasawa, VIZ)
I’ve long been a fan of Naoki Urasawa but it wasn’t until I picked up volume one of Pluto: Urasawa x Tezuka last week that I realized the man is a one-of-a-kind genius. Pluto: Urasawa x Tezuka is a reexamination of Osamu Tezuka’s much adored Astro Boy story “The World’s Strongest Robot,” in which a deposed sultan orders his giant super-robot, Pluto, to destroy the world’s seven strongest robots. The original story, like many of Tezuka’s best, is an entertaining romp but also bears a humanistic message about human hubris and cruelty. Pluto: Urasawa x Tezuka in a sense is Naoki Urasawa’s attempt to make a more nuanced and adult version of the classic story. He succeeded in spades. Pluto: Urasawa x Tezuka reimagines the story from the perspective of one of the seven, Gesicht, an inspector who tries to uncover Pluto’s identity and stop him before the seven are destroyed. This retelling of the classic Tezuka story and reimagination of Astro Boy himself does the impossible: it improves upon them both in every possible way.

FLOWER OF LIFE, VOL. 4 (Fumi Yoshinaga, DMP)
Continuing in the slice-of-life tradition of Antique Bakery, 2009 has finally brought us the long-awaited conclusion of Fumi Yoshinaga’s brilliant Flower of Life. As high school finally comes to an end, Haru, Mikuni and their friends and family’s lives all morph and change in preparation for the future. Even though the series is neither one of deep philosophy or of ribald humor, it manages by virtue of not trying too hard to succeed brilliantly. Haru and Mikuni’s victories and failures as mangaka poignantly reflect their rocky transition to adulthood and prove to be the ultimate test of their friendship. Indeed, this final volume of Flower of Life is a coming of age for all of the characters and Fumi Yoshinaga relates it in a manner so serene and life-like that it must be seen to be believed. Flower of Life is one more feather in Fumi Yoshinaga’s already impressive hat. Keep your eyes out for her award winning series, Ooku, this August.

NANA, VOLS. 14-16 (Ai Yazawa, VIZ)
If I’ve learned one thing about Ai Yazawa it’s that she can throw a mean storytelling curveball. For lack of a better way to describe it, NANA is a shojo epic that resides in the very top echelons of manga. Nana’s life is finally starting to come together by volume fourteen’s beginning. She and Ren are engaged, as are Hachi and Takumi. The band’s star is rapidly on the rise. What could possibly go wrong? Trust me, that’s the wrong question to ask Ai Yazawa. By volume fifteen Nana’s life is hitting the fan in a bad way. She and Ren are drifting apart, she feels separated from Hachi and Yasu, and the stress of the constant scrutiny of stardom is catching up with her in a hurry. No one but Ai Yazawa could make these dramatic ups and downs so poignant and so gripping. NANA has been Viz’s best Shojo Beat title since the imprint’s inception and is only getting better. The next plummet in Nana’s rollercoaster is sure to be a doozy, and I for one can’t wait.

Ken’s Picks

DOGS: PRELUDE, VOL. 0 (Shirow Miwa, VIZ)
The opening salvo of the Dogs franchise did a fantastic job at whetting my appetite for an stylish, seemingly contemporary action manga. The stylized action of Madou’s tale, the quiet haunting nature of Mihai’s tale… it’s just what the doctor ordered. At times it feels like a weird combination of Guy Ritchie and Jon Woo on speed with a little dose of sci-fi just for extra flavoring. While it’s not exactly high art, it is a fun, action packed read nonetheless. The Prelude did a great job at whetting my appetite and left me wanting to see how the characters individual stories will collide. Hopefully the upcoming Dogs: Bullets and Carnage series will be just as fun a read as Dogs: Prelude.

PARASYTE, VOLS. 6-7 (Hitoshi Iwaaki, Del Rey)
Loose ends get tied off and the supporting cast is whittled down as this magnificent, intriguing and suspenseful series makes its final run. Del Rey’s done an amazing job with this re-release and it’s become one of my favorite and most anticipated reads in recent years. Once it’s over and done with in a month or two there will be a hole in my reading list that will be very tough to fill. And yes, I realize this is the third or fourth time Parasyte has turned up on one of my “Mid Term/End of Year” but it really is just that damn good.

THE KUROSAGI CORPSE DELIVERY SERVICE, VOLS. 8-9 (Eiji Otsuka and Housui Yamazaki, Dark Horse)
Your body is their business and their business is a damn entertaining read. Straddling the line between horror and comedy, The Kurosagi Corpse Delivery Service is one of my favorite ongoing manga series. Otsuka does a good job at balancing longer-term plot lines, standalone stories, character development and the odd and surprising bit of social commentary throughout the series. Yamazaki’s artwork is not to be overlooked, either; he’s someone capable of handling the quieter moments just as well as the more brutal and gory incidents. Put both of them together and you’ve got one of the most entertaining series out at the moment.

ASTRAL PROJECT, VOL. 3 (marginal and Syuji Takeya, CMX)
Arguably one of the most overlooked series that’s currently being published in the US, Astral Project is a slow, creepy, study at relationships filtered through the lense of psychic phenomena. Volume three begins to establish a sense of history and context for the mysterious tape that launched Masahiko on this strange road, as we learn of possible links a US government experiment and conspiracy in the field of remote viewing. The series isn’t for everyone due to the slow, seemingly meandering pace, but I love this series to bits and I’m glad former Manga Recon editor Katherine pushed me towards it.

Melinda’s Picks

HIKARU NO GO, VOL. 15 (Yumi Hotta and Takeshi Obata, VIZ)
This series is a long-time favorite and volume fifteen takes it to new heights by introducing its first dose of true heartbreak. After ignoring Sai’s repeated warnings about his time coming to an end, Hikaru finally wakes up one morning all alone. His ensuing search for Sai is not only the most painful, moving event of the series so far but it also provides the first glimpse into the man Hikaru will one day become. Sai’s final moments, too, are guaranteed to evoke tears as he attempts to say goodbye to Hikaru, who can no longer hear him. One of this series’ strengths has always been its unusual sense of elegance alongside the shonen sports-manga structure, and this volume embodies that elegance more than any other. Beautifully written and drawn, Hikaru no Go is a true gem.

FUTURE LOVERS, VOL. 2 (Saika Kunieda, Deux Press)
One tends to evaluate boys’ love manga only in comparison to other boys’ love manga because to do otherwise would put it at an unfair disadvantage. Future Lovers, on the other hand, is one of the few BL titles I’ve read that can stand easily on its own alongside other genres. Though its first volume was fantastic, the second is truly exceptional, moving beyond “We’re falling in love!” to the question most often ignored in fiction, “So then what?” As schoolteachers Kento and Akira continue to build their life together, they face external and (most often) internal obstacles, learning more about themselves and each other as they go. It is a warm, funny, complex romance that gets better with each new chapter.

SAYONARA, ZETSUBOU-SENSEI, VOL. 1 (Koji Kumeta, Del Rey)
Possibly the most charming pessimist since Eeyore, schoolteacher Nozomu Itoshiki is constantly in despair. Yet somehow, along with his highly dysfunctional classroom (including a a stalker, a hikikomori, an obsessive-compulsive, an eternal optimist, etc.) he manages to deliver a smart, satirical romp of the most delightful kind. Filled with layers upon layers of jokes, obscure Japanese cultural references, and seriously fantastic art, this series’ first volume is either intensely confusing or intensely brilliant, depending on each reader’s personal tastes and sense of humor. I definitely fell into the latter category. Sharply humorous, whimsical, over-the-top, and oddly touching at times, this volume represents black comedy at its very best.

WE WERE THERE, VOL. 4 (Yuki Obata, VIZ)
This series stands out as an exceptional example of shojo stereotypes made real, and things could not be more real than they become in its fourth volume. This volume has the distinction of being the only manga I’ve ever read that left me sobbing for a good half hour after I finished reading it. Revolving heavily around the consequences of honesty, volume four explores what happens when Nana’s need to understand Yano’s true feelings leaves her faced with a reality she can only regret. Can we ever return to blissful ignorance once we know the truth? For me, this volume was as personally revealing as it was for the characters in the book–a testament to the mangaka’s incredibly strong writing and impressive insight into the human heart. Delicate and brutal, volume four of We Were There contains some of the most effective romantic storytelling I’ve encountered to date.

PLUTO: URASAWA x TEZUKA, VOL. 3 (Naoki Urasawa and Osamu Tezuka, VIZ)
Using stories of robots to explore the nature of humanity is nothing new—and neither is Pluto, of course. Exploring it with this level of intricacy and emotional complexity, however, is a truly rare and wonderful thing, catapulting Pluto not only into my top five, but rendering it the best manga I’ve read so far this year. What makes volume three special is its final chapter, which provides the first glimpse into the real mind of “Pluto,” the terrifying, enigmatic being who is responsible for the systematic destruction of the world’s most advanced robots. This chapter is so vivid and so poignant, it really takes the story to a new level which, considering the level it was already on, is quite extraordinary. If you only read one manga series this year, it should be Pluto. It’s that good.

Michelle’s Picks

THE ADVENTURES OF YOUNG DET, VOL. 2 (Gyojeong Kwon, NETCOMICS)
This carefully crafted fantasy manhwa boasts political intrigue, romance, tragedy, and fantastic adventure along with absolutely gorgeous artwork. Creator Gyojeong Kwon excels at the art of showing not telling, trusting to the readers to understand the characters’ emotions and growth. The worldbuilding is excellent, as well, with details about the intricate magic system and complicated political landscape deftly woven into the narrative, fleshing it out rather than stopping it in its tracks.

FUTURE LOVERS, VOL. 2 (Saika Kunieda, Deux Press)
I’m going to have to quote myself on this one: “Future Lovers has not only everything I want in a boys’ love story; it has everything I want in a story, period.” It’s the tale of two different people struggling to put aside their pasts and their fears and move forward together. It makes absolutely no difference that the two people involved are both male. With well-developed characters and liberal dollops of both humor and realism, Future Lovers is not one to miss.

HIGH SCHOOL DEBUT, VOLS. 7-9 (Kazune Kawahara, VIZ)
Hello, have you met me? Did you really think I would leave this one off my best-of list? The main thing I love about High School Debut is how you can clearly see what attracts the two romantic leads to each other. It’s not just another case of the ditzy girl and princely boy, but two likable people with flaws and good qualities who balance each other out perfectly. Too, they communicate openly, so even when shojo standards like romantic rivals are introduced, the story doesn’t go down the well trodden path. Is it deep? Well, no. But it will make you smile, and that’s worth something.

HONEY AND CLOVER, VOLS. 5-6 (Chica Umino, VIZ)
Volumes five and six of this josei tale about students at an art college are a bit of a mixed bag. The bouts of outlandish comedy do not appeal to me much, but there are also truly moving moments as the characters confront things like unrequited love and a sense of creative inferiority. For example, in volume six, protagonist Takemoto rather unintentionally embarks on a journey of self-discovery and already seems more alive than he has in volumes. Meanwhile, Yamada, who has long held a torch for Mayama, finally begins to understand that her refusal to give up on him was actually just a way to shield herself from fresh hurts. And those are just two examples. For poignant nostalgia mixed with (mostly successful) humor, you can’t go wrong with this series.

Phil’s Picks

WELCOME TO WAKABA-SOH, VOL. 1 (Chaco Abeno, Yen Press)
Somewhere within the first few pages, you think you have Welcome to Wakaba-soh all figured out: another series where a boy harbors a secret crush on the prettiest girl in school. As expected, what follows is a series of near-confessions, humiliations, and chibi-on-chibi violence, as author Chaco Abeno celebrates the wonder of teenage hormones raging out of control. But Welcome to Wakaba-soh manages to elevate itself by subverting the very formula it establishes early on. Just like smitten freshman Kentarou, the narrative becomes preoccupied with his quest to win the heart of a girl way out of his league, and in the process, forgets about the other lovesick character on the periphery.

Ah, love. It always screws somebody over.

HIGURASHI WHEN THEY CRY: COTTON DRIFTING ARC, VOL. 1 (Ryukishi07 and Yutori Houjyou, Yen Press)
We barely had a chance to mourn Keiichi Maebara after last year’s “Abducted by Demons” arc when “Cotton Drifting” comes along and—surprise, surprise—the Higurashi When They Cry protagonist is back. And not only has Keiichi seemingly escaped from his terrible fate, but the series’ chronology appears to have been reset as well. Now the question is: Will history repeat itself, and what is writer Ryukishi07’s purpose behind rebooting his horror manga?

The good news for readers who don’t like working too hard is that “Cotton Drifting” is pretty entertaining so far, even without the in-your-face shock imagery “Abducted by Demons“ packed. It also has more character development. Indeed, volume one veers between lowbrow humor and some mildly creepy imagery, but it also features a fairly compelling romance involving a tomboy who wishes her best friend would look at her differently. It’s a subplot more emotionally-moving than we had any right to expect.

THE STATIONMASTER (Jiro Asada, VIZ)
The Stationmaster is a collection of short stories, not a manga, but author Jiro Asada conjures up such powerful imagery that it might as well be. From the fairy tale-esque (a snowy New Year’s landscape in the titular work) to the horrific (the finale of “Devil”) Asada repeatedly proves himself a master of the lyrical and nightmarish.

The backdrops of all eight stories run the gamut of everything a Japanese culture fetishist might expect. There’s yakuza, trains, salarymen. But Asada is considered one of the country’s great modern writers for a reason: along with alternating protagonists between male and female, the elderly and children, slick salespersons and shaggy dogs, his stories touch on timely issues such as urban development, divorce, and social alienation. One could view the inclusiveness as a sign of how Asada’s recurring preoccupations—regrets, psychic trauma, life-changing incidents—are universal. Or, one could simply appreciate how a single collection like The Stationmaster manages to encapsulate such a diverse cross-section of present-day Japan.

Sam’s Picks

FAIRY TAIL, VOLS. 5-6 (Hiro Mashima, Del Rey)
Who couldn’t love this fantastically and magical series? Fairy Tail is a nice alternative to Rave Master, Mashima’s other incredibly out-of-control series. It offers well rounded and believable characters while still retaining that silly humor and engrossing action we love. Volumes five and six are the crux of the series so far, featuring a focus on the steely Grey, as he battles his former rival, who is bent on overcoming their master. After this heartwarming saga is resolved, war breaks out between Fairy Tail and the Phantom Lord guild, as innocent Fairy Tail members are attacked. I am a really a fan of the series and you can tell that Mashima’s really tightened up his game in terms of storytelling, art and character development.

JOJO’S BIZARRE ADVENTURE, VOL. 11 (Hirohiko Araki, VIZ)
After a year in waiting, I am so happy to have volume eleven of Jojo’s Bizarre Adventure, and hopefully volume twelve (fingers crossed, only five left!). This delightfully baroque and extremely violent series carries on with Jotaro and crew finally reaching their destination in Egypt. Once there, they are met with all type of adversaries including a malicious gambler named D’Arby and the oddest couple you could find in Hol Horse and Mondatta. Either way, they manage to press on against all the baddies and 1980s music references still in high hopes of saving Holly Joestar! If you haven’t started this series yet, please pick it up! It’s a masterpiece!

GIMMICK!, VOLS. 5-7 (Youzaburou Kanari and Kuroko Yabuguchi, VIZ)
I am continually surprised by how much I enjoy this series. The characters are funny and extremely likeable, you actually learn something about an industry that is tougher than tough to get into, and the art is outstanding. Gimmick! is just as exciting as the movies it talks about and volumes five through seven really prove that, especially for me. There are some nice shorts in volumes five and six where we get to explore the minor characters as well as go deeper into our hero in volume seven. Exciting things are beginning to surface as the tournament heats up and I’m sure you’ll want to keep your eyes peeled.

PLUTO: URASAWA x TEZUKA, VOLS. 1-3 (Naoki Urasawa and Osamu Tezuka, VIZ)
Oh my god. Normally, you cringe when you hear about a redoing of a series, especially in this day and age. Urasawa, however, took the work of one of the greatest storytellers and turned his cute, lighthearted story into a grotesque and dark thrill ride. The robot designs are amazing as are the people and you can’t fight the emotional responses you get when you see sad robots (Gesischt is so melancholy and morose; you just want to hug him.) I would suggest this to anyone who loves or is even relatively interested in manga.

So here’s the idea for the round table: the Manga Kingdom is going to consist of these positions:

King
Queen
Prince
Princess
Lady of Shojo
Lord of Shonen
Lady of Josei
Lord of Seinen
Jester (humor)
Bard (music)
Cook (cooking)

What I’d like to see from each of you is what your choices are and why.

So to start us off, here are my choices:

King: Osamu Tezuka (Obvious choice but he really did lay the groundwork for the industry (I consider him the Japanese equivalent to Walt Disney) and his work is still some of the best, even to this day.)

Queen: Rumiko Takahashi (Again another obvious choice. Well thought-out characters, enriching stories, and good humor make her an excellent choice. Again she is a very formative influence and has really made an impact. I grew up reading Ranma and can’t think of a better way to be introduced to the medium.)

Prince: Naoki Urasawa (I was just introduced to Urasawa last year but already I am a big fan. His cinematic style and very human characters are what keep bringing me back. 20th Century Boys really struck a chord with me, in terms of nostalgia. Not only that, but he redid Tezuka which is a huge achievement in my book! It’s hard to ignore sad robots!)

Princess: Ai Yazawa (She is along the same lines as Urasawa, but she captures more of the silliness and love that life brings rather than the seriousness. NANA is wonderful but I really enjoy the majority of her older work (Paradise Kiss, I’m No Angel).

Lady of Shojo: Miki Aihara (Tokyo Boys and Girls was one of the first shojo series I have read and it really defined the demographic for me.)

Lord of Shonen: Eyeshield 21 Team, Riichiro Inagaki and Yusuke Murata (They just get shonen: a wide, likeable cast of characters including a main lead who isn’t annoying and in whom you want to believe. The art also sends chills down my spine as the characters push towards their goal. Brilliant.)

Lady of Josei: I honestly don’t read any josei at all so I can’t really put a candidate down for this one.

Lord of Seinen: Mohiro Kitoh (After having read Shadow Star and Bokurano, I really understood what seinen is. He has a very dark, adult look on the world.)

Jester: Akira Toriyama (Though most of his series are action-packed, Toriyama has a great sense of humor. Dragonball is riddled with preverse jokes, Dr. Slump is fantastic, and Cowa! is funny in a cute/stupid way.)

Bard: Kiminori Wakasugi (Even though the focus of Detroit Metal City is comedy, Wakasugi offers a great look into the metal scene.)

Cook: Takashi Hashiguchi (I love that Yakitate!! Japan offers a creative spin on something as commonplace as bread, while still retaining a pretty in-depth story.)

So, yeah. There you have it.

Please send your choices and if you have any suggestions for other positions, say it loud!

ERIN:
Sorry, Sam, you’ve got a couple of the positions wrong!

Lord of Seinen: Kazuo Koike (Crying Freeman, Lady Snowblood) or Takao Saito (Golgo 13)

Lady of Shojo: Moto Hagio (They Were 11, founder of shonen-ai) or Keiko Takemiya (Andromeda Stories, To Terra, The Song of the Wind and Trees)

Lord of Shonen: Takeshi Obata (Death Note, Hikaru No Go)

Lady of Josei: Moyoco Anno (Happy Mania, Hataraki Man)

Cook: Tetsu Kariya and Akira Hanasaki (Oishinbo)

Where does Go Nagai come into it?

I think you can have multiple lords and ladies in a royal court. Also it would be funny if these were tarot cards or standard playing cards. Maybe I could learn the manga artists’ names more easily that way!

ISAAC:
Interesting. I dig most of your choices, Sam! Tezuka and Urasawa are close to my heart right now as I burn through Pluto. Like Erin, I would make a few changes:

King: Osamu Tezuka

Queen: Rumiko Takahashi

Prince: Naoki Urasawa. If you haven’t read Pluto, do so NOW. It won’t let you go.

Princess: Ai Yazawa

Lady of Shojo: Moto Hagio

Lord of Shonen: Takeshi Obata

Lord of Josei: Fumi Yoshinaga (Antique Bakery, Flower of Life). Though I adore Moyoco Anno’s work, Fumi Yoshinaga communicates emotions, relationships and the the feeling of life like no other mangaka.

Lord of Seinen: Katsuhiro Otomo (Akira, Domu, Hipira). Although we don’t have much Otomo in the States, his timeless epic Akira both initiated a generation of manga fans and redefined seinen manga.

Jester: Makoto Kobayashi (What’s Michael?, Club 9). What’s Michael? and Club 9, though hard to track down, are the funniest comics you will ever read outside of “Calvin & Hobbes” and “The Far Side.” Eiji Nonaka (Cromartie High School) and Kiyohiko Azuma (Yotsuba&!, Azumanga Daioh) are also favorites of mine.

Bard: Wakasugi Kiminori. Can I also nominate Ai Yazawa here for NANA? I know that might not be kosher.

Cook: Takashi Hashiguchi. No contest.

Great idea, Sam!

MICHELLE:
My choices aren’t too different from everyone else’s, though I’ve got a few exceptions.

King: Osamu Tezuka
Queen: Moto Hagio
Prince: Naoki Urasawa
Princess: Rumiko Takahashi

Lady of Shojo: Ai Yazawa. NANA consistently breaks my heart and I keep asking it to do it again.

Lord of Shonen: Eiichiro Oda. You just have to admire a long-running series like One Piece that maintains such consistent continuity.

Lady of Josei: Chica Umino. I love the sense of both humor and nostalgia in her series Honey and Clover.

Lord of Seinen: I am going with Isaac on this one. Katsuhiro Otomo’s Akira is nothing short of amazing.

Jester: Kazune Kawahara. Though it’s not particularly known as a comedy, I find something to giggle about in every volume of High School Debut that I read.

Bard: Ai Yazawa again. I’ve read some other series about musicians but NANA really gets into the spirit of the band’s music not to mention their struggles to remain true to themselves even after the record label’s demands begin to influence their work.

Cook: Tetsu Kariya and Akira Hanasaki, the team behind Oishinbo.

Traveling theatrical troupe: I completely invented this category so I could include my personal favorite manga group–CLAMP. They’re good at reinventing themselves and definitely bring the drama, so I’d say it applies!

CONNIE:
What a great idea, Sam! Let’s see…

King – Osamu Tezuka: Too perfect.

Queen – Moyoco Anno: Men, women, children, girls, boys, everything from historical drama to fantasy to high school romance to romance at the office and in everyday life… she’s a master of all things manga.

Prince – Naoki Urasawa: He’s just a good choice.

Princess – Ai Yazawa: Also a good choice.

Lad(ies) of Shojo – CLAMP. Which is sort of cheating, since it’s more than one person, and their recent series are shounen/seinen, but all their old shojo is still classic.

Lord of Shonen – Hirohiko Araki (Jojo’s Bizarre Adventure) – He gets the 100-volume, six-story, consistently awesome for twenty years position.

Lady of Josei – Fumi Yoshinaga – I’m going to agree with Isaac here.

Lord of Seinen – Kazuo Koike (Offered, Wounded Man): I have to agree with Erin on this one. He’s just too insane not to tip my hat to.

Jester (humor) – Ai Morinaga (The Gorgeous Life of Strawberry-chan, My Heavenly Hockey Club, Duck Prince, Your & My Secret): She’s just consistently funny. I’ve never been disappointed with one of her series.

Bard (music) – Kyoko Ariyoshi (Swan): Nobody can make me hear music like her, even though Swan’s more about the dancing than the music. I almost chose Akira Hiramoto (Me and The Devil Blues), since he’s also very awesome.

Cook (cooking) – Shinji Saijyo (Iron Wok Jan): I like the idea that my food will be delicious as well as served by a bragging, sneering, demonic-looking chef that hates everyone.

SAM:
Connie, great choices for cooking and shonen!

CHLOE:
Pah! My choice have all been already brought up- well, most of them, that is.

King – Osamu Tezuka
Queen – Keiko Takemiya
Prince – Naoki Urasawa

Princess[es] – I’m actually going to put CLAMP here. They’re too broad for shojo; they pack the kind of storytelling versatility that makes them full on manga monarchs.

Lady of Shojo – Yuu Watase. Seriously. It may be soapy, overdramatic and overdone but it’s hard to argue with both the scope, influence and enormous popularity of her series. This is shojo at its most, well, shojo.

Lord of Shonen – Jyoji Morikawa – 88 volumes of Hajime no Ippo later, I’m hard-pressed to imagine a series with a more enduring legacy among generations of Japanese boys (and men!)

Lady of Josei – Going to have to side with the Moyoco Anno crowd here.

Lord of Seinen – Naoki Urasawa. Monster? Pluto? Billy Bat? Enough said.

Jester (humor) – Koji Aihara and Kentaro Takekuma. I dare you to read Even a Monkey Can Draw Manga and not die laughing.

Bard (music) – Harold Sakuishi. BECK is really something to behold.

Cook (cooking) – Tetsu Kariya and Akira Hanasaki. Oishinbo all the way for this category.

ERIN:

Lord of Josei: Fumi Yoshinaga

Hmmm…. Maybe because the gender-reversal in Ooku, she should be Lord of Josei!

GRANT:
King: Can’t argue with Tezuka.

Queen(s!): I gotta go with CLAMP on this one. Everything they touch seems to draw oohs and ahs. Gorgeous art and iconic characters leap from their minds all the time. Now, if only they’d finish X…

Princess: Hiromu Arakawa’s work on Fullmetal Alchemist is head and shoulders above most shonen titles I have come across. I know she hasn’t produced many titles (and I haven’t touched Juushin Enbu (editor’s note: being released as Hero Tales by Yen Press) to see if it’s any good), but her work on FMA is simply astounding in both art and storytelling.

Lady of Shojo: I really, really want to put Kaori Yuki in. Sadly, her other manga don’t hold up to Angel Sanctuary. So, actually, nevermind.

Lord of Seinen: Kentaro Miura, even though he just put Berserk on another seasonal hiatus. He supposedly uses no assistants, continually produces two-page spreads that induce arthritis simply by looking at them, and hasn’t lost the main thread of his story even after all of these years. If Kouta Hirano had an extra decade of manga excellence under his belt, he would be a contender. Until he can do something other than Hellsing, he’s still unproven.

Jester (humor): Kiyohiko Azuma. It’s not the usual over-the-top method, but Yotsuba&! is a wonderful piece of simple humor. It may not draw much more than a chuckle, although it will leave you smiling most of the time. Azumanga Daioh is wonderful, too.

Bard (music): Harold Sakuishi. Even though BECK does not teach you how to actually play guitar, Sakuishi shows how music can be a transformative influence on every aspect of a young person’s life.

MICHELLE:
Thanks everyone for your contributions! Looks like Tezuka will never budge from his position as king, and though many of the same names popped up in the top tier, there’s no clear indication of who should reign in which spot. Perhaps we have ourselves an oligarchy instead!

Now we’d like to hear from you, the readers! Disagree with our picks? Have an argument in support of your particular favorite manga artist? Chime in and let us know!