【Artbook】Robot Super Color Comic Vol.2

Let’s try this again…The post about Vol.1 (which I suggest as a starting point) was done in a pretty terrible way, so I’m trying to improve on that. I’m sorry that I am an amateur. I’ll try to do improve on this next time. Hover over each image to see a caption, and click to enlarge.

This post consists of three (general) parts:
1. List of Works
2. Opinion
3. Packaging


Robot Vol.2 Cover. (Illust: Range Murata)

This is volume 2 of 10 volumes, 5 of which have been translated and distributed in North America. Vol.2 is published by Digital Manga Publishing.

List of Works + respective artists in Vol.2:
(by English translated titles and in order of appearance)

1. Dragon Fly Ch.2 – MAESHIMA Shigeki (22 page manga)
2. Ebony & Ivory Ch.2 – YASUDA Suzuhito (10 page manga)
3. There Goes Suzume Robo!! – Sabe (4 page manga)
4. Wasteland Ch.2 – YOSHITOSHI ABe (18 page manga)
5. Flowers – MAEDA Hirotaka (8 page manga)
6. Stars and Blue – Miggy (7 pages of themed illustrations)
7. Pez & Dekosuke – ASADA Hiroyuki (1 short comic and illustration fold-out)
8. “Velvet” Monochrome Version – TAJIMA Sho-U (1 spread illustration)
9. Sedouka Ch.2 – NAGASAWA Shin (10 page manga)
10. Delicious Adventures – YUG (4 page manga)
11. House of Fish – Teikoku Shounen (3 page manga, 1 spread illustration)
12. The Depths of November – MIURA Yasuto (8 page manga)
13. Eventyr -What The Diamond Discovered- – HACCAN (9 page story w/ inset illustrations)
14. The Oni Smiles When You Mention Next Year – NEKOI Mie (6 page manga)
15. Witch’s Stipulation – DOWMANSAYMAN (8 page manga)
16. Within The Mirror – SANBE Kei (8 page manga)
17. [Untitled] – MURATA Range (2 illustrations; landing page and exit page)

Opinion: This volume is probably one of my favourites out of the 5 volumes I got, because of the substantial amounts of content from all the artists I like the most, those artists being Maeshima Shigeki, Yoshitoshi ABe, Teikoku Shounen, and HACCAN. However, I personally thought that much of the other ones were a little less than stellar, especially Tajima’s black and white illustration and Sanbe’s manga. I also also still unable to like Miura’s odd style and story.

The biggest highlight for me is again HACCAN’s story. Again with a LOT of incredible and colourful artwork (More than in Vol.1, I think), but the most notable thing here is the story. I didn’t think that HACCAN could come up with a story that completely overwhelms his already awesome story in Vol.1, but he totally outdoes himself in Vol.2. It’s again set in the same fantasy world of Eventyr (though with no magic this time!), and talks about a blue sprite who lives in a brilliant blue diamond. The diamond is passed to different people through various situations, and at the end of a chain is a really really moving ending. It literally made me cry. It was incredible how sincere and pure the whole thing was. I’d buy this book just to read this, seriously. Please buy it so you can read it too. It’s not the same if you download it and read it on a monitor.

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My second favourite thing in Vol.2 comes to a tie between Maeshima’s and Yoshitoshi’s continuations from Vol.2. They both wrote and drew a huge amount of entirely colour pages in this volume, and it was just amazing to see them be able to keep up with such consistency and quality in both artwork and story, despite having to do so much/ Yoshitoshi also revealed (in his afterword comments) that for this chapter, he used a doubly longer process (pencilling and inking by hand, then colouring by PC, instead of usually just pencilling by hand and colouring by PC), so the detail and finish in this chapter looked even more complete than usual. Maeshima also keeps up with the same high quality as in Vol.1, with some gorgeous artwork of Sara, the steamy hot protagonist, plus quite a bit of manly men fighting each other, which is fine too (I guess…) The (other?) best thing about both Maeshima and Yoshitoshi’s manga this volume was that a lot of plot-wise progression was made, so the story just totally made me want to read more. Super, super great job.

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Next is Teikoku Shounen’s pseudo-manga and illustration spread, which, as you guessed it, is more than entirely wonderful. I love this guy so much. His little manga follows a waitress who works at the House of Fish and the places she sees, all of which are part of the spread illustration. After the manga is the illustration of the entire House of Fish, complete with all the tiny, miniscule details that Teikoku Shounen is master at detailing. I also don’t know why I ever had an impression that Teikoku Shounen wasn’t that good at drawing people, but his manga-thing smashes and completely annihilates the preconception I had before. That waitress is cute! Teikoku Shounen also says in the afterword that this is the most pictures he’s had to draw ever (at the time of publication at least). I guess this is also tied with my second favourite. Actually, you know what, they’re all my favourites.

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Also, Maeda’s manga in this volume was quite gorgeous, and he was a new discovery for me. I don’t think I understood the ending of it at all, though. Asada’s “manga” this time was only a fold-out, but the serious-looking artwork is really, really beautiful, and I was very happy to see it since Asada usually draws in a more playful, less detailed style. I found that Miggy’s spread was nice too, and I’m starting to warm up to the artist’s unique style. Too bad the binding and alignment doesn’t do the image justice.

As for the works I could not attach myself to, the most prominent one was Tajima’s overly simple black and white spread. It shows a naked, smiling woman from the stomach up, and near her stomach is this unidentifiable object that I can’t define at all. I don’t get it, and why black and white! That’s terrible! The second one was Nekoi’s manga, with a silly story and really silly looking characters. I know that it’s nice as comic relief, but it just felt so…out of place for some reason, and I’m not too fond of the art/colouring style either.


Range Murata’s landing page illustration

I just also wanted to say that Murata’s contribution to this volume (in terms of artwork), was very, very minimal, with only two pages of in-book artwork plus the cover art. Sure, the pages he did draw are really aweome and cool (especially the exit page), but if you’re getting this book hoping for more Murata, well, I think it would be more wise to look at scans from the book instead if you just wanted that.

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Packaging: Continues with the high production quality seen in Vol.1, complete with dust jacket, heavy card-like stock for the cover, and similar semi-glossy paper for the inner pages. Vol.2 was printed in Taiwan (instead of China), and the dust jacket illustration has a little more noise than Vol.1’s, but the quality is still very high. There is also a seperate piece of detachable paper on the back for advertising purposes, and two ads in the back of the book. Vol.2 is a little shorter and less wide than Vol.1 (Less wide by ~4.5mm, shorter by ~3mm). Vol.2 also uses a different binding type than Vol.1, and can’t open as wide. Spreads are close to being entirely aligned, but is not as perfect as Vol.1. Refer to photo of Miggy’s spread above for an idea on spread alignment and extent of book opening. Also missing are the tiny names on the inside of the cover. Overall, the packaging for Vol.2 is less stellar than Vol.1.

Here are some other pictures.

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