There were a lot of exciting takeaways from AnimeNYC 2024, particularly hype around series and their soon-to-be anime adaptations, but one of my favorite parts was finding manga series that were soon to launch, such as Tougen Anki, the One To Watch last week, and Dragon & Chameleon, which I’m here to talk about today.
But first, just look at this art.
There are so many things that can pull me into a series, but the art of Dragon & Chameleon was just the first taste that opened the door to what I feel is a major central theme of this series—what is the difference between the art and the artist, and by extension, which is bigger? Is one more important than the other? Are they inseparable?
In a day and age when so many major artists are doing their best to spoil their legacy, as consumers, we often have to ask what the separation is. Can you still enjoy the art and stand opposed to the statements and actions of the artist?
I’m only though six chapters of Dragon & Chameleon, so that very well may not be the main point, but it’s had me thinking ever since the series dips its toe into this question, and because of that, I am thoroughly addicted.
Before I get too far, here’s a brief summary of the set-up—
Garyo Hanagami is the beloved mangaka of Dragon Land, the most popular manga in the world. Shinobu Miyama is a jerk of a newbie who can copy other artists’ styles. In a Freaky Friday twist, they fall down the stairs and switch bodies. Miyama becomes the master, maintaining his dubious personality, and Hanagami has to start over, a direct competitor to Dragon Land.
It’s a very simple premise, with a clear hook, but the questions that stem from it are very interesting to think about. As I read about Hanagami’s struggle to stand out in the shadow of his own series, I find myself asking these questions about the difference between an artist and their art, and if there is one. There’s this resonant theme that so much of succeeding as an artist depends on luck, and that being the case, will Hanagami ever rise to match Dragon Land when luck played such a big part in it?
Okay, theme aside, another big draw is the character work. Not just visually (which is also tremendous), but character relationships. I mean, that’s bound to happen in any body-switching situation, but that’s not even the main factor.
Sure, the old switcheroo is always in the back of your mind as the reader, but the character interactions aren’t all dependent on it. You’ve got a spiteful rookie learning how to adapt to fame, and a seasoned professional learning to adapt to starting over. That alone is a superb staging ground for character growth, never mind when you start factoring in other characters that orbit these two.
Oh, and did I mention this is by Ryo Ishiyama, who did the storyboards for Ace’s Story and just so happened to be an assistant to Eiichiro Oda? Yeah, no biggie.
I’m usually pretty indifferent to manga about manga, but this is making me rethink that. Along with all of what I mentioned above, it’s also a really fascinating lens into the realm of manga creation, and it’s a superb stage for this story to really pop.
You can read now on the MangaUP app, or you can wait for the first volume to hit shelves in November. Whatever you do, clear your schedule when you start, because it’s addictive.