“Tokyo—a beautiful yet cold city, full of life and twinkling lights. There resides Subaru Sumeragi, the thirteenth head of his clan and a powerful onmyouji. Aided by his glamorous twin sister, Hokuto, and the veterinarian who claims to love him, Seishirou Sakurazuka, he solves the supernatural troubles that plague the citizens of Tokyo—both living and deceased!” (Yen Press)
It is undeniable that getting the premium collection edition of “Tokyo Babylon” will prove a great draw for those whose early introductions to manga came from the female creative collective known as CLAMP. With the original English release being long OOP, collectors can grab content they may have missed out on or even update their previous volume with the more sleek edition. However, approaching the book with that nostalgic edge is vital as the work of CLAMP has not necessarily aged as well as other classics from the era.
The work of CLAMP, and looking specifically at “Tokyo Babylon,” feels almost anachronistic in its approach. The most apparent indicator comes from the attempt at comedy, which consistently falls flat, particularly the pokes at sexuality with the humor primarily focused on awkward flirtations. The tone of it comes across as juvenile though not in an entertaining way. It is dated and awkward. There are certainly great comedies to come out of the 90s, but “Tokyo Babylon” is one of many that shows how humor has evolved over the decades.
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More subtle is how the writing appeals to ‘teenage angst' from the opening pages, with the “Do you hate Tokyo?” Building on this premise, the “Tokyo Babylon” does not necessarily add substance beyond surface-level grumblings expectant of any city-dwelling youth lashing out. Again, this is apt for the era, but the angst and awkwardness of youth have certainly changed with the focus on technology and broader global concerns wherein here these elements of discontent feel more selfish than reflective. Consequently, the content gives the impression of catering to Goth kids in the 90s, and while there is nothing inherently wrong with that, its delivery will be too heavy-handed for most.
The book's aesthetics seem to draw from the Visual Kei music movement, which, while still around, has lost much of its prominence, further adding to the sensation of the work being dated. However, those who love that era, specifically goth and glam, will adore the fashion and visuals throughout. The art is further highlighted in a few beautiful double-page spreads that offer up dark romantic imagery at its finest. Additionally, the design of the ghosts that haunt Tokyo has a nice macabre vibe that further feeds into the gothic aesthetic.
Admittedly, CLAMP's work in the modern era feels out of place, and “Tokyo Babylon” is a prime example of this. Its humor is flat, the story seems honed on validating teenage awkwardness, and its artistic approach will only appeal to a specific fandom. Still, those with a soft spot for all those things will find the sleek premium collection release of CLAMP's “Tokyo Babylon” more than agreeable. Essentially, to the right reader, this release and subsequent volumes will serve as a cherished addition to the collection.
