By Dustin Cabeal
As I said on my podcast, if Umami had released just one more issue in 2017, it would have likely ended up on my best of list. The inner debate with myself was non-stop about this book a one or two more that were also very close to making the top five. What Umami has going for it above all other comics, is the overwhelming feeling of happiness that it fills you will. That is the main dish that Ken Niimura’s two characters are cooking up, joy and happiness.
In the last issue, and you’ll have to forgive the minor spoiler, we learned that our two bandits were, in fact, planning on eating Uma and Ami. That is the dish they prepare and eat every day and also the reason they can’t poop. But a Zebra can’t change its stripes so they’re just going to keep eating humans until they can shit no more. Like actually shit no more. Ami attempts to tell Uma about their plan, but Uma is really into cooking her cleansing soup and getting them to let them go. I sincerely hope that you see where the story is going, if not you’re sure to see it when Ami tries the soup.
I won’t say what the joke was that made me laugh and laugh a lot, but it is a credit to Niimura’s storytelling to be able to tell a story full of hope, adventure and that kind of humor that I don’t want to say for fear of spoiling a terrific joke. It’s just so rare that this type of humor actually works out in a comic book without every character being pretty much an idiot. Instead, it fits naturally with the rest of the story. It also skillfully developed both main characters. Uma learns that she needs to be a bit more careful and not as trusting. She’s thankful for Ami after this issue. As for Ami, she shows care and concern for Uma in a way that she didn’t before. It shows that a bond is developing and while it’s inevitable that Niimura will test that bond and more than likely separate these two at some point, for now, it’s a delight to see and develop.
As someone that’s spent a lot of time in comic shops and with comic readers, I will say that black & white comics are usually passed over because they don’t have any color. It takes something like Sin City for people to be like, “this shit is awesome.” It’s underappreciated, and as I’ve pointed out in hundreds of reviews when a creator knows how to use the black & white medium, it becomes something magical. Niimura isn’t breaking the rules or changing the standards with his artwork, but he is giving a master class on how great a comic can be in black & white (and greyscale, but I count that as part of it all). The details can change from being deep to light, and it all works here to serve the story. That’s something that so many artists and creators, in general, seem to have forgotten of late; the art should be serving the story because it’s 90% of the story. That’s a rough percentage; I’m sure everyone that’s ever picked up or made a comic could come up with their own percentages, and I wouldn’t actually care to hear or know them.
While I’m not a fan of every comic that Panel Syndicate has published, I am a huge fan of their system. I like that it’s slowly growing and adding more creators. I love that there are multiple language options for every comic. I like that when I can’t afford an issue, I can still get it and make it up on the next one when I can afford it. Plain and simple, when I like something, the way I do Umami, it’s nice to be able to support it the way I want, to ensure it continues. At this rate, you’ll likely see Umami on this year’s best of list, and I’ll likely kick myself for not putting it on last years too.
Score: 5/5
Umami #3
Ken Niimura
Panel Syndicate