As a young man in my twenties, I devoured Haruki Murakami. The Wind-Up Bird Chronicle, Norwegian Wood, Kafka on the Shore, Sputnik Sweetheart, IQ84, and more. Seventeen at last count. The dreamlike fantasies of other worlds, the magical realism, the meticulous prose of the English translations, the lack of plot and the melancholic atmosphere, I found great comfort in reading book after book. And then one day, after the author went past his prime, I started finding them repetitive and I stopped reading. Perhaps my tastes have changed, perhaps they weren’t as sophisticated as I once thought. I like to think my standards have improved, but who knows? In any case, it can’t be denied that Haruki Murakami is among the most successful fiction writers on earth and has had a great impact on literature.

I also happen to be a fan of Japanese manga comics. So therefore, a manga adaptation of Murakami short stories should be right up my alley. I have now finally read Haruki Murakami Manga Stores Volume 1, which adapts the author’s short stories “Super-Frog Saves Tokyo,” “Where I’m Likely to Find It,” “Birthday Girl,” and “The Seventh Man.”

I’m not totally sure these always work, but it’s certainly an interesting idea to adapt these stories into another medium. (There have been several successful film adaptations of his works, in fact.) The term manga in the title, however, does not really lend itself to assumptions about heroic shonen adventures and cutesy anime girls. Perhaps this should be thought of more as artistic indie comics.

The first story, “Super-Frog Saves Tokyo” is a weird tale of a Super-Frog. With a typical Murakami protagonist, a dull businessman/sarariman type having an existential crisis, it’s unclear in the story if the frog is real or just a figment of his imagination. In that way, it’s a good introduction to the vibe of this collection. I also don’t know what to make of it. Is it good literature? Is it just weird for weird’s sake? For more depth, I’d have to read the original prose short story to analyze. The comic version, with decent colorized art, is as confusing as it is anything else.

“Where I’m Likely to Find It” is in black & white, which is more typical for manga, albeit using a bit of color in some scenes in which a mirror seems to show an alternate world. This is what Murakami often writes best, a subtle fantastical mystery without any true resolution. In a sort of neo-noir genre, an amateur investigator explores a staircase to find a missing husband. There’s something of satisfying conclusion, but of course what really happened is never quite explained in the end.

“Birthday Girl” feels different in starring a female character, and probably has the most dynamic art. Maybe it’s clichéd that the main character is a waitress, but it’s suitable for the purposes of the plot. She meets an old man, they have a drink together, and she gets a birthday wish granted which the reader doesn’t get to know. It does inspire imagination, which is ultimately the point of this kind of style.

The final one is “The Seventh Man,” and it is the most haunting of them all. A story-within-a-story, a nameless man speaks about his childhood from a less modern era. There is nothing necessarily supernatural, when he experiences a typhoon and its horrifying aftermath. A childhood friend drowns, which is expressed with sadness and mystification. A good meditation on trauma. Like the rest of the stories, this may not be a good read for everyone. The overlap of Murakami and literary comic readers is rather specific, but for me I’m glad I gave it a try.