74852947-Anime-and-Manga.pdf

Anime and Manga

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Contents Articles Manga

1

D€jinshi manga History of List of manga series by volume count

1 6 17

Manga Manga outside Japan

29 41

Scanlation

49

Manga Companies YiChuang

54

54

Funimation Entertainment

59

Hakusensha

63

Kodansha

67

Shogakukan

69

Shueisha

73

Tokyopop MediaViz

79 87

Anime

101

Anime

101

Fandub

109

Fansub History anime of List anime of companies Listofanimeseriesbyepisodecount

110 119 127 131

Demographic groups manga Josei Kodomo anime and manga Seinen manga manga Sh€jo Sh€nen manga

Genre

135

135 138 138 139 146 147

Harem

147

Magical girl

148

Magical girlfriend

151

Mecha anime

154

Sentai

155

Yaoi

156

Yuri

172

Selected biographies Nagai Go

182

182

Hayao Miyazaki

192

Katsuji Matsumoto

203

K€ichi Mashimo

209

Leiji Matsumoto

213

Osamu Tezuka

216

Rakuten Kitazawa

222

Shotaro Ishinomori

225

Toshio Suzuki

227

Year 24 Group Group 24 Year

229

229

Keiko Takemiya

230

Minori Kimura

232

Hagio Moto

235

Riyoko Ikeda

239

Ryoko Yamagishi Sat€Shio

241 242

Toshie Kihara

245

Yasuko Aoike

246

Yasuko Sakata

248

Yumiko •shima

249

Fandom

Anime and manga fandom

club Anime

251

251 255

Anime convention Anime music video Cosplay

257 259 263

Otaku

273

fandom Yaoi

276

General Glossary anime of and manga

282

282

Omake

292

References Article Sources and Contributors

293

ImageSources,LicensesandContributors

301

Article Licenses License

302

1

Manga D€jinshi ?

, often transliterated as doujinshi) is the Japanese term for self-published works, usually magazines, manga or novels. D€jinshi are often the work of amateurs, though some profession al artists participate as a way to publish material outside the regular industry. The term d€jinshi is derived from d€jin (€ • ?, literally "same person", used to refer to a person or persons with whom one shares a common goal or interest) and shi (‚ ?, a suffix generally meaning "periodical publication") . D€jinshi are part of a wider category of d€jin including, but not limited ? to, art collections, anime, hentai and games. Groups of d€jinshi artists refer to themselves as a s•kuru (ƒ„…† , circle) . A number of such groups actually consist of a single artist: they are sometimes called kojin s•kuru ? (‡•ƒ„…† , personal circles) . D€jinshi are made by artists or writers who prefer to publish their own materials. Since the 1980s, the main method of distribution has been through regular d€jinshi conventions, the largest of which is called Comiket (short for "Comic Market") held in the summer and winter in Tokyo's Big Sight. At the Convention, over 20 acres (81000 m 2) of d€jinshi are bought, sold, and traded by attendees. D€jinshi creators who based their materials on other creators' works normally publish in small numbers to maintain a low profile from litigation. This makes a talented creator's or circle's d€jinshi a coveted commodity as only the fast or the lucky will be able to get them before they sell out. D€jinshi (€ • ‚

History Š‹ ), published in the early Meiji period (since The pioneer magazines Morning Bell (ˆ ‰a big 1874). Not aamong literaryd€jinshi magazine in fact, itwas nevertheless played role in spreading the idea of d€jinshi. First magazine to publish d€jinshi novels was Garakuta Bunko (Œ Ž   ), founded in 1885 by writers Ozaki K€y€ and Yamada Bimyo.[1] D€jinshi's publication reached its peak in the early Showa era, becoming a mouthpiece for the creative youth of that time. Created and distributed in small circles of authors or close friends, it contributed significantly to the emergence and development of shishosetsu genre. During the postwar years the publication of d€jinshi as representations different literary schools and new authors gradually decreased, substituted by literary journals Gunzo, Bungakukai and etc. One notable exception was Bungei Shuto (‘’“ lit. Literary Capital), published in 1933€1969. Few d€jinshi magazines survived with the help of official literary journals. Haiku and tanka magazines remain active till nowadays. During the 1980s, the content of d€jinshi shifted from being predominantly srcinal content to being mostly parodic of existing series.[2] This coincided with the founding of Comiket, the first event dedicated specifically to the distribution of d€jinshi.

As of February 1991, there were some doujinshi creators who sold their work through supportive comic book stores. This [3] practice came to light when three managers of such shops were arrested for having a lolicon doujinshi for sale. Over the last decade, the practice of creating d€jinshi has expanded significantly, attracting thousands of creators and fans alike. Advances in personal publishing technology have also fueled this expansion by making it easier for d€jinshi creators to write, draw, promote, publish, and distribute their works. For example, some d€jinshi are now published on digital media. Furthermore, many d€jinshi creators are moving to online download and print-on-demand services, while others are beginning to distribute their works through American channels such as anime shop websites and specialized online direct distribution sites. In 2008, a white paper on the otaku industry was published, this estimated that gross revenue from sales of d€jinshi in 2007 were 277.3 billion yen, or 14.9% of total

D€jinshi

2

otaku expenditure on their hobby.[4]

Perception John Oppliger of AnimeNation stated that creating d€jinshi is largely popular with Japanese fans however not with Western fans. Oppliger claimed that because Japanese natives grow up with animation and manga "as a constant companion", Japanese fans "are more intuitively inclined" to create or expand on existing manga and anime in the form of d€jinshi .[5] Because Western fans experience a "more purely" visual experience as most Western fans cannot understand the Japanese language, the srcinal language of most anime, and are "encouraged by social pressure to grow out of cartoons and comics during the onset of adolescence", most Western fans participate in [6]

utilizing and rearranging existing work into anime music videos. In Western cultures, d€jinshi is often perceived to be derivative of existing work, analogous to fan fiction and almost completely pornographic. This is partly true: d€jinshi are often, though not always, parodies or alternative storylines involving the worlds of popular manga, game or anime series, and can often feature overtly sexual material. However, there are also many non sexually explicit d€jinshi being created as well. The Touhou series for example, is notable for the large amount of d€jinshi being produced for it that are not pornographic in nature. [7] [8] Groups releasing adults only themed materials during the annual Touhou only event Reitaisai in 2008 were estimated at roughly 10%.[8]

Categories of d€jinshi Like their mainstream counterparts, d€jinshi are published in a variety of genres and types. However, due to the target audience, certain themes are more prevalent, and there are a few major division points by which the publications can be classified. It can be broadly divided into srcinal works and aniparo•works which parody existing anime and manga franchises.[9] As in fanfics, a very popular theme to explore is non-canonical pairings of characters in a given show (for d€jinshi based on mainstream publications). Many such publications contain yaoi or yuri (hentai involving two or more males resp. females) motives, either as a part of non-canon pairings, or as a more direct statement of what can be hinted by the main show. A major part of d€jinshi, whether based on mainstream publications or srcinal, contains sexually explicit material, due to both the large demand for such publications and absence of restrictions official publishing houses have to follow. Indeed, often the main point of a given d€jinshi is to present an explicit version of a popular show's characters. Such works may be known to English speakers as "H-d€jinshi", in line with the former Japanese use of letter H to denote erotic material. The Japanese usage, however, has since moved towards the word ero,[10] and so ero manga (”–— ) is the term almost exclusively used to mark d€jinshi with adult themes. Sometimes they will also be termed "for adults" (˜•™š seijin muke) or 18-kin (18› ) (an abbreviation of 18œ  ž› Ÿ "forbidden to minors less than 18 years of age"). To differentiate, ippan ( ¡ , , "general", from the general public it is suitable for) is the term used for publications absent of such content. Most d€jinshi are commercially bound and published by d€jinshi-ka (d€jinshi authors) who self-publish through various printing services. Copybooks, however, are self-made using xerox machines or other copying methods. Few are copied by drawing by hand. Not all category terms used by English-language fans of d€jinshi are derived from Japanese. For example, an AU d€jinshi is one set in an alternate universe. [11]

D€jinshi

Comiket Comiket is the world's largest comic convention. It is held twice a year (summer and winter) in Tokyo, Japan. The first CM was held in December 1975, with only about 32 participating circles and an estimated 600 attendees. About 80% of these were female, but male participation in Comiket increased later. [2] In 1982, there were fewer than 10,000 attendees, this increased to over 100,000 attendees as of 1989. This rapid increase in attendance enabled doujinshi authors to sell thousands of copies of their works, earning a fair amount of money with their hobby. [12] Attendance has since swelled to over half a million people. Many attendants come to exchange and/or sell their d€jinshi. In 2009, Meiji University opened a d€jin manga library, named ‚Yoshihiro Yonezawa Memorial Libraryƒ to honour its alumni in its Surugadai campus. It contains Yonezawa's own d€jinshi collection, comprising 4137 boxes, and the collection of Tsuguo Iwata, another famous person in the sphere of d€jinshi. [13]

Copyright issues Despite being in direct conflict with the Japanese copyright law as many d€jinshi are derivative works and d€jinshi artists rarely secure the permission of the srcinal creator, Comiket is still permitted to be held twice a year and holds over half-a-million people attending each time it convenes. [14] However, the practice of d€jinshi can be beneficial to the commercial manga market by creating an avenue for aspiring manga artists to practice,[15] and talented doujinshi creators are contacted by publishers.[16] This practice has existed since the 1980s.[17] Salil Mehra, a law professor at Temple University, hypothesizes that because d€jinshi market actually causes the manga market to be more productive, the law does not ban d€jinshi as the industry would suffer as a result. There are two notable instances of legal action over d€jinshi. In 1999, the author of an erotic Pokemon manga was prosecuted by Nintendo. This created a media furor as well as an academic analysis in Japan of the copyright issues around d€jinshi. At this time, the legal analysis seemed to conclude that d€jinshi should be overlooked because they are produced by amateurs for one-day events and not sold in the commercial market. [18] In 2006, an artist selling an imagined "final chapter" for the series Doraemon, which was never completed, was given a warning by the estate of author Fujiko F. Fujio. His creation apparently looked confusingly similar to a real Doraemon manga. He ceased distribution of his d€jinshi and sent compensation to the publisher voluntarily. The publisher noted at this time that d€jinshi were not usually a cause of concern for him. The Yomiuri Shinbun noted, "Fanzines don't usually cause many problems as long as they are sold only at one-day exhibitions," but quoted an expert saying that due to their increasing popularity a copyright system should be set up. [19]

Notable d€jinshi artists Individuals • Yoshitoshi ABe has published some of his original works as d€jinshi, such as Haibane Renmei. He cited the reason as, essentially, not wanting to answer to anyone about his work, especially because he saw it as so open ended. • Ken Akamatsu, creator of manga such as Love Hina and Negima, continues to make d€jinshi which he sells at Comiket under the pen-name Awa Mizuno. • Kiyohiko Azuma, creator of Azumanga Daioh and Yotsuba& started out doing doujinshi.[20] • Nanae Chrono, creator of the manga Peacemaker Kurogane, has published multiple Naruto d€jinshi, most of a yaoi nature. • Kazushi Hagiwara, creator of Bastard!!, and his group Studio Loud in School have published popular Bastard!!-related doujinshi such as Wonderful Megadeth!, as well as various Capcom-related doujinshi.

3

D€jinshi • Masaki Kajishima, creator of Tenchi Muyo! Ryo-Ohki, has long used the d€jinshi format to produce additional information about the series he has created, primarily Tenchi Muyo! Ryo-Ohki and Tenchi Muyo! GXP. These d€jinshi can either be completely filled with his work, or he will contribute a work to the d€jinshi title. Kajishima's d€jinshi works break down into one (or more) types of works: manga-style (where he illustrates a new story, usually with limited text), interviews, early drafts of scripts for t he series (giving fans great insight into the creative process), storyboards drawn by Kajishima that ultimately were not animated, story notes (or short stories) giving further little details of various characters, situations, or places in Kajishima's World of Tenchi. As of this writing, Kajishima does two d€jinshi titles a year under the circle names "Kajishima Onsen" and "Kamidake Onsen". He has also used these to communicate with fans about his current projects, namely the Saint Knight's Tale spinoff anime featuring Tenchi's half-brother and the GXP novels. • Kazuhiko Kat€, also known as Monkey Punch, creator of Lupin III began as a d€jinshi artist. • Kodaka Kazuma, creator of Kizuna, Rotten Teacher's Equation (Kusatta Ky€shi no H€teishiki), Love Equation (Renai H€teishiki) and Border among others, has published several parody yaoi d€jinshi as K2 Company of Prince of Tennis and Fullmetal Alchemist, as well as an srcinal d€jinshi series called 'Hana to Ryuu' (Flower and Dragon). • Rikdo Koshi, creator of the manga Excel Saga, srcinally started out as a d€jinshi artist. • Yun Kouga, a longtime published manga artist and creator of two well-known BL series, Earthian and Loveless published d€jinshi for series such as Gundam Wing. • Sanami Matoh, author of FAKE, has published parody yaoi d€jinshi (mostly of One Piece) and original d€jinshi as East End Club. • Maki Murakami, creator of Gravitation and Gamers' Heaven. Her circle Crocodile Ave. created Remix Gravitation AKA Rimigra and Megamix Gravitation, which were extremely sexually graphic.[21] • Minami Ozaki, creator of the boylove manga Zetsuai, is an extremely prolific doujinshi creator who has authored numerous yaoi publications, most notably featuring characters from the soccer manga, Captain Tsubasa. • about YukiruKing Sugisaki, author, Evangelion of D.N.Angel andallThe Candidate for Goddess, started as a d€jinka. She released d€jinshi of Fighters , etc.; were gag d€jinshi. • Rumiko Takahashi, Began drawing doujinshi before being discovered. • Yoshihiro Togashi, creator of YuYu Hakusho and Hunter x Hunter, has authored doujinshi such as Church!. • Hajime Ueda, the creator of Q€Ko-chan and the comic adaptation of FLCL. • Nobuteru Y‚ki sells d€jinshi based on his animated works under his pen-name "The Man in the High Castle".

Circles • 07th Expansion, creators of both Higurashi no Naku Koro ni and Umineko no Naku Koro ni. • Clamp started out as a d€jinshi group of 11 known as Clamp Cluster.

References [1] An article " € • ‹ " from encyclopedia ¢£¤¥¦§ . [2] Wilson, Brent; Toku, Masami. "Boys' Love," Yaoi, and Art Education: Issues of Power and Pedagogy (http:// www.csuchico.edu/~mtoku/ vc/Articles/toku/Wil_Toku_BoysLove.html) 2003 [3] Orbaugh, Sharalyn (2003). "Creativity and Constraint in Amateur Manga Production". US-Japan Women's Journal 25: 104€124. [4] http:// www.inside-games.jp/news/258/25855.html [5] Oppliger, John (2005-06-23). "Ask John: Why Hasn„t Doujinshi Caught on Outside of Japan?" (http:/ / www.animenation.net/blog/2005/ 06/23/ask-john-why-hasnt-doujinshi-caught-on-outside-of-japan/). AnimeNation. . Retrieved 2009-09-08. [6] Oppliger, John (2003-09-08). "Ask John: Why Are Anime Music Videos so Popular?" (http://www.animenation.net/blog/2003/09/08/ ask-john-why-are-anime-music-videos-so-popular/). AnimeNation. . Retrieved 2009-09-08. [7] ¨©ª«¬-®¯°±ƒ„…†²³´ (http:/ / www.takamagahara.info/touhou_event_archives/circlelist.cgi?reitaisai7) [8] Why is there not much demand for adult touhou d€jinshi? (Japanese) (http:// d.hatena.ne.jp/GilCrows/20080602/p1) [9] Sabucco, Veruska "Guided Fan Fiction: Western "Readings" of Japanese Homosexual-Themed Texts" in Berry, Chris, Fran Martin, and Audrey Yue (editors) (2003). Mobile Cultures: New Media in Queer Asia. Durham, North Carolina; London: Duke University Press. ISBN

4

D€jinshi 0-8223-3087-3. pp.70-72 [10] Article on the term "hentai" explains the differences between Japanese and English usage. [11] elfgrove (Fri May 16, 2008, 2:00 PM). "Princess Tutu Doujinshi" (http:// elfgrove.deviantart.com/journal/14820980/). deviantART: elfgrove's Journal: Princess Tutu Doujinshi. . Retrieved 2 September 2011. "The story is an AU Swan Lake set after the Princess Tutu anime series... F.A.Q... What does AU mean? Alternate Universe." [12] Mizoguchi Akiko (2003). "Male-Male Romance by and for Women in Japan: A History and the Subgenres of Yaoi Fictions". U.S.-Japan Women•s Journal, 25: 49-75. [13] "Dojin Manga Library "Yoshihiro Yonezawa Memorial Library" opening this Summer" (http:// en.gigazine.net/index.php?/news/ comments/20090316_yonezawa_lib/). en.gigazine.net. April 2, 2009. . Retrieved 2009-05-13. [14] Lessig, Lawrence (March 25, 2004). "Chapter One: Creators" (http://www.authorama.com/free-culture-4.html). [[Free Culture (book)|Free Culture (http:// www.authorama.com/book/free-culture.html)]]. Authorama.com. . Retrieved 2009-09-08. [15] http:/ /www.corneredangel.com/amwess/papers/copyright_comics_japan.pdf [16] Brient, Hervƒ, ed (2008). "Entretien avec Hisako Miyoshi" (in French). Homosexualit‚ et manga : le yaoi. Manga: 10000 images. Editions H. pp. 17€19. ISBN 978-2-9531781-0-4. [17] McLelland, Mark. Why are Japanese Girls' Comics full of Boys Bonking? (http://blogs.arts.unimelb.edu.au/refractory/2006/12/04/ why-are-japanese-girls…-comics-full-of-boys-bonking1-mark-mclelland) Refractory: A Journal of Entertainment Media Vol.10, 2006/2007 [18] John Ingulsrud and Kate Allen. Reading Japan Cool: Patterns of Manga Literacy and Discourse. p. 49. [19] Fukuda Makoto, ‚ Doraemon Fanzine Ignites Copyright Alarms (http:/ /www.nationmultimedia.com/2007/07/08/lifestyle/ lifestyle_30039868.php),ƒ Daily Yomiuri, June 17, 2007, 22. See also Ingulsrud and Allen, p.49. [20] http:/ /www.suruga-ya.jp/database/ZHORE391.html [21] Cha, Kai-Ming (2007) Sex & Silliness: Maki Murakami„s Gravitation (http:/ /www.publishersweekly.com/article/CA6474900.html) Publishers Weekly

External links • Doujinshi Online (http:/ /www.doujinshi-online.com/ ): Reference site with circle/artist listings • Passion (http:/ /www.witch-hunter.net/passion/ ): Popular d€jinshi fanlisting site • Doujinshi DB (http:/ /doujinshi.mugimugi.org/): Huge user-submitted database of d€jinshi artists, circles, and books, including name translations • Ultimate Anime Doujinshi (http:/ /www.ultimateanimeshop.com/): U.S. d€jinshi site with search page listing information on several thousands d€jinshi and large • Nippon Fanifesto! A Tribute to DIY Manga (http:/ /schulzlibrary.wordpress.com/2010/05/18/ nippon-fanifesto-a-tribute-to-diy-manga/)•an illustrated essay explaining d€jinshi and their diversity • Search in Flutter Scape (http:/ /www.flutterscape. com/search?s=dojin/): You can buy many Dojinshies in this site.

5

History of manga

History of manga The History of manga is said to srcinate from scrolls dating back to the 12th century, however whether these scrolls are actually manga is still disputed, though its believed they represent the basis for the right-to-left reading style. Other authors report srcins closer to the 18th century. Manga is a Japanese term that generally means "comics" or "cartoon", literally "whimsical sketches." Historians and writers on manga history have described two broad and complementary processes shaping modern Image of bathers from the Hokusai manga. manga. Their views differ in the relative importance they attribute to the role of cultural and historical events following World War II versus the role of pre-War, Meiji, and pre-Meiji Japanese culture and art. The first view emphasizes events occurring during and after the U.S. Occupation of Japan (1945€1952), and stresses that manga was strongly shaped by United States cultural influences, including U.S. comics brought to Japan by the GIs and by images and themes from U.S. television, film, and cartoons (especially Disney). [1] [2] According to Sharon Kinsella, the booming post-war Japanese publishing industry helped create a consumer-oriented society in which publishing giants like Kodansha could shape popular taste. [1]

Before World War II All writers like Takashi Murakami have also stressed events after WWII, but Murakami sees Japan's staggering defeat and the atomic bombing of Hiroshima and Nagasaki as having created long-lasting scars on the Japanese artistic psyche, which, in this view, lost its previously virile confidence in itself and sought solace in harmless and cute (kawaii) images.[3] However, Takayumi Tatsumi sees a special role for a transpacific economic and cultural transnationalism that created a postmodern and shared international youth culture of cartooning, film, television, music, and related popular arts, which was, for Tatsumi the crucible in which modern manga have developed. [4] For Murakami and Tatsumi, trans-nationalism (or globalization) refers specifically to the flow of cultural and subcultural material from one nation to another. [3] [4] In their usage, the term does not refer to international corporate expansion, nor to international tourism, nor to cross-border international personal friendships, but to ways in which artistic, aesthetic, and intellectual traditions influence each other across national boundaries. [3] [4] An example of cultural trans-nationalism is the creation of Star Wars films in the United States, their transformation into manga by Japanese artists, and the marketing of Star Wars manga to the United States.[5] Another example is the transfer of hip-hop culture from the United States to Japan.[6] Wong also sees a major role for trans-nationalism in the recent history of manga.[7]

6

History of manga However, other writers stress continuity of Japanese cultural and aesthetic traditions as central to the history of manga. They include Frederik L. Schodt,[2] [8] Kinko Ito,[9] and Adam L. Kern.[10] [11] Schodt points to the existence in the 13th century of illustrated picture scrolls like Ch€j‚-jinbutsu-giga that told stories in sequential images with humor and wit.[2] Schodt also stresses continuities of aesthetic style and vision between ukiyo-e and shunga woodblock prints and modern manga (all three fulfill Eisner's criteria for sequential art).[12] While there are disputes over whether Ch€j‚-jinbutsu-giga or Shigisan-engi was the first Japanese wood block illustration from 19th century manga, both scrolls date back to about the same time period. However others like Isao Takahata, Studio Ghibli co-founder and director, contends there in no linkage with the scrolls and modern manga.[13] Whether or not these scrolls are among the first manga they are credited for being the srcin of the right-to-left style of reading in manga and Japanese books.[14] Schodt also sees a particularly significant role for kamishibai, a form of street theater where itinerant artists displayed pictures in a light box while narrating the story to audiences in the street. [2] Torrance has pointed to similarities between modern manga and the Osaka popular novel between the 1890s and 1940, and argues that the development of widespread literacy in Meiji and post-Meiji Japan helped create audiences for stories told in words and pictures.[15] Kinko Ito also roots manga historically in aesthetic continuity with pre-Meiji art, but she sees its post-World War II history as driven in part by consumer enthusiasm for the rich imagery and narrative of the newly developing manga tradition. Ito describes how this tradition has steadily produced new genres and markets, e.g., for girls' (sh€jo) manga in the late 1960s and for Ladies Comics ( redisu) in the 1980s.[9] Kern suggested [10] that kibyoshi, illustrated picture books from the late 18th century, may have been the world's first comichas books. These graphical narratives share with modern manga humorous, satirical, and romantic themes. [10] Although Kern does not believe that kibyoshi were a direct forerunner of manga, for Kern the existence of kibyoshi nonetheless points to a Japanese willingness to mix words and pictures in a popular story-telling medium. [11] The first recorded use of the term "manga" to mean "whimsical or impromptu pictures" comes from this tradition in 1798, which, Kern points out, predates Katsushika Hokusai's better known Hokusai Manga usage by several decades.[16] [17]

Similarly, Inoue sees manga as being a mixture of image- and word-centered elements, each pre-dating the U.S.A. occupation of Japan. In his view, Japanese image-centered or "pictocentric" art ultimately derives from Japan's long history of engagement with Chinese graphic art, whereas word-centered or "logocentric" art, like the novel, was stimulated by social and economic needs of Meiji and pre-War Japanese nationalism for a populace unified by a common written language. Both fuse in what Inoue sees as a symbiosis in manga. [18] Thus, these scholars see the history of manga as involving historical continuities and discontinuities between the aesthetic and cultural past as it interacts with post-World War II innovation and trans-nationalism.

After World War II Modern manga srcinates in the Occupation (1945 €1952) and post-Occupation years (1952-early 1960s), when a previously militaristic and ultranationalist Japan was rebuilding its political and economic infrastructure. [2] [19] Although U.S. Occupation censorship policies specifically prohibited art and writing that glorified war and Japanese militarism,[2] those policies did not prevent the publication of other kinds of material, including manga. Furthermore, the 1947 Japanese Constitution (Article 21) prohibited all forms of censorship.[20] One result was the growth of artistic creativity in this period.[2]

7

History of manga In the forefront of this period are two manga series and characters that influenced much of the future history of manga. These are Osamu Tezuka's Mighty Atom (Astro Boy in the United States; begun in 1951) and Machiko Hasegawa's Sazae-san (begun in 1946). Astro Boy was both a superpowered robot and a naive little boy. [21] Tezuka never explained why Astro Boy had such a highly developed social conscience nor what kind of robot programming could make him so deeply affiliative.[21] Both seem innate to Astro Boy, and represent a Japanese sociality and community-oriented masculinity differing very much from the Emperor-worship and militaristic obedience enforced during the previous period of Japanese imperialism.[21] Astro Boy quickly became (and remains) immensely popular in Japan and elsewhere as an icon and hero of a new world of peace and the renunciation of war, as also seen in Article 9 of the Japanese constitution.[20] [21] Similar themes occur in Tezuka's New World and Metropolis.[2] [21] By contrast, Sazae-san (meaning "Ms. Sazae") was drawn starting in 1946 by Machiko Hasegawa, a young woman artist who made her heroine a stand-in for millions of Japanese men and especially women rendered homeless by the war.[2] [22] Sazae-san does not face an easy or simple life, but, like Astro Boy, she too is highly affiliative and is deeply involved with her immediate and extended family. She is also a very strong character, in striking contrast to the officially sanctioned Neo-Confucianist principles of feminine meekness and obedience to the "good wife, wise mother" (ry€sai kenbo, µ¶·¸¹šº» ; ¼½¾¿ ) ideal taught by the previous military regime. [23] [24] [25] Sazae-san faces the world with cheerful resilience, [22] [26] what Hayao Kawai calls a "woman of endurance." [27] Sazae-san sold more than 62 million copies over the next half century. [28] Tezuka and Hasegawa were also both stylistic innovators. In Tezuka's "cinematographic" technique, the panels are like a motion picture that reveals details of action bordering on slow motion as well as rapid zooms from distance to close-up shots.[2] More critically, Tezuka synchronised the placement of panel with the reader's viewing speed to simulate moving pictures. Hence in manga production as in film production, the person who decide the allocation of panels (Komawari) is credited as the author while most drawing are done by assistants. This kind of visual dynamism was widely adopted by later manga artists.[2] Hasegawa's focus on daily life and on women's experience also came to characterize later sh€jo manga.[22] [26] [29] Between 1950 and 1969, increasingly large audiences for manga emerged in Japan with the solidification of its two main marketing genres, sh€nen manga aimed at boys and sh€jo manga aimed at girls.[2] [30] Up to 1969, sh€jo manga was drawn primarily by adult men for young female readers. [2] [31] Two very popular and influential male-authored manga for girls from this period were Tezuka's 1953-1956 Ribon no Kishi (Princess Knight or Knight in Ribbons) and Matsuteru Yokoyama's 1966 Mah€tsukai Sarii (Little Witch Sally).[2] Ribon no Kishi dealt with the adventures of Princess Sapphire of a fantasy kingdom who had been born with male and female souls, and whose sword-swinging battles and romances blurred the boundaries of otherwise rigid gender roles.[2] Sarii, the pre-teen princess heroine of Mah€tsukai Sarii,[32] came from her home in the magical lands to live on Earth, go to school, and perform a variety of magical good deeds for her friends and schoolmates. [33] Yokoyama's Mah€tsukai Sarii was influenced by the U.S. TV sitcom Bewitched,[34] but unlike Samantha, the main character of Bewitched, a married woman with her own daughter, Sarii is a pre-teenager who faces the problems of growing up and mastering the responsibilities of forthcoming adulthood. Mah€tsukai Sarii helped create the now very popular mah€ sh€jo or "magical girl" sub-genre of later manga. [33] Both series were and still are very popular. [2] [33]

Sh€jo manga

In 1969, a group of women manga artists later called the Year 24 Group (also known as Magnificent 24s) made their sh€jo manga debut (year 24 comes from the Japanese name for 1949, when many of these artists were born). [35] [36] The group included Hagio Moto, Riyoko Ikeda, Yumiko Oshima, Keiko Takemiya, and Ryoko Yamagishi [22] and they marked the first major entry of women artists into manga. [2] [22] Thereafter, sh€jo manga would be drawn primarily by women artists for an audience of girls and young women. [2] [30] [31]

8

History of manga In 1971, Ikeda began her immensely popular sh€jo manga Berusaiyu no Bara (The Rose of Versailles), a story of Oscar Fran†ois de Jarjayes, a cross-dressing woman who was a Captain in Marie Antoinette's Palace Guards in pre-Revolutionary France.[2] [22] [37] [38] In the end, Oscar dies as a revolutionary leading a charge of her troops against the Bastille. Likewise, Hagio Moto's work challenged Neo-Confucianist limits on women's roles and activities [23] [24] [25] as in her 1975 They Were Eleven, a sh€jo science fiction story about a young woman cadet in a future space academy.[39] These women artists also created considerable stylistic innovations. In its focus on the heroine's inner experiences and feelings, sh€jo manga are "picture poems"[40] with delicate and complex designs that often eliminate panel borders completely to create prolonged, non-narrative extensions of time.[2] [22] [30] [31] [41] All of these innovations € strong and independent female characters, intense emotionality, and complex design € remain characteristic of sh€jo manga up to the present day.[29] [37] Sh€jo manga and Ladies' Comics from 1975 to today

In the following decades (1975€present), sh€jo manga continued to develop stylistically while simultaneously evolving different but overlapping subgenres.[42] Major subgenres have included romance, superheroines, and "Ladies Comics" (in Japanese, redisu ÀÁÂ„³ , redikomi ÀÃÂ„ÄÅ , and josei ÆÇ È¶É¹ ), whose boundaries are sometimes indistinguishable from each other and from sh€nen manga.[8] [22] In modern sh€jo manga romance, love is a major theme set into emotionally intense narratives of self-realization. [43] Japanese manga/anime critic Eri Izawa defines romance as symbolizing "the emotional, the grand, the epic; the taste of heroism, fantastic adventure, and the melancholy; passionate love, personal struggle, and eternal longing" set into imaginative, individualistic, and passionate narrative frameworks.[44] These romances are sometimes long narratives that can deal with distinguishing between false and true love, coping with sexual intercourse, and growing up in a complex world, themes inherited by subsequent animated versions of the story. [30] [43] [45] These "coming of age" or bildungsroman themes occur in both sh€jo and sh€nen manga.[46] [47] In the bildungsroman, the protagonist must deal with adversity and conflict, [47] and examples in sh€jo manga of romantic conflict are common. They include Miwa Ueda's Peach Girl,[48] [49] Fuyumi Soryo's Mars,[50] and, for mature readers, Moyoco Anno's Happy Mania ,[31] [51] Yayoi Ogawa's Tramps Like Us, and Ai Yazawa's Nana.[52] [53] In another sh€jo manga bildungsroman narrative device, the young heroine is transported to an alien place or time where she meets strangers and must survive on her own (including Hagio Moto's They Were Eleven,[54] Kyoko Hikawa's From Far Away,[55] Y‡ Watase's Fushigi Yƒgi: The Mysterious Play , and Chiho Saito's The World Exists For Me[56] ). Yet another such device involves meeting unusual or strange people and beings, for example, Natsuki Takaya's Fruits Basket[57] •one of the most popular sh€jo manga in the United States [58] •whose orphaned heroine Tohru must survive living in the woods in a house filled with people who can transform into the animals of the Chinese zodiac. In Harako Iida's Crescent Moon, heroine Mahiru meets a group of supernatural beings, finally to discover that she herself too has a supernatural ancestry when she and a young tengu demon fall in love. [59] With the superheroines, sh€jo manga continued to break away from neo-Confucianist norms of female meekness and obedience.[8] [30] Naoko Takeuchi's ( : "Pretty Soldier Sailor Moon") is a Bish€jo Senshi S„ram…n heroic and introspective, active and sustained, 18-volume narrative about aSailor groupMoon of young heroines simultaneously emotional, dutiful and ambitious.[60] [61] The combination proved extremely successful, and Sailor Moon became internationally popular in both manga and anime formats. [60] [62] Another example is CLAMP's Magic Knight Rayearth, whose three young heroines, Hikaru, Umi, and Fuu, are magically transported to the world of Cephiro to become armed magical warriors in the service of saving Cephiro from internal and external enemies. [63] The superheroine subgenre also extensively developed the notion of teams ( sentai) of girls working together, [64] like the Sailor Senshi in Sailor Moon, the Magic Knights in Magic Knight Rayearth, and the Mew Mew girls from Mia Ikumi's Tokyo Mew Mew.[65] By today, the superheroine narrative template has been widely used and parodied

9

History of manga within the sh€jo manga tradition (e.g., Nao Yazawa's Wedding Peach[66] and Hyper Rune by Tamayo Akiyama[67] ) and outside that tradition, e.g., in bish€jo comedies like Kanan's Galaxy Angel.[68] In the mid-1980s and thereafter, as girls who had read sh€jo manga as teenagers matured and entered the job market, sh€jo manga elaborated subgenres directed at women in their 20s and 30s. [42] This "Ladies Comic" or redisu-josei subgenre has dealt with themes of young adulthood: jobs, the emotions and problems of sexual intercourse, and friendships or love among women. [42] [69] [70] [71] [72] Redisu manga retains many of the narrative stylistics of sh€jo manga but has been drawn by and written for adult women.[73] Redisu manga and art has been often, but not always, sexually explicit, but sexuality has characteristically been set into complex narratives of pleasure and erotic arousal combined with emotional risk.[8] [69] [70] Examples include Ry€ Ramiya's Luminous Girls,[74] Masako Watanabe's Kinpeibai[75] and the work of Shungicu Uchida[76] Another subgenre of sh€jo-redisu manga deals with emotional and sexual relationships among women (akogare and yuri),[77] in work by Erica Sakurazawa,[78] Ebine Yamaji,[79] and Chiho Saito.[80] Other subgenres of sh€jo-redisu manga have also developed, e.g., fashion (oshare) manga, like Ai Yazawa's Paradise Kiss[81] [82] and horror-vampire-gothic manga, like Matsuri Hino's Vampire Knight,[83] Kaori Yuki's Cain Saga,[84] and Mitsukazu Mihara's DOLL,[85] which interact with street fashions, costume play ("cosplay"), J-Pop music, and goth subcultures in complex ways.[86] [87] [88] By the start of the 21st century, manga for women and girls thus represented a broad spectrum of material for preand early teenagers to material for adult women. Sh€nen, seinen, and seijin manga

Manga for male readers can be characterized in different ways. One is by the age of its intended audience: boys up to 18 years old ( sh€nen manga) and young men 18- to 30-years old ( seinen manga).[89] Another approach is by content, including action-adventure often involving male heroes, slapstick humor, themes of honor, and sometimes explicit sexuality.[90] [91] Japanese uses different kanji for two closely allied meanings of "seinen" •Ê Ë for "youth, young man" and ˜ Ë for "adult, majority"•the second referring to sexually overt manga aimed at grown men and also called seijin ("adult," ˜ • ) manga.[92] [93] Sh€nen, seinen, and seijin manga share many features in common. Boys and young men were among the earliest readers of manga after World War II. [94] From the 1950s on, sh€nen manga focused on topics thought to interest the archetypical boy: sci-tech subjects like robots and space travel, and heroic action-adventure.[95] Sh€nen and seinen manga narratives often portray challenges to the protagonist„s abilities, skills, and maturity, stressing self-perfection, austere self-discipline, sacrifice in the cause of duty, and honorable service to society, community, family, and friends. [94] [96] Manga with solitary costumed superheroes like Superman, Batman, and Spider-Man did not become popular as a sh€nen genre.[94] An exception is Kia Asamiya's Batman: Child of Dreams, released in the U.S. by DC Comics and in Japan by Kodansha. However, lone heroes occur in Takao Saito's Golgo 13 and Koike and Kojima's Lone Wolf and Cub. Golgo 13 is about an assassin who puts his skills to the service of world peace and other social goals, [97] and Ogami Itto, the swordsman-hero of Lone Wolf and Cub , is a widower caring for his son Daigoro while he seeks vengeance against his wife's murderers. However, Golgo and Itto remain men throughout and neither hero ever displays superpowers. Instead, these stories "journey into the hearts and minds of men" by remaining on the plane of human psychology and motivation.[98] Many sh€nen manga have science fiction and technology themes. Early examples in the robot subgenre included Tezuka„s Astro Boy (see above) and Fujiko F. Fujio „s 1969 Doraemon, about a robot cat and the boy he lives with, which was aimed at younger boys.[99] The robot theme evolved extensively, from Mitsuteru Yokoyama's 1956 Tetsujin 28-go to later, more complex stories where the protagonist must not only defeat enemies, but learn to master himself and cooperate with the mecha he controls.[100] Thus, in Neon Genesis Evangelion by Yoshiyuki Sadamoto, Shinji struggles against the enemy and against his father, and in Vision of Escaflowne by Katsu Aki, Van not only makes war against Dornkirk„s empire but must deal with his complex feelings for Hitomi, the heroine.

10

History of manga Sports themes are also popular in manga for male readers. [94] These stories stress self-discipline, depicting not only the excitement of sports competition but also character traits the hero needs to transcend his limitations and to triumph.[94] Examples include boxing (Tetsuya Chiba„s 1968-1973 Tomorrow's Joe[101] and Rumiko Takahashi's 1987 One-Pound Gospel) and basketball (Takehiko Inoue „s 1990 Slam Dunk[102] ). Supernatural settings have been another source of action-adventure plots in shˆnen and some shˆjo manga in which the hero must master challenges. Sometimes the protagonist fails, as in Tsugumi Ohba and Takeshi Obata's Death Note, where protagonist Light Yagami receives a notebook from a Death God (shinigami) that kills anyone whose name is written in it, and, in a sh€jo manga example, Hakase Mizuki's The Demon Ororon, whose protagonist abandons his demonic kingship of Hell to live and die on earth. Sometimes the protagonist himself is supernatural, like Kohta Hirano's Hellsing, whose vampire hero Alucard battles reborn Nazis hellbent on conquering England, but the hero may also be (or was) human, battling an ever-escalating series of supernatural enemies (Hiromu Arakawa's Fullmetal Alchemist, Nobuyuki Anzai's Flame of Recca, and Tite Kubo's Bleach). Military action-adventure stories set in the modern world, for example, about World War II, remained under suspicion of glorifying Japan„s Imperial history[94] and have not become a significant part of the sh€nen manga repertoire.[94] Nonetheless, stories about fantasy or historical military adventure were not stigmatized, and manga about heroic warriors and martial artists have been extremely popular.[94] Some are serious dramas, like Sanpei Shirato's The Legend of Kamui and Rurouni Kenshin by Nobuhiro Watsuki, but others contain strongly humorous elements, like Akira Toriyama's Dragon Ball. Although stories about modern war and its weapons do exist, they deal as much or more with the psychological and moral problems of war as they do with sheer shoot-'em-up adventure.[94] Examples include Seiho Takizawa's Who Fighter, a retelling of Joseph Conrad's story Heart of Darkness about a renegade Japanese colonel set in World War II Burma, Kaiji Kawaguchi's The Silent Service, about a Japanese nuclear submarine, and Motofumi Kobayashi's Apocalypse Meow, about the Vietnam War told in talking animal format. Other battle and fight-oriented manga are complex stories of criminal and espionage conspiracies to be overcome by the protagonist, such as City Hunter by Hojo Tsukasa, Fist of the North Star by Tetsuo Hara, and in the sh€jo manga From Eroica with Love by Yasuko Aoike, a long-running crime-espionage story combining adventure, action, and humor (and another example of how these themes occur across genres). For manga critics Koji Aihara and Kentaro Takekuma,[103] such battle stories endlessly repeat the same mindless themes of violence, which they sardonically label the "Shonen Manga Plot Shish Kebob", where fights follow fights like meat skewered on a stick. [104] Other commentators suggest that fight sequences and violence in comics serve as a social outlet for otherwise dangerous impulses.[105] Sh€nen manga and its extreme warriorship have been parodied, for example, in Mine Yoshizaki's screwball comedy Sgt. Frog (Keroro Gunso), about a platoon of slacker alien frogs who invade the Earth and end up free-loading off the Hinata family in Tokyo. [106] Sex and women's roles in manga for males

In early sh€nen manga, men and boys played all the major roles, with women and girls having only auxiliary places as sisters, mothers, and occasionally girlfriends. Of the nine cyborgs in Shotaro Ishinomori's 1964 Cyborg 009, only one is female, and she soon vanishes from the action. Some recent sh€nen manga virtually omit women, e.g., the martial arts story Baki the Grappler by Itagaki Keisuke and the supernatural fantasy Sand Land by Akira Toriyama. However, by the 1980s, girls and women began to play increasingly important roles in sh€nen manga, for example, Toriyama's 1980 Dr. Slump, whose main character is the mischievous and powerful girl robot Arale Norimaki. The role of girls and women in manga for male readers has evolved considerably since Arale. One class is the pretty girl (bish€jo).[107] Sometimes the woman is unattainable, but she is always an object of the hero's emotional and sexual interest, like Belldandy from Oh My Goddess! by K€suke Fujishima and Shao-lin from Guardian Angel Getten by Minene Sakurano.[108] In other stories, the hero is surrounded by such girls and women, as in Negima by Ken Akamatsu and Hanaukyo Maid Team by Morishige.[109] The male protagonist does not always succeed in

11

History of manga forming a relationship with the woman, for example when Bright Honda and Aimi Komori fail to bond in Shadow Lady by Masakazu Katsura. In other cases, a successful couple's sexual activities are depicted or implied, like Outlanders by Johji Manabe.[110] In still other cases, the initially naive and immature hero grows up to become a man by learning how to deal and live with women emotionally and sexually, like Yota in Video Girl Ai by Masakazu Katsura, Train Man in Train Man: Densha Otoko by Hidenori Hara, and Makoto in Futari Ecchi by Katsu Aki.[111] [112] In poruno- and eromanga (seijin manga), often called hentai manga in the U.S., a sexual relationship is taken for granted and depicted explicitly, as in work by Toshiki Yui [113] and in Were-Slut by Jiro Chiba and Slut Girl by Isutoshi.[114] The result is a range of depictions of boys and men from naive to very experienced sexually. Heavily armed female warriors (sent€ bish€jo) represent another class of girls and women in manga for male readers.[115] Some sent€ bish€jo are battle cyborgs, like Alita from Battle Angel Alita by Yukito Kishiro, Motoko Kusanagi from Masamune Shirow's Ghost in the Shell, and Chise from Shin Takahashi's Saikano. Others are human, like Attim M-Zak from Hiroyuki Utatane's Seraphic Feather, Johji Manabe's Karula Olzen from Drakuun, and Alita Forland (Falis) from Sekihiko Inui's Murder Princess.[116] With the relaxation of censorship in Japan after the early 1990s, a wide variety of explicitly drawn sexual themes appeared in manga intended for male readers that correspondingly occur in English translations.[93] These depictions range from mild partial nudity through implied and explicit sexual intercourse through bondage and sadomasochism (SM), zoophilia (bestiality), incest, and rape.[117] In some cases, rape and lust murder themes came to the forefront, as in Urotsukidoji by Toshio Maeda[118] and Blue Catalyst from 1994 by Kei Taniguchi, [119] but these extreme themes are not commonplace in either untranslated or translated manga. [93] [120] Gekiga

Gekiga literally means "drama pictures" and refers to a form of aesthetic realism in manga.[121] [122] Gekiga style drawing is emotionally dark, often starkly realistic, sometimes very violent, and focuses on the day-in, day-out grim realities of life, often drawn in gritty and unpretty fashions. [121] [123] Gekiga arose in the late 1950s and 1960s partly from left-wing student and working class political activism [121] [124] and partly from the aesthetic dissatisfaction of young manga artists like Yoshihiro Tatsumi with existing manga.[125] [126] Examples include Sampei Shirato's 1959-1962 Chronicles of a Ninja's Military Accomplishments (Ninja Bugeich€), the story of Kagemaru, the leader of a peasant rebellion in the 16th century, which dealt directly with oppression and class struggle,[127] and Hiroshi Hirata's Satsuma Gishiden, about uprisings against the Tokugawa shogunate. [128] As the social protest of these early years waned, gekiga shifted in meaning towards socially conscious, mature drama and towards the avant-garde.[122] [126] [129] Examples include Koike and Kojima's Lone Wolf and Cub[130] and Akira, an apocalyptic tale of motorcycle gangs, street war, and inexplicable transformations of the children of a future Tokyo. Another example is Osamu Tezuka's 1976 manga MW, a bitter story of the aftermath of the storage and possibly deliberate release of poison gas by U.S. armed forces based in Okinawa years after World War II. [131] Gekiga and the social consciousness it embodies remain alive in modern-day manga. An example is Ikebukuro West Gate Park from 2001 by Ira Ishida and Sena Aritou, a story of street thugs, rape, and vengeance set on the social margins of the wealthy Ikebukuro district of Tokyo. [132]

12

History of manga

References [1] Kinsella, Sharon 2000. Adult Manga: Culture and Power in Contemporary Japanese Society. Honolulu: University of Hawai'i Press. ISBN 978-0824823184. [2] Schodt, Frederik L. 1986. Manga! Manga! The World of Japanese Comics. Tokyo: Kodansha. ISBN 978-0870117527. [3] Murakami, Takashi (2005). Little Boy: the Arts of Japan's Exploding Subculture. New York: Japan Society. ISBN 0-913304-57-3 [4] Tatsumi, Takayumi (2006). Full Metal Apache: Transactions between Cyberpunk Japan and Avant-Pop America. Durham, NC: Duke University Press. ISBN 0-8223-3774-6 [5] "Phantom Goes Manga" (http:/ / web.archive.org/web/20071011120029/http:// starwars.com/eu/lit/comics/news20000105.html). StarWars.com. January 5, 2000. Archived from the srcinal (http:/ / www.starwars.com/eu/lit/ comics/news20000105.html) on 2007-10-11. . Retrieved 2007-09-18. [6] Condry, Ian (20 06). Hip-Hop Japan: Rap and the Path of Cultural Globalization. Durham, NC: Duke University Press. ISBN 0-8223-3892-0 [7] Wong, Wendy Siuyi (2006). "Globalizing manga: From Japan to Hong Kong and beyond" (http://www.upress.umn.edu/Books/L/ lunning_mechademia1.html). Mechademia: an Annual Forum for Anime, Manga, and the Fan Arts 1: 23€45. . Retrieved 2007-09-14 [8] Schodt, Frederik L. 1996. Dreamland Japan: Writings on Modern Manga. Berkeley, CA: Stone Bridge Press. ISBN 978-1880656235. [9] Ito, Kinko. 2004. "Growing up Japanese reading manga." International Journal of Comic Art, 6:392-401. [10] Kern, Adam. 2006. Manga from the Floating World: Comicbook Culture and the Kibyoshi of Edo Japan. Cambridge: Harvard University Press. ISBN 0674022661. [11] Kern, Adam. 2007. "Symposium: Kibyoshi: The World's First Comicbook?" International Journal of Comic Art, 9:1-486. [12] Eisner, Will. 1985. Comics & Sequential Art. Tamarac, Fl: Poorhouse Press. ISBN 0-9614728-0-2. [13] "Yomiuri Newspaper Discusses History's First Manga" (http:/ / www.animenewsnetwork.com/news/2008-01-03/yomiuri-first-manga). Yomiuri Shimbun. Anime News Network. 2008-01-03. . Retrieved 2009-01-20. [14] Aoki, Deb. "Manga 101: The Pre-History of Japanese Comics" (http://manga.about.com/b/2007/03/25/ manga-101-the-pre-history-of-japanese-comics.htm). About.com. . Retrieved 2009-01-16. [15] Torrance, Richard. 2005. "Literacy and literature in Osaka, 1890-1940." Journal of Japanese Studies, 31(1):27-60. Web version: http:// muse.jhu.edu/login?uri=/journals/journal_of_japanese_studies/v031/31.1torrance.html Accessed 2007-09-16. [16] Bouquillard, Jocelyn and Christophe Marquet. 2007. Hokusai: First Manga Master. New York: Abrams. [17] Kern, 2006, op. cit., pp. 139-144, Figure 3.3. [18] Inoue, Charles Shir€. 1996. "Pictocentrism •China as a source of Japanese modernity." In Sumie Jones, editor. 1996. Imaging/Reading Eros. Bloomington, IN: East Asian Studies Center, Indiana University. pp. 148-152. ISBN 0965328104. [19] This section draws primarily on the work of Frederik Schodt (1986, 1996, 2007) and of Paul Gravett (2004). Time-lines for manga history are available in Mechademia, Gravett, and in articles by Go Tchiei 1998. [20] The Japanese constitution is in the Kodansha encyclopedia "Japan: Profile of a Nation, Revised Edition" (1999, Tokyo: Kodansha) on pp. 692-715. Article 9: page 695; article 21: page 697. ISBN 4-7700-2384-7. [21] Schodt, Frederik L. (2007). The Astro Boy Essays: Osamu Tezuka, Mighty Atom, and the Manga/Anime Revolution. Berkeley, CA: Stone Bridge Press. ISBN 978-1933330549 [22] Gravett, Paul. 2004. Manga: Sixty Years of Japanese Comics. NY: Harper Design. ISBN 1-85669-391-0. p. 8. [23] Uno, Kathleen S. 1993. "The death of 'Good Wife, Wise Mother'." In: Andrew Gordon (editor) Postwar Japan as History. Berkeley, CA: University of California. pp. 293-322. ISBN 0520074750. [24] Ohinata, Masami 1995 "The mystique of motherhood: A key to understanding social change and family problems in Japan." In: Kumiko Fujimura-Fanselow and Atsuko Kameda (editors) Japanese Women: New Feminist Perspectives on the Past, Present, and Future. New York: The Feminist Press at The City University of New York. pp. 199-211. ISBN 978-1558610941. [25] Yoshizumi, Kyoko 1995 "Marriage and family: Past and present." In: Kumiko Fujimura-Fanselow and Atsuko Kameda (editors) Japanese Women: New Feminist Perspectives on the Past, Present, and Future. New York: The Feminist Press at The City University of New York. pp. 183-197. ISBN 978-1558610941. [26] Lee, William (2000). "From Sazae-san to Crayon Shin-Chan." In: Timothy J. Craig (editor) Japan Pop!: Inside the World of Japanese Popular Culture. Armonk, NY: M.E. Sharpe. ISBN 978-0765605610. [27] Kawai, Hayao. 1996. The Japanese Psyche: Major Motifs in the Fairy Tales of Japan. Woodstock, CT: Spring Publications. Chapter 7, pp. 125-142. [28] Hasegawa, Machiko; Schodt, Frederik L. (1997). "Forward". The Wonderful World of Sazae-San. Tokyo: Kodansha International (JPN). ISBN 978-4770020758 [29] Sanchez, Frank (1997-2003). "Hist 102: History of Manga." http://www.animeinfo.org/animeu/hist102.html.AnimeInfo. Accessed on 2007-09-11. [30] Toku, Masami, editor. 2005. "Shojo Manga: Girl Power!" Chico, CA: Flume Press/California State University Press. ISBN 1-886226-10-5. See also http:/ / www.csuchico.edu/pub/cs/spring_06/feature_03.html.Accessed 2007-09-22. [31] Thorn, Matt (July €September 2001). "Sh‰jo Manga•Something for the Girls" (http:/ / matt-thorn.com/shoujo_manga/japan_quarterly/ index.html). The Japan Quarterly 48 (3). . Retrieved 2007-09-22 [32] Sarii is the Japanese spelling and pronunciation of the English-language name "Sally." The word mah€tsukai literally means "magic operator," someone who can use and control magic. It does not mean "witch" or "magical girl" (which is mah€ sh€join Japanese), because

13

History of manga tsukai is not a gendered word in Japanese. This use of an English-language name with a Japanese descriptive word is an example of transnationalism in Tatsumi's sense. [33] Yoshida, Kaori (2002). Evolution of Female Heroes: Carnival Mode of Gender Representation in Anime (http:/ / journals2.iranscience. net:800/mcel.pacificu.edu/mcel.pacificu.edu/aspac/home/papers/scholars/yoshida/yoshida.php3). Western Washington University. . Retrieved 2007-09-22. [34] Johnson, Melissa (June 27, 2006). "Bewitched by Magical Girls" (http:// www.fpsmagazine.com/feature/060627magicalgirls.php). FPS Magazine. . Retrieved 2007-09-22. [35] Gravett, 2004, op. cit., pp.78-80. [36] Lent, 2001, op. cit., pp. 9-10. [37] Tchiei, Go (1998). "Shojo Manga: A Unique Genre" (http:// www.dnp.co.jp/museum/nmp/nmp_i/articles/manga/manga6-1.html). . Retrieved 2007-09-22. [38] Shamoon, Deborah. 2007. "Revolutionary romance: The Rose of Versailles and the transformation of shojo manga." Mechademia: An Annual Forum for Anime, Manga, and Fan Arts. 2:3-17. [39] Hagio Moto 1975/1996 "They Were Eleven." In: Matt Thorn (editor) Four Shojo Stories. San Francisco: Viz Media. ISBN 1569310556. Original story published 1975; U.S. edition 1996. [40] Schodt, 1986, op. cit., p 88. [41] McCloud, Scott. 1993. Understanding Comics. New York: Paradox Press. pp. 77-82. [42] Šgi, Fusami 2004. "Female subjectivity and sh€jo (girls) manga (Japanese comics): sh€jo in Ladies' Comics and Young Ladies' Comics." Journal of Popular Culture, 36(4):780-803. [43] Drazen, Patrick 2003. Anime Explosion!: the What? Why? & Wow! of Japanese Animation. Berkeley, CA: Stone Bridge. [44] Izawa, Eri 2000 ." The romantic, passionate Japanese in anime: A look at the hidden Japanese soul (http:// www.mit.edu/afs/ athena.mit. edu/user/r/ e/ rei/ WWW/manga-romanticism.html)." In: Timothy J. Craig (editor) Japan Pop! Inside the World of Japanese Popular Culture. Armonk, NY: M.E. Sharpe. pp. 138-153. ISBN 978-0765605610. Accessed 2007-09-23. [45] Schodt, 1996, op. cit., p. 14. [46] "The transformation into a superhero is in fact an allegory of becoming an adult." From Graillat, Ludovic 2006-2007 " America vs. Japan: the Influence of American Comics on Manga (http:/ / www.refractory.unimelb.edu.au/journalissues/vol10/graillat.html)." Refractory: A Journal of Entertainment Media, volume 10. Accessed 2007-09-23. Literally, in German, bildungs = education and roman = novel, hence a novel about the education of the protagonist in "the ways of the world." [47] Moretti, Franco 1987. The Way of the World: The Bildungsroman in European Culture. London: Verso. ISBN 1859842984. [48] Beveridge, Chris (2007-05-14). "Peach Girl Vol. #1 (also w/box) (of 6)" (http://www.animeondvd.com/reviews2/disc_reviews/6116. php). Anime on DVD. . Retrieved 2007-09-26. [49] "Peach Girl Volume 1" (http:/ / www.tokyopop.com/product/1041). Tokyopop. . Retrieved 2007-09-26. [50] "MARS Volume 1" (http:/ / www.tokyopop.com/product/1029). Tokyopop. . Retrieved 2007-09-26. [51] "Happy Mania Volume 1" (http:/ / www.tokyopop.com/product/1115). Tokyopop. . Retrieved 2007-09-26. [52] Aoki, Deb. "Nana by Ai Yazawa - Series Profile and Story Summary" (http:// manga.about.com/od/mangatitlesaz/p/ nanaprofile.htm). About.com. . Retrieved 2007-09-26. [53] Bertschy, Zac (December 26, 2005). "NANA G.novel 1" (http://www.animenewsnetwork.com/review/nana-gn-1). Anime News Network. . Retrieved 2007-09-26. [54] Randall, Bill. "Three By Moto Hagio" (http:/ /web.archive.org/web/20070808055442/http:// www.tcj.com/252/e_hagio.html). The Comics Journal. Archived from the srcinal (http:/ / www.tcj.com/252/e_hagio.html) on 2007-08-08. . Retrieved 2007-09-26. [55] King, Patrick. "From Far Away Vol. 2" (http:/ / www.animefringe.com/magazine/2005/03/review/06.php). Anime Fringe. . Retrieved 2007-09-26. [56] "The World Exists for Me Volume 2" (http:/ / www.tokyopop.com/product/1477/TheWorldExistsforMe/2.html). Tokyopop. . Retrieved 2007-09-26. [57] "Fruits Basket Volume 1" (http:/ / www.tokyopop.com/product/1194/FruitsBasket/1.html). Tokyopop. . Retrieved 2007-09-26. [58] "Top 50 Manga Properties for Spring 2007: Fruits Basket." ICv2 Guide to Manga, Number 45, pp. 6, 8. [59] "Crescent Moon Volume 1" (http:/ / www.tokyopop.com/product/1244). Tokyopop. . Retrieved 2007-09-26. [60] Allison, Anne 2000. "Sailor Moon: Japanese superheroes for global girls." In: Timothy J. Craig (editor) Japan Pop! Inside the World of Japanese Popular Culture. Armonk, NY: M.E. Sharpe. pp. 259-278. ISBN 978-0765605610. [61] Grigsby, Mary 1999 "The social production of gender as reflected in two Japanese culture industry products: Sailormoon and Crayon Shinchan." In: John A. Lent, editor Themes and Issues in Asian Cartooning: Cute, Cheap, Mad, and Sexy. Bowling Green, OH: Bowling Green State University Popular Press. pp. 183-210. ISBN 0879727802. [62] Schodt, 1996, op. cit., p 92. [63] "Magic Knight Rayearth I Volume 1" (ht tp:/ / www.tokyopop.com/product/1017/MagicKnightRayearthI/). Tokyopop. . Retrieved 2007-09-26. [64] Poitras, Gilles 2001. Anime Essentials: Everything a Fan Needs to Know. Berkeley, CA: Stone Bridge. ISBN 1880656531. [65] "Tokyo Mew Mew Volume 1" (http:/ / www.tokyopop.com/shop/1114/TokyoMewMew/1.html). Tokyopop. . Retrieved 2007-09-26. [66] "Wedding Peach" (http:/ /www.viz.com/products/products.php?series_id=198). Viz Media. . Retrieved 2007-09-26.

14

History of manga [67] Cooper, Liann (November 20, 2004). "RIGHT TURN ONLY!! Sugar Rush" (http:// www.animenewsnetwork.com/right-turn-only/ 2004-11-20). Anime News Network. . Retrieved 2007-09-26. [68] "Galaxy Angel" (http:/ / web.archive.org/web/20070707125510/http:// www.broccolibooks.com/books/ga/ga_index.htm). Broccoli Books. Archived from the srcinal (http:/ / www.broccolibooks.com/books/ga/ga_index.htm) on 2007-07-07. . Retrieved 2007-09-26. [69] Ito, Kinko 2002. "The world of Japanese 'Ladies Comics': From romantic fantasy to lustful perversion." Journal of Popular Culture, 36(1):68-85. [70] Ito, Kinko 2003. "Japanese Ladies' Comics as agents of socialization: The lessons they teach." International Journal of Comic Art, 5(2):425-436. [71] Jones, Gretchen 2002. "'Ladies' Comics': Japan's not-so-underground market in pornography for women." U.S.-Japan Women's Journal (English Supplement), Number 22, pp. 3-31. [72] Shamoon, Deborah. 2004. "Office slut and rebel flowers: The pleasures of Japanese pornographic comics for women." In: Linda Williams (editor) Porn Studies. Durham, NC: Duke University Press. pp. 77-103. ISBN 0822333120. [73] Schodt, 1996, op. cit., pp 124-129. [74] Ry€ Ramiya (no date) "Luminous Girls." Tokyo: France Shoin Comic House. ISBN 4829682019. [75] Toku, 2005, op. cit., p. 59. [76] Schodt, 1996, op. cit., pp. 173-177. [77] Bando, Kishiji (no date) " Shoujo Yuri Manga Guide (http://www.yuricon.org/essays/symg.html)." Accessed 2007-09-23. [78] Font, Dillon. "Erica Sakurazawa's Nothing But Loving You" (http:// www.animefringe.com/magazine/2003/12/reviews/06/). Anime Fringe. . Retrieved 2007-09-26. [79] "Fan translations of Ebine Yamaji's yuri mangas [sic]" (http:// gaycomicslist.free. fr/ pages/blogarch.php?month=2006-10). The Gay Comics List. . Retrieved 2007-09-26. [80] Perper, Timothy & Martha Cornog 2006. "In the Sound of the Bells: Freedom and Revolution in Revolutionary Girl Utena." Mechademia: An Annual Forum for Anime, Manga, and the Fan Arts, 1:183-186. [81] Masanao, Amano 2004. Manga Design. Koln, Germany: Taschen GMBH. pp. 526-529. ISBN 3822825913. [82] Paradise Kiss: http:/ / www.tokyopop.com/product/1044 Accessed 2007-09-26. [83] "Vampire Knight by Matsuri Hino" (http:/ / www.shojobeat.com/manga/vk/). Shojo Beat. . Retrieved 2007-09-26. [84] Cain by Kaori Yuki: http:/ / www.shojobeat.com/manga/gc/bio.php Accessed 2007-09-26. [85] DOLL: http:/ /www.tokyopop.com/shop/1277/DollSoftcover/1.html Accessed 2007-11-14. [86] Shoichi Aoki. 2001. Fruits. New York: Phaidon Press. ISBN 0714840831. [87] Winge, Theresa 2006. "Costuming the imagination: Origins of anime and manga cosplay." Mechademia: An Annual Forum for Anime, Manga, and the Fan Arts, 1:65-76. [88] Macias, Patrick, Evers, Izumi, and Nonaka, Kazumi (illustrator). 2004.Japanese Schoolgirl Inferno: Tokyo Teen Fashion Subculture Handbook. San Francisco, CA: Chronicle Books. ISBN 9780811856904. [89] Thompson, 2007, op. cit., pp. xxiii-xxiv. See also the opening sections of Un poil de culture - Une introduction † l'animation japonaise. 11/07/2007. http:/ /www.metalchroniques.fr/ guppy/articles.php?lng=fr&pg=437 Accessed 2007-12-25. [90] Brenner, Robin E. 2007. Understanding Manga and Anime. Westport, CT: Libraries Unlimited/Greenwood. pp. 31-34. [91] In another system of classification, sh€nen, seinen, and seijin manga•indeed, all genres of manga•are defined by the intended audience or demographic of the magazine where the manga srcinally appeared, regardless of content of the specific manga. This magazine-of-srcin system is used by the English-language Wikipedia in its Template:Infobox animanga when assigning demographic labels to manga. For a list of magazine demographics, see http:/ / users.skynet.be/mangaguide/magazines.html, but note that that website does not use magazine audience or demographic for classifying manga, nor is this approach discussed by either Thompson (2007) or Brenner (2007) cited in the previous two endnotes. Accessed 2007-12-25. [92] Schodt, 1996, op. cit., p. 95. The French Wikipedia manga article uses the terms seinen and seijin to denote manga for adult men: http:/ / fr. wikipedia.org/wiki/Manga.Accessed 2007-12-28. [93] Perper, Timothy and Martha Cornog 2002. "Eroticism for the masses: Japanese manga comics and their assimilation into the U.S." Sexuality & Culture, volume 6, number 1, pages 3-126 (special issue). [94] Schodt, 1986, op. cit., chapter 3, pp. 68-87. [95] Schodt, 1986, op. cit., chapter 3; Gravett, 2004, op. cit., chapter. 5, pp. 52-73. [96] Brenner, 2007, op. cit., p. 31. [97] Golgo: http:// www.viz.com/products/products.php?series_id=411.review: http:/ / www.animenewsnetwork.com/review/ golgo-13-gn-4.Accessed 2007-12-28. [98] See http:/ / www.darkhorse.com/reviews/archive.php?theid=215 for the quoted phrase. Accessed 2007-12-28. [99] Schodt, 1996, op. cit., pp. 216-220. [100] Schodt, Frederik L. 1988. Robots of the Imagination. In Inside the Robot Kingdom: Japan, Mechatronics, and the Coming Robotopia. Chapter 4, pp. 73-90. Tokyo:Kodansha International. [101] Schodt, 1986, op. cit., p. 84-85. [102] Masanao Amano, editor. 2004. Manga Design. K‹ln:Taschen. pp. 92-95. ISBN 3-8228-2591-3. http:/ /www.shonenjump.com/news/ newsroom/dunk_sj.php; http:// comipress.com/article/2006/12/15/1160.Accessed 2007-12-24. [103] Aihara, Koji and Kentaro Takekuma. 1990/2002. Even a Monkey Can Draw Manga. San Francisco: Viz. pp. 53-63.

15

History of manga [104] Aihara & Takekuma, 1990/2002. op. cit., illustration on p. 59. [105] Berek-Lewis, Jason. July 13, 2005. Comics in an Age of Terror. http:/ /www.brokenfrontier.com/columns/details.php?id=308 Accessed 2007-12-25. [106] Sgt. Frog: http:/ / www.tokyopop.com/product/1214/SgtFrog/2.html ; review: http:/ /eyeonanime.co.uk/panda.php?mi=7&p=d& reviewid2=41.Accessed 2007-12-28. [107] For multiple meanings of bish€jo, see Perper & Cornog, 2002, op. cit., pp. 60-63. [108] Guardian Angel Getten, by Sakurano Minene. Raijin Graphic Novels/Gutsoon! Entertainment, Vols. 1-4, 2003-2004. [109] Negima, by Ken Akamatsu. Del Rey/Random House, Vols. 1-15, 2004-2007; Hanaukyo Maid Team, by Morishige. Studio Ironcat, Vols. 1-3, 2003-2004. [110] Outlanders: http:/ / www.angelfire.com/anime/mangatemple/outlanders.html. [111] Train Man: Densha Otoko, Hidenori Hara. Viz, Vols. 1-3, 2006. [112] Perper, Timothy and Martha Cornog. 2007. "The education of desire: Futari etchi and the globalization of sexual tolerance." Mechademia: An Annual Forum for Anime, Manga, and Fan Arts, 2:201-214. [113] Toshiki Yui: http:/ / lambiek.net/artists/y/yui_toshiki.htm; http:/ / www.yui-toshiki.com/shed/.Accessed 2007-12-28. [114] Slut Girl, by Isutoshi. Eros Comix, Nos. 1-6, 2000; http:/ /www.fantagraphics.com/cart/ showcat.cgi?Category=Comics+Erotica& SubCategory=Mangerotica&PageNo=10; Were-Slut, by Jiro Chiba. Eros Comix, Nos. 1-8, 2001-2002; http:// www.fantagraphics.com/cart/ showcat.cgi?Category=Comics+Erotica&SubCategory=Mangerotica&PageNo=12.Accessed 2007-12-28. [115] For the sent€ bish€jo, translated as "battling beauty," see Kotani, Mari. 2006. "Metamorphosis of the Japanese girl: The girl, the hyper-girl, and the battling beauty." Mechademia: An Annual Forum for Anime, Manga, and the Fan Arts, 1:162-170. See also William O. Gardner. 2003. Attack of the Phallic Girls: Review of Sait‡ Tamaki. Sent€ bish€jo no seishin bunseki (Fighting Beauties: A Psychoanalysis). Tokyo: ˆta Shuppan, 2000.at http:/ / www.depauw.edu/sfs/review_essays/gardner88.htm.Accessed 2007-12-28. [116] Drakuun: http:/ /web.archive.org/web/20080206232322/http:// www.geocities.com/Tokyo/Towers/9607/manabe/drakuunindex. html.Accessed 2007-12-28. [117] Perper, Timothy and Martha Cornog 2003 "Sex, love, and women in Japanese comics." In Robert T. Francoeur and Raymond Noonan, editors. The Comprehensive International Encyclopedia of Sexuality. New York: Continuum. pages 663-671. Section 8D in http:/ / kinseyinstitute.org/ccies/jp.php.Accessed 2007-12-28. [118] Clements, Jonathan. 1998. "'Tits and Tentacles': Sex, Horror, and the Overfiend." In McCarthy, Helen & Jonathan Clements. 1998. The Erotic Anime Movie Guide. Chapter 4, pp. 58-81. [119] Taniguchi, Kei. 1994. "Blue Catalyst." San Antonio, TX: Emblem (Antarctic Press), Numbers 6-8. [120] Smith, Toren. 1991. "Miso Horny: Sex in Japanese Comics." The Comics Journal, No. 143, pp. 111-115. [121] Schodt, 1986, op. cit., pp. 68-73. [122] Gravett, 2004, op. cit., pp. 38-42. [123] Gravett, Paul. "Gekiga: The Flipside of Manga" (http:// www.paulgravett.com/articles/058_gekiga/058_gekiga.htm). . Retrieved 2007-12-20. [124] Isao, Shimizu (2001). "Red Comic Books: The Origins of Modern Japanese Manga". In Lent, John A.. Illustrating Asia: Comics, Humor Magazines, and Picture Books. Honolulu, HI: University of Hawaii Press. ISBN 978-0824824716 [125] Isao, 2001, op. cit., pp. 147-149. [126] Nunez, Irma (September 24, 2006). "Alternative Comics Heroes: Tracing the Genealogy of Gekiga." (http:// search.japantimes.co.jp/ cgi-bin/fb20060924a1.html). The Japan Times. . Retrieved 2007-12-19 [127] Schodt, 1986, op. cit., pp. 70-71. [128] Hirata: http:/ /www.darkhorse.com/search/search.php?frompage=userinput&sstring=Hirata&x=11&y=9 Accessed 2007-12-19. [129] Takeo, Udagawa (2007-10-15). "Home Manga Zombie: Manga Zombie - Preface" (http://comipress.com/special/manga-zombie/ manga-zombie-preface). Comi Press. . Retrieved 2007-12-19. [130] Schodt, 1986, op. cit., p. 72. [131] Flinn, Tom (2008). "MW". ICv2 (50): pp. 17€18 [132] Pfaender, Fabien. "IWGP, t.1" (http:/ / www.planetebd.com/BD/IWGP-1701.html). planetebd.com. . Retrieved 2007-12-20.

External links • A History of Manga (http:/ /www.dnp.co.jp/ museum/nmp/nmp_i/articles/manga/manga1.html) • A complete Hokusai Book, Hokusai Manga Vol 12 in Touch & Turn format (http:/ /www.touchandturn.com/ hokusai/default.asp?lang=english)

16

List of manga series by volume count

17

List of manga series by volume count The list of manga series by volume count is a list of manga series that span at least 40 tank€bon volumes. There are 93 manga series from which 40 series are completed and 53 series are in ongoing serialization. The list also notes the number of volumes and chapters, the author, the Japanese magazine in which it was srcinally serialized and its (frequency), publisher and date of release date of first and last (latest) volume of respective manga volume.

Manga list This list is incomplete. Ongoing series are highlighted in light green. Sr. C ha p t e r s No . Vo lu me s

1

176

[2] 1708

T it le

A u t h or

Kochira Katsushika-ku Kameari K€en-mae Hashutsujo (ÌÍÎÏÐÑÒÓÔÕÖ×ØÙ

2

[6] 165

3

160

4

113

5

110

6

109

7

105

8

[17] 102

[20] 102

Ongoing July 4, [5] 2011

April 24, 1972 November [7] 1972

Ongoing

Golgo 13 (Þ † Þ 13)

Takao Saito

Big Comic (semimonthly) Shogakukan

January [8] 1969 June 21,

Ongoing

1973[9] [11] 1984 January 18, [12] 1986

Cooking Papa(…ßàÝáââ

)

Tochi Ueyama

Weekly Morning (weekly) Kodansha

Nijitte Monogatari (ãäåæç

)

Kazuo Koike, Satomi Koue

Weekly Post (weekly) Shogakukan

Dai Tennouji, Go Rikiya

Bessatsu Manga Goraku (monthly) Nihon Bungeisha

March [15] 1992

Tetsu Kariya, Akira Hanasaki

Big Comic Spirits (monthly) Shogakukan

October 1983 November 30, [16] 1984

Ongoing

Weekly Sh€nen Jump

1987 August 10, [19] 1987

Ongoing

1991 February [22] 1992

Ongoing

Oishinbo (ìíîº»

[21] 647

Osamu Akimoto Weekly Sh€nen Jump September [3] (weekly) 1976 [4] Shueisha July 9, 1977 Weekly Sh€nen Champion (weekly) Akita Shoten

)

)

Hirohiko Araki

JoJo's Bizarre Adventure (ïðïðéñòóôõ

9

Latest chapter Latest volume

Shinji Mizushima

Minami no Teiou (ÅèÅéêë

[18] 840

First [1] chapter First volume

)

Dokaben (ÚÛÜÝ

[10] 1069

)

M a g a z i ne (frequency) Publisher

Baki the Grappler (áöß÷ö„øù

)

(weekly) 1987 - 2004 Ultra Jump (monthly) 2004 - present Shueisha )

Keisuke Itagaki

Weekly Sh€nen Champion (weekly) Akita Shoten

Ongoing

?

?

April 27, [13] 1981

February 28, [14] 2005

?

Ongoing

List of manga series by volume count 10

98

11

98

12

96

13

95

14

[28] 94

15

92

16

[33] 86

17

[34] 85

18

[37] 81

19

80

20

78

21

75

22

23

24

75

75

[44] 74

870

[2] 941

Shinji Mizushima

Big Comic Original (semimonthly) Shogakukan

1973 May 15, [23] 1974

Ongoing

Shizukanaru Don‚ Yakuza Side Story (üýóþÚÝ )

Tatsuo Nitta

Weekly Manga Sunday (weekly) Jitsugyo no Nihon Sha

November 15, [24] 1988 April 6, [25] 1989

Ongoing

Fighting Spirit Hajime no Ippo (ÿ È めé  歩)

George Morikawa

Weekly Sh€nen Magazine (weekly) Kodansha

1989 February 17, [26] 1990

Ongoing

Mayumi Muroyama

Shogakukan no Gakushu Zasshi (?) Shogakukan

1978 April 26, [27] 1980

Ongoing

K€tar€ Makarit€ru! (Ä „ タ „ まý µ とおþ !)

Tatsuya Hiruta


1982 January 20, [30] 1983

2004 October 15, [31] 2004

Haguregumo (浮浪雲)

George Akiyama


1973 June 6, [32] 1975

Ongoing

Captain Tsubasa(à ャ÷ テÝ 翼)

Y€ichi Takahashi

Weekly Sh€nen Jump, Weekly Young Jump (weekly) Shueisha

1981 January 1982

Ongoing

Patalliro! (â タ²  !)

Mineo Maya

Hana to Yume (semimonthly) Hakusensha

[35] 1979

Ongoing

Abu-san (úû¸º

Asari-chan (ú¸µÍ

[29] 78

[2] 499

18 )

ゃº )

October 20, 1979[36]

Kobo, the Li'l Rascal

Masashi Ueda

Yomiuri Shimbun (daily) Soyosha, Houbunsha

April 1, 1982

Ongoing

[38] 724

Tsuribaka Nisshi (釣µ バÛ 日‚ )

J‚z€ Yamasaki, Kenichi Kitami


1979 July 29, [39] 1980

Ongoing

747

Major (MAJOR-メï ャ„ )

Takuya Mitsuda

Weekly Sh€nen Sunday (weekly) Shogakukan

1994 January 13, [40] 1995

July 2010

Nanto Magoroku (ó º と孫‰ )

Kei Sadayasu

Monthly Sh€nen Magazine (monthly) Kodansha

August 20, [41] 1981

Zero ‚ The Man of the Creation

Kei Satomi

Super Jump

(ゼ …THE MAN OF THE CREATION)

(semimonthly) Shueisha

Marugoshi Keiji (まþ ごî 刑事)

Weekly Manga Sunday (weekly) Jitsugyo no Nihon Sha

Tough (高校鉄拳伝タフ)

Tetsuya Saruwatari

Weekly Young Jump (weekly) Shueisha

?

1990 September 10, [42] 1991 ? ?

1993 March 18, [45] 1994

Ongoing

Ongoing

?

March 29, [43] 2003 Ongoing


73

26

[2] 786

19

Detective Conan (Case Closed) (名探偵Ä è Ý )

Gosho Aoyama

67

Chie the Brat

Etsumi Haruki

27

65

Tsurikichi Sanpei

Takao Yaguchi


1973 February 18, [49] 1974

1983 May 16, [50] 1983

28

[51] 66

Ironfist Chinmi (鉄拳チÝ Å )

Takeshi Maekawa


1983 April 18, [52] 1984

2009 November 17, [53] 2009

29

65

Soumubu Soumuka Yamaguchi Roppeita (!"#!"$ %&‰ '()

Big Comic (semimonthly) Shogakukan

January 30, [54] 1987

Weekly Sh€nen Jump (weekly) Shueisha

1997 December 24, [55] 1997

Ongoing

Weekly Young Magazine (weekly) Kodansha

1990 July 17, [56] 1990

2004 April 30, [57] 2005 Ongoing

30

64

[2] 640

One Piece

31

62

635

Emblem Take 2 ()*<” Ý +À ,>TAKE2)

32

60

[58] 240

Dear Boys

Eiichiro Oda

Hiroki Yagami


February 2, 1994 (issue #5) June 18, [46] 1994

Weekly Manga Action 1978 [47] (weekly) May 1979 Futabasha

?

Monthly Sh€nen

1989

Magazine (monthly) Kodansha

December [59]16, 1989 1971 April 20, [60] 1974

Ongoing

1997 November [48] 1997

Ongoing

33

60

Sangokushi

Yokoyama Mitsuteru

Comic Tom (monthly) Ushio Shuppansha

34

60

Ginga Legend Weed

Yoshihiro Takahashi

Weekly Manga Goraku (weekly) Nihon Bungeisha

35

59

Sunset on Third Street

Ry€hei Saigan


1974 September 29, [65] 1975

Ongoing

36

58

[2] 459

Kindaichi Case Files

Y€zabur€ Kanari, Seimaru Amagi, Fumiya Sat€


[66] 1992 February 17, [67] 1993

Ongoing

37

58

[68] 424

GodHand Teru

Kazuki Yamamoto


2001 July 17, [69] 2001

Ongoing

38

[70] 58

Boys Be...

Masahiro Itabashi, Hiroyuki Tamakoshi


1991 January 17, [71] 1992

Finished

1986 October 20, [61] 1988

[62] May 1999 September 18, [64] January 2009 [63] 2000

List of manga series by volume count

20

39

58

242

Wataru ga Pyun! (-.þ /01º !)

Tsuyoshi Nakaima

Monthly Sh€nen Jump (monthly) Shueisha

1984 June 10, [72] 1985

2004 November 4, [73] 2004

40

[74] 58

[2] 563

Naruto

Masashi Kishimoto


[75] 1999 March 3, [76] 2000

Ongoing

41

56

[77] 387

Dreams (Ú ² „ ,³ )

Sanbanchi Kawa


November 15, [78] 1996


1999 February [79] 2000


October [80] 1999

42

43

56

Edomae no Shun (23Ö é 4)

56

44

56

45

55

46

[83] 54

47

54

Tenpai (56)

558

[84] 204

?

Ongoing

Ongoing

?

Ongoing

InuYasha

Rumiko Takahashi


1996 April 18, [81] 1997

2008 February 18, [82] 2009

Crest of the Royal Family

Chieko Hosokawa

Princess (monthly) Akita Shoten

1976

Ongoing

For Mrs. (monthly) Akita Shoten

1991

Ongoing

Princess (monthly) Akita Shoten

1986

2006 December 15,

Inochi no Utsuwa (¹éÍé

7)

Alfheim no Kishi (89:é ;<)

Seika Nakayama

?

2006[85] 48

53

Kaze no Daichi

Nobuhiro Sakata, Eiji Kazama


1990 March 30, [86] 1991

Ongoing

49

51

4P Tanaka-kun (4P=>?º )

Shichi Santarou, Kawa Sanbanchi

Weekly Sh€nen Champion (weekly) Akita Shoten

1986 December 1986

1996 August 1996

50

51

[2] 471 [87]

Bleach

Tite Kubo


[88] 2001 January 5, [89] 2002

Ongoing

51

50

[90] 1126

Crayon Shin-chan

Yoshito Usui

Weekly Manga Action (weekly) Futabasha

1990 April 11, [91] 1992

Finished

52

50

541

Kougyou Aika Volleyboys

Hiroyuki

Weekly Young

1989

2006

Murada

Magazine (weekly) Kodansha

July [92] 17, 1989

April[93] 6, 2006

Futari Ecchi

Katsu Aki

Young Animal (semimonthly) Hakusensha

1997 August 29, [95] 1997

Ongoing

Kariage-kun (ý µ ú G… Ý )

Masashi Ueda

Weekly Manga Action (weekly) Futabasha

1980 December 5, [96] 1980

Ongoing

À „

(@ABCバ 53

49

54

49

[94] 454

„

D EF)


48

56

48

57

48

58

48

59

21

Rakudai Ninja Rantar€

S€bŒ Amako

?

Asahi Shimbun

?

?

March [97] 1993

October 29, [98] 2010

Wild 7

Mikiya Mochizuki

Sh€nen Gah€(?) Sh€nen Gah€sha

September 1969

July 1979

308

Be-Bop High School

Kiyuchi Kazuhiro


1983 March 17, [99] 1984

2003 January 6, [100] 2004

350

Azumi

Y‚ Koyama

Big Comic Superior (semimonthly)

1994 January 30, 1995[101]

2008 February 27, 2009[102]

48

Dan Doh!! (HÝ Ú „ )

Nobuhiro Sakata


1995

2005

60

48

Nozomi Witches (é IJKÂ ß チÂ F)

Toshio Nobe


1986

1996

61

47

1999 January 7, [104] 2000

Ongoing

62

47

63

47

64

46

65

46

Gambling Racer (LャÝ +†À„ƒ„

66

46

Kattobi Itto (ý MとN O)

67

45

Kaiouki

Masatoshi Kawahara

68

[113] 45

Ry…r€den

Yoshito Yamahara

Shogakukan

[2] 431 [103]

429

[114] 158

The Prince of Tennis

Takeshi Konomi Weekly Sh€nen Jump (weekly), Jump Square (monthly) Shueisha

Wangan Midnight

Michiharu Kusunoki

Big Comic Spirits, Young Magazine (weekly) Shogakukan, Kodansha

1990 January 8, [105] 1993

Ongoing

Chameleon

Atsushi Kase


1990 August 17, [106] 1990

1999 March 16, [107] 2000

Glass Mask

Suzue Miuchi

Hana to Yume (semimonthly), Bessatsu Hana to [108] Yume (monthly) Hakusensha

1976 March 20, [109] 1976

Ongoing


1988 May 23, [110] 1989

2006 February 23, [111] 2006

1986 June 1986

1999 March 1999


1998 August 17, [112] 1998

Ongoing


1993 December 16, [115] 1993

Ongoing

) Makoto Tanaka

Mosaki Monma Monthly Sh€nen Jump (monthly) Shueisha


45

70

45

71

45

72

45

825

6477

22 Doraemon

Fujiko F. Fujio

Hocho Mushuku (PQRS)

Yasuyuki Tagawa


Sazae-san

Machiko Hasegawa

Various Asahi Sonorama

1946 1974 September 20, September 20, [118] [119] 1994 1994

Violence Jack

Go Nagai

Weekly Sh€nen

July 22, 1973

1969 July 31, [116] 1974

1996 April 26, [117] 1996

1982 September 1982

1996 July 1996

Magazine (weekly) Kodansha 73

44

74

43

75

43

76

43

77

43

78

43

79

42

80

March 23, 1990

Kaze Hikaru ‚ Koshien (TUþ VWXÕ V)

Sanbanchi Kawa


1990 July 17, [120] 1991

2006 June 16, [121] 2006

[122] 423

Kaiji

Nobuyuki Fukumoto


1996 September 6, [123] 1996

Ongoing

[124] 390

Karate Shoukoushi Kohinata Minoru (Yå ZÔ X Z日™ [\)

Baba Yasushi


2000 July 6, [125] 2000

Ongoing

Karakuri Circus

Kazuhiro Fujita

Sh€nen Sunday (weekly) Shogakukan

1997 December 10, [126] 1997

2006 August 11, [127] 2006

Zipang

Kaiji Kawaguchi


2000 January 23, [129] 2001

2009 December 22, [130] 2009

Osu!! Karate Bu

Koji Takahashi


1985

1996

[2] 600

Initial D (] ^D)

Shuichi Shigeno


1995 November 6, [131] 1995

Ongoing

42

[2] 410

Kenichi: The Mightiest Disciple (_àbé cXdÝ Eチ)

Syun Matsuena


2002 August 9, [132] 2002

Ongoing

81

42

[2] 264

Oh My Goddess!

K€suke Fujishima

Afternoon (monthly) Kodansha

September 1988 September 23,

Ongoing

82

42

[134] 402

Super Mario-kun

Yukio Sawada

CoroCoro Comic (monthly) Shogakukan

1990 July 27, [135] 1991

Ongoing

83

42

[136] 141

Violinist of Hameln

Michiaki Watanabe

Monthly Sh€nen Gangan (monthly), Young Gangan (semi-monthly) Enix, Square Enix

1991 September 22, 1991

ongoing

413[128]

1989[133]


[137] 42

85

519

23 Dragon Ball

Akira Toriyama


1984 September 10, [138] 1985

1995 August 4, [139] 1995

42

Ryuu ‚ Ron (e-RON-)

Motoka Murakami


1991 June 29, [140] 1991

2006 July 28, [141] 2006

86

42

Rokudenashi Blues

1988 January 1989

1997 April 1997

87

41

Chiisana Koi no Monogatari

Chikago

Manga Time

1962

(Z¸ ó fé gé /.µ )

Mitsuhashi

(monthly) Gakken

2008 May 25, [142] 2007

F‚mei Sai, Yasushi Hoshino


1997 December 16, [143] 1997

2004 February 17, [144] 2005

Masanori Morita Weekly Sh€nen Jump (weekly) Shueisha

88

41

Legendary Gambler Tetsuya (hi-jkとlmn.o)

89

41

The Chef ‚ Shinshou (pqrsフ tu)

90

40

91

40

92

40[148]

93

40

[145] 409

Addicted to Curry (v¬ ó þ wx)

Kazuki Funatsu


2001 July 19, [146] 2001

Ongoing

Kura no Yado (yé S)

Nishi Yuuji, Tana Toshinobu

Weekly Manga Times (weekly) Houbunsha

1998 May 17, [147] 1999

Ongoing

Satoshi Ikezawa


1975

Finished

Yuzo Takada


1987 October 17, [149] 1988

2002 November 6, [150] 2002

Circuit no ‰kami (ƒ„àß´é

441

Finished


3Š3 Eyes

z)

Notes [1] The date for the first chapter of a series should generally be the date on the cover of the magazine issue it ran in. [2] This chapter count includes chapters not yet collected in a tank€bon volume. [3] /759 "Celebrating its 30th Anniversary, Interview..." (http:/ / comipress.com/news/2006/09/19). ComiPress. June 19, 2006. Archived (http:// www.webcitation.org/5zyQejZMv) from the srcinal on July 6, 2011. /759. Retrieved July 7, 2009. [4] "ÌÍÎÏÐÑÒÓÔÕÖ×ØÙ 1 [Kochira Katsushika-ku Kameari K€en-mae Hashutsujo 1]" (http:// books.shueisha.co.jp/CGI/ search/syousai_put.cgi?isbn_cd=4-08-852811-5&mode=1) (in Japanese). Shueisha. Archived (http:/ / www.webcitation.org/5zyRnFJEZ) from the srcinal on July 6, 2011. . Retrieved April 19, 2009. [5] search/ " 175 [Kochira Katsushika-ku K€en-mae Hashutsujo / books.shueisha.co.jp/CGI/ syousai_put.cgi?isbn_cd=978-4-08-870234-6& mode=1) (inKameari Japanese). Shueisha. . Retrieved175]" July (http:/ 22, 2011. [6] Dokaben consists of four named series, each covering specific baseball seasons played by the Meikun High School team. The first series, simply titled Dokaben, is collected in 48 volumes; the second series, Dai K€shien (° WXÕ ), is collected in 26 volumes; the third series, Dokaben Professional Baseball (ÚÛÜÝ ÷ {|}), is collected in 52 volumes; and the fourth series, Dokaben Superstars (ÚÛÜÝ タ„ F}), is ongoing with 39 volumes. ³„â„³ [7] "ÚÛÜÝ (1) (~Ë チャÝ •€Ý ŽÄÅß…³ ): ‚ tƒ: „ [Dokaben (1) (Shonen Champion Comics): Shinji Mizushima: Books]" (http:// www.amazon.co.jp/dp/4253030637) (in Japanese). Amazon.co.jp. . Retrieved June 24, 2009. [8] "Þ † Þ 13(¸ ¹ と· Ž÷  ) [Golgo 13]" (http:/ /www.saito-pro.co.jp/golgo/index.htm) (in Japanese). Saito Production. . Retrieved July 11, 2009. ÌÍÎÏÐÑÒÓÔÕÖ×ØÙ

List of manga series by volume count [9] "…Þ † Þ 13 1†" (http:// skygarden.shogakukan.co.jp/skygarden/owa/solc_dtl?isbn=4845800012) (in Japanese). Shogakukan. . Retrieved February 25, 2009. [10] Chapters as of volume 110. [11] "Tomomitsu Yamaguchi becomes "Cooking Papa"" (http:// www.tokyograph.com/news/id-3324). Tokyograph. June 5, 2008. . Retrieved July 9, 2009. [12] "…ßàÝáââ (1) [Cooking Papa (1)]" (http:/ / shop.kodansha.jp/bc2_bc/search_view.jsp?b=3000044) (in Japanese). Kodansha. . Retrieved June 24, 2009. [13] "ãäåæç 1 [Nijitte Monogatari 1]" (http:/ / skygarden.shogakukan.co.jp/skygarden/owa/sol_detail?isbn=4091803318) (in Japanese). Shogakukan. . Retrieved August 12, 2009. [14] "ãäåæç 110 [Nijitte Monogatari 110]" (http:/ / skygarden.shogakukan.co.jp/skygarden/owa/sol_detail?isbn=4091866905) (in Japanese). Shogakukan. . Retrieved August 12, 2009. [15] "ÅèÅéêë (1)/5ë ‡ ° ˆ‰/Š ‹i — [Minami no Teiou (1)/Story by Dai Tennouji/Art by Go Rikiya]" (http:/ /www. nihonbungeisha.co.jp/books/pages/ISBN978-4-537-03744-9.html) (in Japanese). Nihon Bungeisha. . Retrieved July 3, 2009. [16] "ìíîº» 1 [Oishinbo 1]" (http:// skygarden.shogakukan.co.jp/skygarden/owa/sol_detail?isbn=4091807518) (in Japanese). Shogakukan. . Retrieved June 24, 2009. [17] JoJo's Bizarre Adventure is split into 7 number of shorter series, each of which covers a specific generation of the Joestar family. The first arc Phantom Blood (フŒÝ ´ ,+ö ß Ú ) contains First 47 chapters collected in 5 tank€bon volumes, Second arc Battle Tendency (Ž\) EH„ ³ ) contains 141 chapters contains 67 chapters collected in 7 tank€bon volumes, Third arc Stardust Crusaders(³ タ„ H³´…† collected in 16 tank€bon volumes, Fourth arc Diamond is Unbreakable (HE‘’Ý Ú ÿ “š ó ¹ ) contains 180 chapters collected in 18 tank€bon volumes, Fifth arc Vento Aureo (”é T) contains 157 chapters collected in 17 tank€bon volumes, Sixth arc Stone Ocean (³´„Ý €„ rャÝ ) contains 158 chapters collected in 17 tank€bon volumes and Seventh arc Steel Ball Run (³ テÂ „ † qD„ † qö Ý ) is under serialization with 22 tank€bon volumes released covering 88 chapters. [18] Chapters as of volume 102. [19] "ïðïðéñòóôõ /1|–— ˜™š [JoJo's Bizarre Adventure/1|Hirohiko Araki]" (http:/ / books.shueisha.co.jp/CGI/search/ syousai_put.cgi?isbn_cd=4-08-851126-3) (in Japanese). Shueisha. . Retrieved June 24, 2009. [20] Baki the Grappler is split into 3 series. The Original Grappler Baki (áöß÷ö„øù ) contains 42 tank€bon volumes covering 371 chapters, New Grappler Baki (バà ) contains 31 tank€bon volumes and covering 276 chapters, and Baki: Son of Ogre (›œø ù ) is on-going series with 29 volumes published. [21] Chapters as of volume 73. [22] "áöß÷ö„øù (1) (~Ë チャÝ •€Ý ŽÄÅß…³ ): ž Ÿ: „ [Baki the Grappler (1) (Shonen Champion Comics): Keisuke (http:/ / www. amazon. co.jp/dp/shogakukan. 4253053092)co. (injp/Japanese). . Retrieved July 3, 2009. [23]Itagaki: "úû¸º Books]" 1 [Abu-san 1]" (http:/ / skygarden. skygarden/Amazon.co.jp. owa/sol_detail?isbn=4091800114) (in Japanese). Shogakukan. . Retrieved July 3, 2009. [24] Nitta, Tatsuo (April 6, 1989) (in Japanese). üýóþÚÝ [Shizukanaru Don]. 1. Japan: Jitsugyo no Nihon Sha. ISBN 978-4-408-16034-4. [25] "üýóþÚÝ (1) [Shizukanaru Don (1)]" (https:/ / www.j-n.co.jp/cgi-bin/product_detail.cgi?code=4-408-16034-2) (in Japanese). Jitsugyo no Nihon Sha. . Retrieved July 11, 2009. [26] "ÿ È めé  歩(1) ¡¢ïð„ï [Fighting Spirit (1) George Morikawa]" (http:// shop.kodansha.jp/bc2_bc/search_view. jsp?b=3115321) (in Japanese). Kodansha. . Retrieved July 3, 2009. ゃº 1 [Asari-chan 1]" (http:/ /skygarden.shogakukan.co.jp/skygarden/owa/sol_detail?isbn=4091404014) (in Japanese). [27] "ú¸µÍ Shogakukan. . Retrieved July 3, 2009. [28] K€tar€ Makarit€ru! manga is split into three series. The first series K€tar€ Makarit€ru! is collected in 59 tank€bon volumes, the second series Shin K€tar€ Makarit€ru! (tqÄ „ タ „ まý µ とおþ !) is collected in 27 tank€bon volumes and the third series K€tar€ Makarit€ru! L (Ä „ タ „ まý µ とおþ ! L) is collected in 8 tank€bon volumes. [29] Chapters as of volume 11. [30] "Ä „ タ „ まý µ とおþ !(1) [K€tar€ Makarit€ru! (1)]" (http:/ / shop.kodansha.jp/bc2_bc/search_view.jsp?b=1728741) (in Japanese). Kodansha. . Retrieved June 24, 2009. [31] "Ä „ タ „ まý µ とおþ !L(8) [K€tar€ Makarit€ru! L (8)]" (http:// shop.kodansha.jp/bc2_bc/search_view.jsp?b=363440X) (in Japanese). Kodansha. . Retrieved September 19, 2010. 浮浪雲

[32]Shogakukan. " 1 [Haguregumo . Retrieved July1]"3,(http:/ 2009./ skygarden.shogakukan.co.jp/skygarden/owa/sol_detail?isbn=4091800513) (in Japanese). [33] The Captain Tsubasa series includes the srcinal 37 volume manga, the 18 volume Captain Tsubasa: World Youth Saga(à ャ÷ テÝ 翼 £„ † Ú ¤„ ³ }) manga, the 15 volume Captain Tsubasa: Road to 2002(à ャ÷ テÝ 翼 ROAD TO 2002) manga, the 12 volume Captain Tsubasa: Golden-23 (à ャ÷ テÝ 翼 GOLDEN-23) manga and the 2 volume covering 24 chapters Captain Tsubasa: Kaigai Gekito Hen in Calcio (à ャ÷ テÝ 翼 [¥¦Ž} IN CALCIO) manga. A new series started in February 2010, called Captain Tsubasa: Kaigai Gekito Hen En La Liga (à ャ÷ テÝ 翼 [¥¦Ž} EN LA LIGA) which is on-going with 2 volumes and 41 chapters published. [34] This count does not include the four spin-off series related to this series. [35] "§¨©ª [Maya Mineo]" (http:/ / comich.net/cr/ ma/maya_mineo.html) (in Japanese). Comic Holmes. . Retrieved July 10, 2009. [36] "â タ²  ! 1 [Patalliro! 1]" (http:/ / www.s-book.net/plsql/slib_detail?isbn=4592111710) (in Japanese). Hakusensha. . Retrieved July 10, 2009.

24

List of manga series by volume count [37] Kobo, the Li'l Rascal was published for 60 volumes by Soyosha and is currently being published by Houbunsha at a total of 21 volumes. [38] Chapters as of volume 77. [39] "釣µ バÛ 日‚ 1 [Tsuribaka Nisshi 1]" (http:/ / skygarden.shogakukan.co.jp/skygarden/owa/sol_detail?isbn=4091802818) (in Japanese). Shogakukan. . Retrieved March 23, 2010. [40] "MAJOR(メï ャ„ ) 1 [Major (Major) 1]" (http:// skygarden.shogakukan.co.jp/skygarden/owa/sol_detail?isbn=4091234917) (in Japanese). Shogakukan. . Retrieved July 11, 2009. [41] "ó º と孫‰ (1) ¸ «¬® [Nanto Magoroku (1) Kei Sadayasu]" (http:// shop.kodansha.jp/bc2_bc/search_view.jsp?b=173573X) (in Japanese). Kodansha. . Retrieved July 11, 2009. [42] "ゼ …THE MAN OF THE CREATION 1 [Zero € The Man of the Creation 1]" (http://books.shueisha.co.jp/CGI/search/syousai_put. cgi?isbn_cd=4-08-858621-2) (in Japanese). Shueisha. . Retrieved May 21, 2010. [43] "まþ ごî 刑事(75)¯° [Marogoshi Keiji (75) Completed]" (https:/ / www.j-n.co.jp/cgi-bin/product_detail.cgi?code=4-408-16727-4) (in Japanese). Jitsugyo no Nihon Sha. . Retrieved May 22, 2010. [44] Tough manga includes the 42-volume High School Exciting Story: Tough (高校鉄拳伝タフ) and the still running sequel simply titled Tough (TOUGH•タフ•) with 32 tank€bon volumes published. [45] "高校鉄拳伝タフ 1 [High School Exciting Story: Tough 1]" (http:/ / books.shueisha.co.jp/CGI/search/syousai_put. cgi?isbn_cd=4-08-875261-9) (in Japanese). Shueisha. . Retrieved May 21, 2010. [46] "名探偵ÄèÝ 1 [Detective Conan 1]" (http:/ / skygarden.shogakukan.co.jp/skygarden/owa/sol_detail?isbn=4091233716) (in Japanese). Shogakukan. . Retrieved March 23, 2010. [47] "È ゃµ Ý Xチ” …チ” Í ゃº ±² (1) (³… rð Ý qÄÅß…³ ) (´µ„) [Chie the Brat € Brave Report From Chie-chan (1) (Action Comics) (Paperback)]" (http:/ / www.amazon.co.jp/dp/4575812005) (in Japanese). Amazon.co.jp. . Retrieved May 22, 2010. [48] "È ゃµ Ý Xチ” …チ” Í ゃº ±² (67) (³… rð Ý qÄÅß…³ ) (ÄÅß… ) [Chie the Brat € Brave Report From Chie-chan (1) (Action Comics) (Paperback)]" (http:/ / www.amazon.co.jp/dp/4575822957) (in Japanese). Amazon.co.jp. . Retrieved May 22, 2010. [49] "釣µ à チ¶'(1)" (http:/ / kc.kodansha.co.jp/product/top.php/1234600388) (in Japanese). Kodansha. . Retrieved September 26, 2010. [50] "釣µ à チ¶'(65)" (http:/ / kc.kodansha.co.jp/product/top.php/1234601781) (in Japanese). Kodansha. . Retrieved September 26, 2010. [51] Ironfist Chinmi manga is divided into three series which includes 35 tank€bon volumes of Tekken Chinmi (鉄拳チÝ Å ), 20 tank€bon volumes of the Shin Tekken Chinmi (t鉄拳チÝ Å ) and 11 tank€bon volumes of the Tekken Chinmi Legends (鉄拳チÝ Å Legends) which is still running. [52] "鉄拳チÝ Å 1 [Ironfist Chinmi 1]" (http:/ / shop.kodansha.jp/bc2_bc/search_view.jsp?b=1736302) (in Japanese). Kodansha. . Retrieved April 27, 2010. 鉄拳チÝ Å

[53]Kodansha. " LegendsSeptember 9 [Ironfist19, Chinmi . Retrieved 2010.Legends 9]" (http:// shop.kodansha.jp/bc2_bc/search_view.jsp?b=3712184) (in Japanese). [54] "!"#!"$ %&‰ '( 1 | ·ßáÄÅß…³ [Soumubu Soumuka Yamaguchi Roppeita 1 | Big Comics]" (http:/ / www. shogakukan.co.jp/comics/detail/_isbn_4091812813) (in Japanese). Shogakukan. . Retrieved May 22, 2010. [55] "ONE PIECE 1 [One Piece 1]" (http:/ / books.shueisha.co.jp/CGI/search/syousai_put.cgi?isbn_cd=4-08-872509-3) (in Japanese). Shueisha. . Retrieved May 21, 2010. [56] ")*<” Ý +À ,>TKE2(1)" (http:/ /shop.kodansha.jp/bc2_bc/search_view.jsp?b=1022156) (in Japanese). Kodansha. . Retrieved August 30, 2010. [57] ")*<” Ý +À ,>TKE2(62)" (http:/ / shop.kodansha.jp/bc2_bc/search_view.jsp?b=3613267) (in Japanese). Kodansha. . Retrieved September 19, 2010. [58] Chapters as of volume 56. [59] "DER BOYS 1 [Dear Boys 1]" (http:/ / shop.kodansha.jp/bc2_bc/search_view.jsp?b=3022889) (in Japanese). Kodansha. . Retrieved May 21, 2010. [60] "¶:‹ ¨ 1¸" (http:/ / www.usio.co.jp/html/books/shosai.php?book_cd=253) (in Japanese). Ushio Shuppansha. . Retrieved August 30, 2010. [61] "¶:‹ ¨ 60¸" (http:/ / www.usio.co.jp/html/books/shosai.php?book_cd=312) (in Japanese). Ushio Shuppansha. . Retrieved September 19, 2010. [62] Takahashi, Yoshihiro (1999). ¹ù 伝ºKÂ„Ú 1. Nihon Bungeisha. p. 4. ISBN 4-537-09891-0. ¹ù 伝ºKÂ„Ú

高» ¼î ½¾ ¿

[63]books/ " pages/ISBN978-4-537-09891-4. (1)/ [Ginga Densetsu.Weed (1) / June by Yoshihiro html). Nihon Bungeisha. Retrieved 28, 2010.Takahashi]" (http:/ / www.nihonbungeisha.co.jp/ [64] Takahashi, Yoshihiro (2009). ¹ù 伝ºKÂ„Ú 60. Nihon Bungeisha. p. 208. ISBN 978-4-537-12491-0. [65] "¶QÀé Á日 ÁÂš é Ã 1" (http:/ / www.shogakukan.co.jp/comics/detail/_isbn_4091800610) (in Japanese). Shogakukan. . Retrieved September 3, 2010. [66] "Weekly Sh€nen Magazine € Kindaichi Case Files" (http:/ / kc.kodansha.co.jp/author/list.php/1000000083) (in Japanese). Kodansha. . Retrieved February 7, 2010. [67] "= ~Ë é 事ÄÅ(1) [Kindaichi Case Files Volume 1]" (http:/ / shop.kodansha.jp/bc2_bc/search_view.jsp?b=3118746) (in Japanese). Kodansha. . Retrieved July 21, 2009. [68] Chapters as of volume 55.

25

List of manga series by volume count [69] "Þ ß Ú ÆÝ Ú Ç(1)" (http:// shop.kodansha.jp/bc2_bc/search_view.jsp?b=3129993) (in Japanese). Kodansha. . Retrieved August 30, 2010. [70] Total includes srcinal 32 volume series, 20 volume Second Season, and 6 volume L CO-OP. [71] "BOYS BE... 1 [Boys Be... 1]" (http:/ / shop.kodansha.jp/bc2_bc/search_view.jsp?b=3117510) (in Japanese). Kodansha. . Retrieved May 21, 2010. [72] "-.þ /01º ! 1 [Wataru ga Pyun! 1]" (http:// mj.shueisha.co.jp/comics/wataru/#01) (in Japanese). Shueisha. . Retrieved October 1, 2010. [73] "-.þ /01º ! 58 [Wataru ga Pyun! 58]" (http://mj.shueisha.co.jp/comics/wataru/#58) (in Japanese). Shueisha. . Retrieved October 1, 2010. [74] Naruto is split into two parts by a 2  year timeskip; Part I consists of 27 volumes with 244 chapters, and part II contains the remaining 28 volumes and 272 chapters. [75] "Masashi Kishimoto" (http:/ /www.viz.com/products/products.php?&series_id=119§ion=profiles). Viz Media. . Retrieved October 11, 2007. [76] "NARUTO…è † ´ …/1" (http:// books.shueisha.co.jp/CGI/search/syousai_put.cgi?isbn_cd=4-08-872840-8) (in Japanese). Shueisha. . Retrieved October 11, 2007. [77] Chapters as of volume 51. [78] "Dreams(1)" (http:/ /shop.kodansha.jp/bc2_bc/search_view.jsp?b=3123421) (in Japanese). Kodansha. . Retrieved September 3, 2010. [79] "23Ö é 4 (1)" (http:/ /www.nihonbungeisha.co.jp/books/pages/ISBN978-4-537-09897-6.html) (in Japanese). Nihon Bungeisha. . Retrieved August 30, 2010. [80] "56 (1) [Tenpai (1)]" (http:// www.nihonbungeisha.co.jp/books/pages/ISBN978-4-537-09877-8.html) (in Japanese). Nihon Bungeisha. . Retrieved May 27, 2010. [81] "È¨É 1 [InuYasha 1]" (http:/ / www.shogakukan.co.jp/comics/detail/_isbn_409125201X) (in Japanese). Shogakukan. . Retrieved September 19, 2010. [82] "È¨É 56 [InuYasha 56]" (http:/ / www.shogakukan.co.jp/comics/detail/_isbn_9784091215802) (in Japanese). Shogakukan. . Retrieved September 19, 2010. 7 45 (45) (Ê=ÀÁÂ„³ÄÅß…³Áöß…³ [83] "Amazon.co.jp: ¹éÍé ): `ˆ ËJX: „" (http:/ /www.amazon.co.jp/dp/ 4253158854) (in Japanese). Amazon.co.jp. . Retrieved November 14, 2008. [84] Chapters as of volume 52. [85] "89:é ;< ¨ 54¸" (http:/ / www.akitashoten.co.jp/CGI/search/syousai_put.cgi?key=search&isbn=193544) (in Japanese). Akita Shoten. . Retrieved September 23, 2010. Té ° Ì

[86]2010. " 1" (http:/ /www.shogakukan.co.jp/comics/detail/_isbn_4091824617) (in Japanese). Shogakukan. . Retrieved August 30, [87] 15 chapters of Bleach were published with negative chapter numbers; these are included in this count. In addition, chapter 88 was split into two chapters, with the second numbered 88.5; a chapter 0.8 was published at the end of volume 12, after chapter 107; and at the end of volume 23, after chapter 205, two chapters numbered "0. side-A" and "0. side-B" were published; these are also included in this count. As of October 4, 2010, 452 properly numbered chapters and 19 negative or otherwise oddly numbered chapters have been released in total. [88] "Bleach - Profiles" (http:/ / www.webcitation.org/5fjmj9RLV). Viz Media. Archived from the srcinal (http:/ / www.viz.com/products/ products.php?&series_id=33§ion=profiles) on April 2, 2009. . Retrieved February 25, 2009. [89] "BLEACH…+² „ チ… 1" (http:/ / www.webcitation.org/5fjtVYUxf) (in Japanese). Shueisha. Archived from the srcinal (http:/ / books. shueisha.co.jp/ CGI/search/syousai_put.cgi?isbn_cd=4-08-873213-8) on April 2, 2009. . Retrieved January 1, 2008. [90] Chapters as of volume 49. [91] "… À ÍÝîºÍ ゃº 1 [Crayon Shin-chan 1]" (http:/ / www.futabasha.co.jp/booksdb/book/bookview/4-575-93292-2.html) (in Japanese). Futabasha. . Retrieved March 24, 2010. [92] "@ABCバÀ „ D„ EF(1)" (http:/ / shop.kodansha.jp/bc2_bc/search_view.jsp?b=1021575) (in Japanese). Kodansha. . Retrieved August 30, 2010. [93] "@ABCバÀ „ D„ EF(50)" (http:/ / shop.kodansha.jp/bc2_bc/search_view.jsp?b=3614336) (in Japanese). Kodansha. . Retrieved September 19, 2010. [94] Chapters as of volume 47. Î.µ ” ß チ

[95]September " 3, 2009.1 [Futari Ecchi 1]" (http:/ /www.s-book.net/plsql/slib_detail?isbn=4592134613) (in Japanese). Hakusensha. . Retrieved [96] "ý µ ú G… Ý 1" (http:/ / www.futabasha.co.jp/booksdb/book/bookview/4-575-93014-8.html?c=20101&o=date&type=t& word=‘’“‘”‘’”‘’–‘”—‘˜™) (in Japanese). Futabasha. . Retrieved September 3, 2010. [97] "Ï¨ ÐÑÒ(Ó (1) [Rakudai Ninja Rantar€ (1)]" (http:/ / www.amazon.co.jp/dp/4022750014) (in Japanese). Amazon.co.jp. . Retrieved October 19, 2009. [98] "Ï¨ ÐÑÒ(Ó48 [Rakudai Ninja Rantar€ 48]" (http:/ /www.amazon.co.jp/dp/4022750480) (in Japanese). Amazon.co.jp. . Retrieved October 19, 2009. [99] "BE-BOP-HIGHSCHOOL(1)" (http:/ / shop.kodansha.jp/bc2_bc/search_view.jsp?b=1020110) (in Japanese). Kodansha. . Retrieved August 30, 2010.

26

List of manga series by volume count [100] "BE-BOP-HIGHSCHOOL(48)" (http:/ / shop.kodansha.jp/bc2_bc/search_view.jsp?b=3611795) (in Japanese). Kodansha. . Retrieved September 27, 2010. [101] "ú ÔJ 1 [Asumi 1]" (http:/ / www.shogakukan.co.jp/comics/detail/_isbn_4091835414) (in Japanese). Shogakukan. . Retrieved August 30, 2010. [102] "ú ÔJ 48 [Asumi 48]" (http:/ /www.shogakukan.co.jp/comics/detail/_isbn_9784091823731) (in Japanese). Shogakukan. . Retrieved September 26, 2010. [103] The Prince of Tennis is split into two series. The srcinal The Prince of Tennis manga has 42 volumes and 379 chapters, the New Prince of Tennis has 5 volume and 52 chapters and is still ongoing. [104] "テÕ³ é ë XÖ 1 [Tennis no Šji-sama 1]" (http:/ / books.shueisha.co.jp/CGI/search/syousai_put.cgi?isbn_cd=4-08-872815-7) (in Japanese). Shueisha. . Retrieved August 3, 2010. [105] "×ØMIDNIGHT (1)" (http:/ / shop.kodansha.jp/bc2_bc/search_view.jsp?b=3233723) (in Japanese). Kodansha. . Retrieved September 24, 2010. [106] "Û メÀ €Ý (1) [Chameleon (1)]" (http:/ / shop.kodansha.jp/bc2_bc/search_view.jsp?b=3115925) (in Japanese). Kodansha. . Retrieved August 30, 2010. [107] "Û メÀ €Ý (47) [Chameleon (47)]" (http:/ /shop.kodansha.jp/bc2_bc/search_view.jsp?b=3128229) (in Japanese). Kodansha. . Retrieved September 26, 2010. [108] After the publication of volume 42 of Glass Mask in 2004, the series stopped serialization. In the September 2008 issue of Bessatsu Hana to Yume, the series began serialization again. [109] "Ùö ³ é ÚÛ 1 [Glass no Kamen 1]" (http:/ /www.s-book.net/plsql/slib_detail?isbn=4592110919) (in Japanese). Hakusensha. . Retrieved October 4, 2010. [110] "LャÝ +†À„ƒ„ (1)" (http:/ / shop.kodansha.jp/bc2_bc/search_view.jsp?b=3000540) (in Japanese). Kodansha. . Retrieved August 2, 2010. [111] "ÜÝÞß LャÝ +†À„ƒ„ (7)" (http:/ /shop.kodansha.jp/bc2_bc/search_view.jsp?b=3521354) (in Japanese). Kodansha. . Retrieved October 7, 2010. [112] "[àá(1) [Kaiouki (1)]" (http:/ / shop.kodansha.jp/bc2_bc/search_view.jsp?b=3336379) (in Japanese). Kodansha. . Retrieved August 30, 2010. [113] The original Ry‚r€den (ez伝) series has 37 volumes covering 158 chapters and the sequel Ry‚r€den: Chugen Ry€ran-hen (ez伝 >ˆâÒ}) with 8 volumes released is still ongoing. [114] Chapters as of volume 37. [115] "ez伝(1) [Ry‚r€den (1)]" (http:/ /shop.kodansha.jp/bc2_bc/search_view.jsp?b=302413X) (in Japanese). Kodansha. . Retrieved August 2010. [116] "Ú ö 30, ãg º (TC) 1 [Doraemon 1]" (http:/ / www.shogakukan.co.jp/comics/detail/_isbn_4091400019) (in Japanese). Shogakukan. . Retrieved August 30, 2010. [117] "Ú ö ãgº (TC) 45 [Doraemon 45]" (http:/ /www.shogakukan.co.jp/comics/detail/_isbn_4091416659) (in Japanese). Shogakukan. . Retrieved September 26, 2010. [118] "ä  åƒ p” ¸ º ä1å" (http:/ / publications.asahi.com/ecs/detail/?item_id=3268) (in Japanese). Asahi Sonorama. . Retrieved October 27, 2010. [119] "ä  åƒ p” ¸ º ä45å" (http:/ / publications.asahi.com/ecs/detail/?item_id=3312) (in Japanese). Asahi Sonorama. . Retrieved October 27, 2010. [120] "TUþ (1) [Kaze Hikaru (1)]" (http:/ /shop.kodansha.jp/bc2_bc/search_view.jsp?b=3023354) (in Japanese). Kodansha. . Retrieved August 30, 2010. [121] "TUþ (44) [Kaze Hikaru (44)]" (http:/ / shop.kodansha.jp/bc2_bc/search_view.jsp?b=3710467) (in Japanese). Kodansha. . Retrieved September 24, 2010. [122] Chapters as of volume 39. [123] "Û Eï (1) [Kaiji (1)]" (http:/ / shop.kodansha.jp/bc2_bc/search_view.jsp?b=3366081) (in Japanese). Kodansha. . Retrieved August 30, 2010. [124] Chapters as of volume 38. [125] "Yå ZÔ X Z日™ [\(1)" (http:/ / shop.kodansha.jp/bc2_bc/search_view.jsp?b=3368831) (in Japanese). Kodansha. . Retrieved August 2010. ?µƒ„Û³ [126] "ý Î 30, 1 [Karakuri Circus 1]" (http:/ / www.shogakukan.co.jp/comics/detail/_isbn_4091253318) (in Japanese). Shogakukan. . Retrieved November 3, 2010. [127] "ý Î ?µƒ„Û³ 43 [Karakuri Circus 43]" (http:/ /www.shogakukan.co.jp/comics/detail/_isbn_4091205704) (in Japanese). Shogakukan. . Retrieved November 3, 2010. [128] Chapters as of volume 42. [129] "ïâÝá (1) [Zipang (1)]" (http:/ / shop.kodansha.jp/bc2_bc/search_view.jsp?b=3287319) (in Japanese). Kodansha. . Retrieved August 30, 2010. [130] "ïâÝá (43) [Zipang (43)]" (http:/ /shop.kodansha.jp/bc2_bc/search_view.jsp?b=3728552) (in Japanese). Kodansha. . Retrieved September 24, 2010.

27

List of manga series by volume count [131] "] ^æEÕrャ† çD(1)" (http:// shop.kodansha.jp/bc2_bc/search_view.jsp?b=323567X) (in Japanese). Kodansha. . Retrieved August 30, 2010. [132] "_àbé cXdÝ Eチ 1" (http:/ / www.shogakukan.co.jp/comics/detail/_isbn_4091265715) (in Japanese). Shogakukan. . Retrieved August 30, 2010. [133] "ú ú MÆ - ¸ まM(1) è‚é" (http:/ / shop.kodansha.jp/bc2_bc/search_view.jsp?b=321009X) (in Japanese). Kodansha. . Retrieved January 17, 2009. [134] Chapters as of volume 33. [135] "³„â„ ê² €?º 1 [Super Mario-kun 1]" (http:/ /skygarden.shogakukan.co.jp/skygarden/owa/sol_detail?isbn=4091417612) (in Japanese). Shogakukan. . Retrieved August 9, 2009. [136] Chapters as of volume 37. [137] In importing Dragon Ball to the United States and Canada, Viz Media split the series to match the split between the Dragon Ball and Dragon Ball Z anime series, with identical names. The English Dragon Ball consists of 16 volumes and 194 chapters, while Dragon Ball Z contains the remaining 26 volumes and 325 chapters. [138] "DRAGON BALL 1" (http:/ / books.shueisha.co.jp/CGI/ search/syousai_put.cgi?isbn_cd=4-08-851831-4) (in Japanese). Shueisha. . Retrieved August 3, 2009. [139] "DRAGON BALL 42" (http:/ / books.shueisha.co.jp/CGI/search/syousai_put.cgi?isbn_cd=4-08-851090-9) (in Japanese). Shueisha. . Retrieved September 24, 2010. [140] "e-RON-( Ý ) 1" (http:/ / www.shogakukan.co.jp/comics/detail/_isbn_4091825915) (in Japanese). Shogakukan. . Retrieved August 30, 2009. [141] "e-RON-( Ý ) 42" (http:/ / www.shogakukan.co.jp/comics/detail/_isbn_4091805884) (in Japanese). Shogakukan. . Retrieved September 24, 2010. [142] "Z¸ ó fé gé /.µ ¨ 41ë" (http:/ / shop.gakken.co.jp/shop/order/k_ok/bookdisp.asp?code=1340343100) (in Japanese). Gakken. . Retrieved October 7, 2010. [143] "hi jkとlmn.o(1)" (http:/ / shop.kodansha.jp/bc2_bc/search_view.jsp?b=3124932) (in Japanese). Kodansha. . Retrieved August 30, 2010. [144] "hi jkとlmn.o(41)" (http:/ / shop.kodansha.jp/bc2_bc/search_view.jsp?b=3634825) (in Japanese). Kodansha. . Retrieved September 24, 2010. [145] Chapters as of volume 38. [146] "v¬ ó þ wx 1" (http:/ / books.shueisha.co.jp/CGI/search/syousai_put.cgi?isbn_cd=4-08-876181-2) (in Japanese). Shueisha. . Retrieved March 16, 2010. yé S ¸

[147] " 1 " (http:// houbunsha.co.jp/comics/detail.php?current=8&p=š›œž) (in Japanese). Houbunsha. . Retrieved September 24, 2010. [148] Circuit no ‰kami manga includes the srcinal 19 volume series, and its 21-volume sequel called Circuit no ‰kami II: Modena no Tsurugi (ƒ„àß´é zII ’Á è é ì). [149] "3Ÿ3EYES(1)" (http:/ / shop.kodansha.jp/bc2_bc/search_view.jsp?b=1021230) (in Japanese). Kodansha. . Retrieved August 30, 2010. [150] "3Ÿ3EYES(1)" (http:/ / shop.kodansha.jp/bc2_bc/search_view.jsp?b=3610837) (in Japanese). Kodansha. . Retrieved September 24, 2010.

References

28

Manga

29

Manga Manga (kanji: – — ; hiragana: まº /; katakana: êÝ Ù; listen; English /†m‡ˆ‰Š/ or /†m¡‰Š/) is the Japanese word for "comics" and

consists of comics and print cartoons (sometimes also called komikku ÄÅß… ). In the West, the term "manga" has been appropriated to refer specifically to comics created in Japan, or by Japanese authors, in the Japanese language and conforming to the style developed in Japan in the late 19th century. [1] In their modern form, manga date from [2]

shortly after World War II, but they have a long, complex pre-history in earlier Japanese art.[3] In Japan, people of all ages read manga. The medium includes works in a broad range of genres: action-adventure, romance, sports and games, historical drama, comedy, science fiction and fantasy, mystery, horror, sexuality, and business/commerce, among others. [4] Since the 1950s, manga has steadily become a major part of the Japanese publishing industry,[5] representing a ¢406 billion market in Japan in 2007 (approximately $3.6 billion). Manga have also gained a The kanji for "manga" from Seasonal Passersby significant worldwide audience.[6] In 2008, the U.S. and Canadian (Shiki no Yukikai), 1798, by Sant€ Ky€den and manga market was valued at $175 million. Manga stories are typically Kitao Shigemasa. printed in black-and-white,[7] although some full-color manga exist (e.g. Colorful). In Japan, manga are usually serialized in large manga magazines, often containing many stories, each presented in a single episode to be continued in the next issue. If the [8]

series is successful, collected chapters may be republished in paperback books called tank€bon. A manga artist (mangaka in Japanese) typically works with a few assistants in a small studio and is associated with a creative editor from a commercial publishing company.[2] If a manga series is popular enough, it may be animated after or even during its run,[9] although sometimes manga are drawn centering on previously existing live-action or animated films[10] (e.g. Star Wars). "Manga" as a term used outside Japan refers specifically to comics srcinally published in Japan. [11] However, manga-influenced comics, among srcinal works, exist in other parts of the world, particularly in Taiwan ("manhua"), South Korea ("manhwa"),[12] and China, notably Hong Kong ("manhua").[13] In France, "la nouvelle manga" has developed as a form of bande dessin‚e (literally drawn strip) drawn in styles influenced by Japanese manga. In the United States, people refer to what they perceive as manga "styled" comics as Amerimanga, world manga, or srcinal English-language manga (OEL manga). Still, the srcinal term "manga" is primarily used in English-speaking countries solely to describe comics of Japanese srcin.

Etymology The Chinese characters used to write the word manga in Japanese can be translated as "whimsical drawings". The word first came into common usage in the late 18th century with the publication of such works as Sant€ Ky€den's picturebook Shiji no yukikai (1798), and in the early 19th century with such works as Aikawa Minwa's Manga hyakujo (1814) and the celebrated Hokusai Manga books (1814€1834) containing assorted drawings from the sketchbooks of the famous ukiyo-e artist Hokusai.[14] Rakuten Kitazawa (1876€1955) first used the word "manga" in the modern sense.[15]

Manga

History and characteristics Historians and writers on manga history have described two broad and complementary processes shaping modern manga. Their views differ in the relative importance they attribute to the role of cultural and historical events following World War II versus the role of pre-War, Meiji, and pre-Meiji Japanese culture and art. One view emphasizes events occurring during and after the U.S. Occupation of Japan (1945 €1952), and stresses that manga strongly reflect U.S. cultural influences, including U.S. comics (brought to Japan by the GIs) and images and themes from U.S. television, film, and cartoons (especially Disney).[16] Alternately, other writers such as Frederik L. Schodt, Kinko Ito, and Adam L. Kern stress continuity of Japanese cultural and aesthetic traditions as central to the history of manga.[17] Modern manga srcinated in the Occupation (1945 €1952) and post-Occupation years (1952€early 1960s), while a previously militaristic and ultra-nationalist Japan rebuilt its political and economic infrastructure. An explosion of artistic creativity occurred in this period, [18] involving manga artists such as Osamu Tezuka ( Astro Boy) and Machiko Hasegawa (Sazae-san).

Astro Boy quickly became (and remains) immensely popular in Japan and elsewhere, [19] and the anime adaptation of Sazae-san continues to run as of 2009, regularly drawing more viewers than any other anime on Japanese television. Tezuka and Hasegawa both made stylistic innovations. In Tezuka's "cinematographic" technique, the panels are like a motion picture that reveals details of action bordering on slow motion as well as rapid zooms from distance to close-up shots. This kind of visual dynamism was widely adopted by later manga artists. [20] Hasegawa's focus on daily life and on women's experience also came to characterize later sh€jo manga.[21] Between 1950 and 1969, an increasingly large readership for manga emerged in Japan with the solidification of its two main marketing genres, sh€nen manga aimed at boys and sh€jo manga aimed at girls.[22] In 1969 a group of female manga artists (later called the Year 24 Group, also known as Magnificent 24s) made their sh€jo manga debut ("year 24" comes from the Japanese name for the year 1949, the birth-year of many of these artists).[23] The group included Hagio Moto, Riyoko Ikeda, Yumiko Oshima, Keiko Takemiya, and Ryoko Yamagishi, and they marked the first major entry of female artists into manga. [8] Thereafter, primarily female manga [24] artists would draw sh€jo for a readership of girls and young women. In the following decades (1975€present), sh€jo manga continued to develop stylistically while simultaneously evolving different but overlapping subgenres.[25] Major subgenres include romance, superheroines, and "Ladies Comics" (in Japanese, redisu ÀÁÂ„³ , redikomi ÀÁÂÄÅ , and josei Æ Ç ).[26] Modern sh€jo manga romance features love as a major theme set into emotionally intense narratives of self-realization.[27] With the superheroines, sh€jo manga saw releases such as Pink Hanamori's Mermaid Melody Pichi Pichi Pitch Reiko Yoshida's Tokyo Mew Mew, And, Naoko Takeuchi's Pretty Soldier Sailor Moon, which became internationally popular in both manga and anime formats.[28] Groups (or sentais) of girls working together have also been popular within this genre. Like Lucia, Hanon, and Rina singing together, and Sailor Moon, Sailor Mercury, Sailor Mars, Sailor Jupiter, and Sailor Venus working together. [29] Manga for male readers sub-divides according to the age of its intended readership: boys up to 18 years old (sh€nen manga) and young men 18- to 30-years old (seinen manga);[30] as well as by content, including action-adventure often involving male heroes, slapstick humor, themes of honor, and sometimes explicit sexuality.[31] The Japanese use different kanji for two closely allied meanings of "seinen" •Ê Ë for "youth, young man" and ˜ Ë for "adult, majority"•the second referring to sexually overt manga aimed at grown men and also called seijin ("adult" ˜ • ) manga.[32] Sh€nen, seinen, and seijin manga share many features in common. Boys and young men became some of the earliest readers of manga after World War II. From the 1950s on, sh€nen manga focused on topics thought to interest the archetypal boy, including subjects like robots, space-travel, and heroic action-adventure.[33] Popular themes include science fiction, technology, sports, and supernatural settings. Manga with solitary costumed superheroes like Superman, Batman, and Spider-Man generally did not become as

30

Manga

31

popular.[34] The role of girls and women in manga produced for male readers has evolved considerably over time to include those featuring single pretty girls (bish€jo)[35] such as Belldandy from Oh My Goddess!, stories where such girls and women surround the hero, as in Negima and Hanaukyo Maid Team, or groups of heavily armed female warriors (sent€ bish€jo)[36] With the relaxation of censorship in Japan in the 1990s, a wide variety of explicit sexual themes appeared in manga intended for male readers, and correspondingly occur in English translations. [37] However, in 2010 the Tokyo Metropolitan Government passed a bill to restrict harmful content.[38] The gekiga style of drawing•emotionally dark, often starkly realistic, sometimes very violent •focuses on the [39]

day-in, day-out grim realities of life, Military often drawn in gritty and unpretty Gekiga such Sampeiand Shirato's 1959€1962 (Ninja fashions. in the lateas1950s 1960s Chronicles of a Ninja's Accomplishments Bugeich€) arose partly from left-wing student and working-class political activism[40] and partly from the aesthetic dissatisfaction of young manga artists like Yoshihiro Tatsumi with existing manga. [41]

Publications In Japan, manga constituted an annual 406 billion yen (approximately $3.6 billion USD) publication-industry by 2007.[42] Recently, the manga industry has expanded worldwide, where distribution companies license and reprint manga into their native languages. After a series has run for a while, publishers often collect the stories together and print them in dedicated book-sized volumes, called tank€bon. These are the equivalent of U.S. trade paperbacks or graphic novels. These volumes use higher-quality paper, and are useful to those who want to "catch up" with a series so they can follow it in the magazines or if they find the cost of the weeklies or monthlies to be prohibitive. Recently, "deluxe" versions have also been printed as readers have gotten older and the need for something special grew. Old manga have also been reprinted using somewhat lesser quality paper and sold for 100 yen (about $1 U.S. dollar) each to compete with the used book market. Marketeers primarily classify manga by the age and gender of the target readership. [43] In particular, books and magazines sold to boys ( sh€nen) and girls (sh€jo) have distinctive cover art and are placed on different shelves in most bookstores. Due to cross-readership, consumer response is not limited by demographics. For example, male readers subscribing to a series intended for girls and so on. Japan also has manga cafƒs, or manga kissa (kissa is an abbreviation of kissaten). At a manga kissa, people drink coffee and read manga, and sometimes stay there overnight. There has been an increase in the amount of publications of srcinal webmanga. It is internationally drawn by enthusiasts of all levels of experience, and is intended for online viewing. It can be ordered in graphic novel form if available in print. The Kyoto International Manga Museum maintains a very large website listing manga published in Japanese. [44]

Magazines Manga magazines usually have many series running concurrently with approximately 20€40 pages allocated to each series per issue. Other magazines such as the anime fandom magazine Newtype featured single chapters within their monthly periodicals. Other magazines like Nakayoshi feature many stories written by many different artists; these magazines, or "anthology magazines", as they are also known (colloquially "phone books"), are usually printed on low-quality newsprint and can be anywhere from 200 to more than 850 pages thick. Manga magazines also contain one-shot comics and various four-panel yonkoma (equivalent to comic strips). Manga series can run for many years if they are successful. Manga artists sometimes start out with a few "one-shot" manga projects just to try to get their name out. If these are successful and receive good reviews, they are continued. Magazines often have a short life. [45]

Manga History

Kanagaki Robun and Kawanabe Kyosai created the first manga magazine in 1874: Eshinbun Nipponchi. The magazine was heavily influenced by Japan Punch, founded in 1862 by Charles Wirgman, a British cartoonist. Eshinbun Nipponchi had a very simple style of drawings and did not become popular with many people. Eshinbun Nipponchi ended after three issues. The magazine Kisho Shimbun in 1875 was inspired by Eshinbun Nipponchi, which was followed by Marumaru Chinbun in 1877, and then Garakuta Chinpo in 1879.[46] Sh€nen Sekai was the first sh€nen magazine created in 1895 by Iwaya Sazanami, a famous writer of Japanese children's literature back then. Sh€nen Sekai had a strong focus on the First Sino-Japanese War. [47] In 1905 the manga-magazine publishing boom started with the Russo-Japanese War, [48] Tokyo Pakku was created and became a huge hit.[49] After Tokyo Pakku in 1905, a female version of Sh€nen Sekai was created and named Sh€jo Sekai, considered the first sh€jo magazine.[50] Sh€nen Pakku was made and is considered the first children's manga magazine. The children's demographic was in an early stage of development in the Meiji period. Sh€nen Pakku was influenced from foreign children's magazines such as Puck which an employee of Jitsugy€ no Nihon (publisher of the magazine) saw and decided to emulate. In 1924, Kodomo Pakku was launched as another children's manga magazine after Sh€nen Pakku.[49] During the boom, Poten (derived from the French "potin") was published in 1908. All the pages were in full color with influences from Tokyo Pakku and Osaka Pakku. It is unknown if there were any more issues besides the first one.[48] Kodomo Pakku was launched May 1924 by Tokyosha and featured high-quality art by many members of the manga artistry like Takei Takeo, Takehisa Yumeji and Aso Yutaka. Some of the manga featured speech balloons, where other manga from the previous eras did not use speech balloons and were silent.[49] Published from May 1935 to January 1941, Manga no Kuni coincided with the period of the Second Sino-Japanese War. Manga no Kuni featured information on becoming a mangaka and on other comics industries around the world. Manga no Kuni handed its title to Sashie Manga Kenky… in August 1940.[51] D€jinshi

D€jinshi, produced by small publishers outside of the mainstream commercial market, resemble in their publishing small-press independently published comic books in the United States. Comiket, the largest comic book convention in the world with around 500,000 visitors gathering over three days, is devoted to d€jinshi. While they most often contain srcinal stories, many are parodies of or include characters from popular manga and anime series. Some d€jinshi continue with a series' story or write an entirely new one using its characters, much like fan fiction. In 2007, d€jinshi sold for 27.73 billion yen (245 million USD). [42]

32

Manga

33

International markets As of 2007 the influence of manga on international comics had grown considerably over the past two decades. [52] "Influence" is used here to refer to effects on the comics markets outside of Japan and to aesthetic effects on comics artists internationally. Traditionally, manga stories flow from top to bottom and from right to left. Some publishers of translated manga keep to this srcinal format. Other publishers mirror the pages horizontally before printing the translation, changing the reading direction to a more "Western" left to right, so as not to confuse foreign readers or traditional comics-consumers. This practice is [53]

known as "flipping". For the most part, criticism suggests that flipping goes against the srcinal intentions of the creator (for example, if a person wears a shirt that reads "MAY" on it, and gets flipped, then the word is altered to "YAM"). Flipping may also cause oddities with familiar asymmetrical objects or layouts, such as a car being depicted with the gas pedal on the left and the brake on the right, or a shirt with the buttons on the wrong side.

United States

The reading direction in a traditional manga

Manga made their way only gradually into U.S. markets, first in association with anime and then independently. [54] Some U.S. fans became aware of manga in the 1970s and early 1980s. [55] However, anime was initially more accessible than manga to U.S. fans, [56] many of whom were college-age young people who found it easier to obtain, subtitle, and exhibit video tapes of anime than translate, reproduce, and distribute tank€bon-style manga books.[57] One of the first manga translated into English and marketed in the U.S. was Keiji Nakazawa's Barefoot Gen, an autobiographical story of the atomic bombing of Hiroshima issued by Leonard Rifas and Educomics (1980€1982).[58] More manga were translated between the mid-1980s and 1990s, including Golgo 13 in 1986, Lone Wolf and Cub from First Comics in 1987, and Kamui, Area 88, and Mai the Psychic Girl, also in 1987 and all from Viz Media-Eclipse Comics.[59] Others soon followed, including Akira from Marvel Comics' Epic Comics imprint and Appleseed from Eclipse Comics in 1988, and later Iczer-1 (Antarctic Press, 1994) and Ippongi Bang's F-111 Bandit (Antarctic Press, 1995). In the 1980s to the mid-1990s, Japanese animation, like Akira, Dragon Ball, Neon Genesis Evangelion, and Pok‚mon, made a bigger impact on the fan experience and in the market than manga. [60] Matters changed when translator-entrepreneur Toren Smith founded Studio Proteus in 1986. Smith and Studio Proteus acted as an agent and translator of many Japanese manga, including Masamune Shirow's Appleseed and K€suke Fujishima's Oh My Goddess!, for Dark Horse and Eros Comix, eliminating the need for these publishers to seek their own contacts in Japan.[61] Simultaneously, the Japanese publisher Shogakukan opened a U.S. market initiative with their U.S. subsidiary Viz, enabling Viz to draw directly on Shogakukan's catalogue and translation skills. [53]

Manga

34

The U.S. manga market took an upturn with mid-1990s anime and manga versions of Masamune Shirow's Ghost in the Shell (translated by Frederik L. Schodt and Toren Smith) becoming very popular among fans.[62] Another success of the mid-1990s was Sailor Moon.[63] By 1995€1998, the Sailor Moon manga had been exported to over 23 countries, including China, Brazil, Mexico, Australia, North America and most of Europe.[64] In 1997, Mixx Entertainment began publishing Sailor Moon, along with CLAMP's Magic Knight Rayearth, Hitoshi Iwaaki's Parasyte and Tsutomu Takahashi's Ice Blade in the monthly A young boy reading Black Cat in a Barnes & manga magazine MixxZine. Two years later, MixxZine was renamed to Noble bookstore Tokyopop before discontinuing in 2000. Mixx Entertainment, later renamed Tokyopop, also published manga in trade paperbacks and, like Viz, began aggressive marketing of manga to both young male and young female demographics.[65] In the following years, manga became increasingly popular, and new publishers entered the field while the established publishers greatly expanded their catalogues.[66] As of 2008, the U.S. and Canadian manga market generated $175 million in annual sales. [67] Simultaneously, mainstream U.S. media began to discuss manga, with articles in The New York Times, Time magazine, The Wall Street Journal, and Wired magazine.[68]

Europe Manga has influenced European cartooning in a way somewhat different from the U.S. experience. Broadcast anime in Italy and France opened the European market to manga during the 1970s. [69] French art has borrowed from Japan since the 19th century (Japonisme),[70] and has its own highly developed tradition of bande dessinƒe cartooning. [71] In France, beginning in the mid-1990s,[72] manga has proven very popular to a wide readership, accounting for about [73]

one-third of comics sales in France According Japan [69] External Trade Organization, sales of manga reached $212.6 million withinsince France2004. and Germany alonetointhe 2006. European publishers marketing manga translated into French include Glƒnat, Asuka, Casterman, Kana, and Pika ždition, among others. European publishers also translate manga into German, Italian, Dutch, and other languages. Manga publishers based in the United Kingdom include Gollancz and Titan Books. Manga publishers from the United States have a strong marketing presence in the United Kingdom: for example, the Tanoshimi line from Random House.

Localized manga A number of artists in the United States have drawn comics and cartoons influenced by manga. As an early example, Vernon Grant drew manga-influenced comics while living in Japan in the late 1960s and early 1970s. [74] Others include Frank Miller's mid-1980s Ronin, Adam Warren and Toren Smith's 1988 The Dirty Pair,[75] Ben Dunn's 1987 Ninja High School, Stan Sakai's 1984 Usagi Yojimbo, and Manga Shi 2000 from Crusade Comics (1997). By the 21st century several U.S. manga publishers had begun to produce work by U.S. artists under the broad marketing label of manga.[76] In 2002, I.C. Entertainment, formerly Studio Ironcat and now out of business, launched a series of manga by U.S. artists called Amerimanga.[77] In 2004 eigoMANGA launched Rumble Pak and Sakura Pakk anthology series. Seven Seas Entertainment followed suit with World Manga.[78] Simultaneously, TokyoPop introduced srcinal English-language manga (OEL manga) later renamed Global Manga.[79] TokyoPop is currently the largest U.S. publisher of srcinal English language manga. [80] Francophone artists have also developed their own versions of manga, like Frƒdƒric Boilet's la nouvelle manga. Boilet has worked in France and in Japan, sometimes collaborating with Japanese artists. [81]

Manga

35

Awards The Japanese manga industry grants a large number of awards, mostly sponsored by publishers, with the winning prize usually including publication of the winning stories in magazines released by the sponsoring publisher. Examples of these awards include: • • • • •

the Akatsuka Award for humorous manga the Dengeki Comic Grand Prix for one-shot manga the Kodansha Manga Award (multiple genre awards) the Seiun Award for best science fiction comic of the year the Shogakukan Manga Award (multiple genres)

• the Tezuka Award for best new serial manga • the Tezuka Osamu Cultural Prize (multiple genres) The Japanese Ministry of Foreign Affairs has awarded the International Manga Award annually since May 2007. [82]

Footnotes [1] Lent 2001, pp. 3 €4, Tchiei 1998, Gravett 2004, p. 8 [2] Kinsella 2000 [3] Kern 2006, Ito 2005, Schodt 1986 [4] Gravett 2004, p. 8 [5] Kinsella 2000, Schodt 1996 [6] Wong 2006, Patten 2004 [7] Katzenstein & Shiraishi 1997 [8] Gravett 2004, p. 8, Schodt 1986 [9] Kittelson 1998 [10] Johnston-O'Neill 2007 [11] Merriam-Webster 2009 [12] [13] [14] [15] [16] [17] [18] [19] [20] [21] [22] [23] [24] [25] [26] [27] [28] [29]

Webb 2006 Wong 2002 Bouquillard & Marquet 2007 Shimizu 1985, pp. 53€54, 102€103 Kinsella 2000, Schodt 1986 Schodt 1986, Ito 2004, Kern 2006, Kern 2007 Schodt 1986, Schodt 1996, Schodt 2007, Gravett 2004 Kodansha 1999, pp. 692€715, Schodt 2007 Schodt 1986 Gravett 2004, p. 8, Lee 2000, Sanchez 1997 €2003 Schodt 1986, Toku 2006 Gravett 2004, pp. 78 €80, Lent 2001, pp. 9€10 Schodt 1986, Toku 2006, Thorn 2001 Šgi 2004 Gravett 2004, p. 8, Schodt 1996 Drazen 2003 Allison 2000, pp. 259 €278, Schodt 1996, p. 92 Poitras 2001

[30] [31] [32] [33] [34] [35] [36] [37] [38] [39] [40]

Thompson 2007, pp. xxiii €xxiv Brenner 2007, pp. 31€34 Schodt 1996, p. 95, Perper & Cornog 2002 Schodt 1986, pp. 68 €87, Gravett 2004, pp. 52€73 Schodt 1986, pp. 68 €87 Perper & Cornog 2002, pp. 60 €63 Gardner 2003 Perper & Cornog 2002 http:/ /www.yomiuri.co.jp/dy/national/T101213003771.htm Schodt 1986, pp. 68 €73, Gravett 2006 Schodt 1986, pp. 68 €73, Gravett 2004, pp. 38€42, Isao 2001

Manga [41] Isao 2001, pp. 147 €149, Nunez 2006 [42] Cube 2007 [43] Schodt 1996 [44] Manga Museum 2009 [45] Schodt 1996, pp. 101 [46] Eshinbun Nipponchi [47] Griffiths 2007 [48] Poten [49] Shonen Pakku [50] Lone 2007, p. 75 [51] Manga no Kuni [52] Pink 2007, Wong 2007 [53] Farago 2007 [54] Patten 2004 [55] In 1987, "...Japanese comics were more legendary than accessible to American readers", Patten 2004, p. 259 [56] Napier 2000, pp. 239 €256, Clements & McCarthy 2006, pp. 475€476 [57] Patten 2004, Schodt 1996, pp. 305 €340, Leonard 2004 [58] Schodt 1996, p. 309, Rifas 2004, Rifas adds that the srcinal EduComics titles were Gen of Hiroshima and I SAW IT [sic]. [59] Patten 2004, pp. 37, 259 €260, Thompson 2007, p. xv [60] Leonard 2004, Patten 2004, pp. 52 €73, Farago 2007 [61] Schodt 1996, pp. 318€321, Dark Horse Comics 2004 [62] Kwok Wah Lau, Jenny (2003). "4". Multiple modernities: cinemas and popular media in transcultural East Asia. Philadelphia: Temple University Press. pp. 78. [63] Patten 2004, pp. 50, 110, 124, 128, 135, Arnold 2000 [64] Schodt 1996, p. 95 [65] Arnold 2000, Farago 2007, Bacon 2005 [66] Schodt 1996, pp. 308€319 [67] Reid 2009 [68] Glazer 2005, Masters 2006, Bosker 2007, Pink 2007 [69] Fishbein 2007 [70] Berger 1992 [71] Vollmar 2007 [72] Mahousu 2005 [73] Mahousu 2005, ANN 2004, Riciputi 2007 [74] Stewart 1984 [75] Crandol 2002 [76] Tai 2007 [77] ANN 2002 [78] ANN May 10, 2006 [79] ANN May 5, 2006 [80] ICv2 2007, Reid 2006 [81] Boilet 2001, Boilet & Takahama 2004 [82] ANN 2007, Ministry of Foreign Affairs of Japan 2007

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Revolution. Berkeley, California: Stone Bridge Press. ISBN 978-1933330549. • Shimizu, Isao (June 1985) (in Japanese). 日„– — é 事§ : ô:é êÝ ÙフŒÝ õöþ (Nihon Manga no Jiten - Dictionary of Japanese Manga). Sun lexica. ISBN 4385155860. • Stewart, Bhob (October 1984). "Screaming Metal". The Comics Journal (94). • Tai, Elizabeth (September 23, 2007). "Manga outside Japan" (http:/ /thestar.com.my/lifestyle/story. asp?file=/ 2007/9/23/lifebookshelf/18898783&sec=lifebookshelf). Star Online. Retrieved December 19, 2007. • Tchiei, Go (1998). "Characteristics of Japanese Manga" (http:/ /www.dnp.co.jp/ museum/nmp/nmp_i/articles/ manga/manga2.html). Retrieved April 5, 2008. • Thompson, Jason (2007). Manga: The Complete Guide. New York: Ballantine Books. ISBN 978-0345485908. • Thorn, Matt (July €September 2001). "Sh‰jo Manga•Something for the Girls" (http:/ /matt-thorn.com/ shoujo_manga/japan_quarterly/). The Japan Quarterly 48 (3). Retrieved April 5, 2008. • Toku, Masami (Spring 2006). "Shojo Manga: Girl Power!" (http:/ /www.csuchico.edu/pub/cs/spring_06/ feature_03.html). Chico Statements (California State University, Chico). ISBN 1886226105. Retrieved April 5, 2008. • com/ Vollmar, Robgi_0199-6318937/ (March 1, 2007).Frederic-Boilet-and-the-Nouvelle. "Frederic Boilet and the Nouvellehtml). MangaWorld revolution" (http:/ /goliath. ecnext. coms2/ Literature Today . Retrieved September 14, 2007. • Webb, Martin (May 28, 2006). "Manga by any other name is..." (http:/ /search.japantimes.co.jp/cgi-bin/ fl20060528x1.html). The Japan Times. Retrieved April 5, 2008. • Wong, Wendy Siuyi (2002). Hong Kong Comics: A History of Manhua. New York: Princeton Architectural Press. ISBN 978-1568982694. • Wong, Wendy Siuyi (2006). "Globalizing manga: From Japan to Hong Kong and beyond". Mechademia: an Annual Forum for Anime, Manga, and the Fan Arts: pp. 23€45. • Wong, Wendy (September 2007). "The Presence of Manga in Europe and North America" (http:/ /www.rthk. org.hk/mediadigest/20070913_76_121564.html). Media Digest. Retrieved December 19, 2007. • "About Manga Museum: Current situation of manga culture" (http:/ /www.kyotomm.com/HP/international/ english/about_genjo.html). Kyoto Manga Museum. Retrieved September 6, 2009. • "Correction: World Manga" (http:/ /www.animenewsnetwork.com/news/2006-05-10/ correction-world-manga). Anime News Network. May 10, 2006. Retrieved December 19, 2007. • "I.C. promotes AmeriManga" (http:/ /www.animenewsnetwork.com/news/2002-11-27/i. c-promotes-amerimanga). Anime News Network. November 11, 2002. Retrieved March 4, 2008. • "Interview with Tokyopop's Mike Kiley" (http:/ /www.icv2.com/articles/home/11249.html). ICv2. September 7, 2007. Retrieved December 19, 2007. • Japan: Profile of a Nation, Revised Edition. Tokyo: Kodansha International. 1999. ISBN 4770023847. • "Japan's Foreign Minister Creates Foreign Manga Award" (http:/ /www.animenewsnetwork.com/news/ 2007-05-22/international-manga-award). Anime News Network. May 22, 2007. Retrieved October 5, 2009.

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Manga • "manga" (http:/ /www.merriam-webster.com/dictionary/manga). Merriam-Webster Online Dictionary. Retrieved September 6, 2009. • "Manga-mania in France" (http:/ /www.animenewsnetwork.com/news/2004-02-04/manga-mania-in-france). Anime News Network. February 4, 2004. Retrieved December 19, 2007. • "'Manga no Kuni': A manga magazine from the Second Sino-Japanese War period" (http:/ /mmsearch.kyotomm. jp/infolib/search/CsvSearch.cgi?DEF_XSL=eng&GRP_ID=G0000002&DB_ID=G0000002GALLERY& IS_DB=G0000002GALLERY&IS_TYPE=csv&IS_STYLE=eng&SUM_KIND=CsvSummary& SUM_NUMBER=10&IS_SCH=CSV&META_KIND=NOFRAME&IS_KIND=CsvDetail&IS_NUMBER=1& SUM_TYPE=normal&IS_START=4&IS_KEY_A1="GALLERY"&IS_TAG_A1=Cul11& IS_ADDSCH_CNT=1&VIEW_FLG=0). Kyoto International Manga Museum. Retrieved December 21, 2008. • "'Poten': a manga magazine from Kyoto" (http:/ /mmsearch.kyotomm.jp/infolib/search/CsvSearch. cgi?DEF_XSL=eng&GRP_ID=G0000002&DB_ID=G0000002GALLERY&IS_DB=G0000002GALLERY& IS_TYPE=csv& IS_STYLE=eng&SUM_KIND=CsvSummary&SUM_NUMBER=10&IS_SCH=CSV& META_KIND=NOFRAME&IS_KIND=CsvDetail&IS_NUMBER=1&SUM_TYPE=normal&IS_START=3& IS_KEY_A1="GALLERY"&IS_TAG_A1=Cul11&IS_ADDSCH_CNT=1&VIEW_FLG=0). Kyoto International Manga Museum. Retrieved December 21, 2008. • "'Shonen Pakku'; Japan's first children's manga magazine" (http:/ /mmsearch.kyotomm.jp/infolib/search/ CsvSearch.cgi?DEF_XSL=eng&GRP_ID=G0000002&DB_ID=G0000002GALLERY& IS_DB=G0000002GALLERY&IS_TYPE=csv&IS_STYLE=eng&SUM_KIND=CsvSummary& SUM_NUMBER=10&IS_SCH=CSV&META_KIND=NOFRAME&IS_KIND=CsvDetail&IS_NUMBER=1& SUM_TYPE=normal&IS_START=2&IS_KEY_A1="GALLERY"&IS_TAG_A1=Cul11& IS_ADDSCH_CNT=1&VIEW_FLG=0). Kyoto International Manga Museum. Retrieved December 21, 2008. • "The first Japanese manga magazine: Eshinbun Nipponchi" (http:/ /mmsearch.kyotomm.jp/infolib/search/ CsvSearch.cgi?DEF_XSL=eng&GRP_ID=G0000002&DB_ID=G0000002GALLERY& IS_DB=G0000002GALLERY& IS_TYPE=csv& IS_STYLE=eng&SUM_KIND=CsvSummary& SUM_NUMBER=10&IS_SCH=CSV& META_KIND=NOFRAME& IS_KIND=CsvDetail&IS_NUMBER=1& SUM_TYPE=normal&IS_START=1&IS_KEY_A1="GALLERY"&IS_TAG_A1=Cul11& IS_ADDSCH_CNT=1&VIEW_FLG=0). Kyoto International Manga Museum. Retrieved December 21, 2008. • "Tokyopop To Move Away from OEL and World Manga Labels" (http:/ /www.animenewsnetwork.com/news/ 2006-05-05/tokyopop-to-move-away-from-oel-and-world-manga-labels). Anime News Network. May 5, 2006. Retrieved December 19, 2007.

Further reading • "Japanese Manga Market Drops Below 500 Billion Yen" (http:/ /comipress.com/news/2007/03/10/1622). ComiPress. March 10, 2007. • "Un poil de culture - Une introduction £ l'animation japonaise" (http:/ /www.metalchroniques.fr/guppy/articles. php?lng=fr&pg=437) (in French). July 11, 2007.

External links • Manga (http:/ /www.dmoz.org/ Arts/Comics/Manga/) at the Open Directory Project

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Manga outside Japan

Manga outside Japan Manga, or Japanese comics, have appeared in translation in many different languages in different countries, including Brazil, Korea, mainland China, Hong Kong, Taiwan, France, [1] Germany, Mexico, Argentina,[2] Spain,[3] Italy, and many more. In the United States, manga comprises a small (but growing) industry, especially when compared to the inroads that Japanese animation has made in the USA. One example of a manga publisher in the United States, VIZ Media, functions as the American affiliate of the Japanese publishers Shogakukan and Shueisha. VIZ Media has published many popular titles such as Dragon Ball, One Piece, Detective Conan, Neon Genesis Evangelion, Rurouni Kenshin, Naruto, Yu-Gi-Oh!, Fullmetal Alchemist, Bleach and the various works of Rumiko Takahashi. The UK has fewer manga publishers than the U.S.

Flipping Since written Japanese fiction usually flows from right to left, manga artists draw and publish this way in Japan. When first translating various titles into Western languages, publishers reversed the artwork and layouts in a process known as "flipping", so that readers could follow the books from left-to-right. However, various creators (such as Akira Toriyama) did not approve of their work being modified this way, and requested that foreign versions retain the right-to-left format of the srcinals. Soon, due to both fan demand and the requests of creators, more publishers began offering the option of right-to-left formatting, which has now become commonplace in North America. Left-to-right formatting has gone from the rule to the exception. Translated manga often includes notes on details of Japanese culture that foreign audiences may not find familiar. One company, TOKYOPOP (founded 1997), produces manga in the United States with the right-to-left format as a highly publicized point-of-difference. They are widely credited with starting a boom in manga sales, particularly amongst teenage girls. Some critics have complained that their aggressive publishing schedule emphasizes quantity over quality, and might be responsible for translations which many feel to be of sub-optimal quality. Many also frown upon the company for their frequent localization changes, including additions such as American slang, excessive swearing that is not to be found in the Japanese srcinals of the same titles, and joke rewrites, among others. The critics tend to admit that their contributions to the success of manga in America have been considerable.

France "French exception" France has a particularly strong and diverse manga market. Many works published in France belong to genres not well represented outside of Japan, such as to adult-oriented drama, or to experimental and avant-garde works. Early editors like Tonkam have published Hong-Kong authors (Andy Seto, Yu & Lau) or Korean authors (Kim Jae-hwan, Soo & Il, Wan & Weol and Hyun Se Lee) in their manga collection during 1995/1996 which is quite uncommon. Also, some Japanese authors, such as Jiro Taniguchi, are relatively unknown in other western countries but received much acclaim in France. In cultural terms, the sheer popularity and diversity of manga in France may result from that country having a well-established and respected comics-market of its own. Also, an exceptionally reduced number of TV channels in the 1970s and 1980s may explain the powerful impact the Japanese animation had on the audience: since viewers had little choice, Japanese animation quickly became mainstream. Since its introduction in the 1990s, manga publishing and anime broadcasting have become intertwined in France, where the most popular and exploited sh€nen, sh€jo and seinen TV series were imported in their paper version. Therefore, Japanese books ("manga") were naturally and readily accepted by a large juvenile public who was already familiar with the series and received the manga as part of their own culture. A strong parallel backup was the emergence of Japanese video games,

41

Manga outside Japan Nintendo/Sega, which were mostly based on manga and anime series.

Nippon Animation era (1978 € 1986) One major reason for the success of manga in France may lie in the fact that its corollary, the Japanese animation, had previously appeared in that country on public television-channels in the late 1970s and early 1980s. Unlike other European countries, at this time there were only three TV channels. All of them were public and hosted shows for children. Sh€nen and Sh€jo series like UFO Robot Grendizer, Captain Future, Candy Candy and Captain Harlock are iconical of this era. Producer Jean Chalopin quickly contacted some Japanese studios, such as Toei [4] (who did Grendizer); and Tokyo Movie Shinsha, Studio Pierrot and Studio Junio produced French-Japanese series. Even though made completely in Japan by character-designers such as Shingo Araki, the first Chalopin production of this type, Ulysses 31 took thematic inspiration from the Greek Odyssey and graphic influence from Stanley Kubrick's 2001: A Space Odyssey. Ulysses 31 went on sale in 1981, other shows produced by DiC Entertainment followed in 1982, Jayce and the Wheeled Warriors, Mysterious Cities of Gold, later M.A.S.K., etc. Such series were enough popular to allow the introduction of licensed products such as tee shirts, toys, stickers, mustard glass, mugs or keshi. Also followed a wave of anime adaptations of European tales by Studio Pierrot and mostly by the Nippon Animation studio, e.g. Johanna Spyri's (1974), Waldemar Bonsels's (1975), Hector Malot's (1977), Cƒcile Aubry's (1980), or Jules Verne's Around the World with Willy Fog (1983), notable adaptation of American works were Mark Twain's Adventures of Tom Sawyer (1980) and Alexander Key's Future Boy Conan. Interesting cases are Alexandre Dumas, p¤re's The Three Musketeers adapted to Dogtanian and the Three Muskehounds (1981) and Sir Arthur Conan Doyle's Sherlock Holmes become Sherlock Hound (1984), both turned human characters into anthropomorph animals. Such anthropomophism in tales comes from old and common storytelling traditions in both Japanese and French cultures, including the Ch€j… giga emaki (the true srcins of manga) of Toba S€j€ (1053€1140), and the animal fables of Jean de La Fontaine (1621 €1695). Changing humans to anthropomorphized dogs reflects a known form of Cynicism, the European philosophy evident in many modern countries: etymologically speaking, the bite of the Cynic comes from the fact he is a dog ( cyno means "dog" in Greek). The adaptations of these popular tales made easier the acceptance and assimiliation of semi-Japanese cultural products in countries such as France, Italy or Spain. The localization including credits removal by Saban or DiC, was such that even today, twenty or thirty years later, most of French adults who have watched series like Calimero (1974) adapted from an Italian novel, Wanpaku Omukashi Kum Kum (1975), Barbapapa (1977) adapted from a French novel, or Monchichi (1980) as kids don't even know they were not local animation but "Japananimation" created in Japan, South Korea, China or North Korea.

Toei era (1987 € 1996) In 1986 and 1987 three new private or privatized television channels appeared on French airwaves. An aggressive struggle for audience, especially on children television shows, started between the two public and the two private channels. After the private channels lost market share, they counter-attacked with a non-Japanese lineup, mostly American productions such as Hanna-Barbera. This ploy failed, and TF1 remained pre-eminent in children's TV shows with its Japanese licenses. In 1991 French theaters showed an anime feature-film for the first time: Katsuhiro Otomo's Akira, a teen-rated, SF movie supported by manga publisher Glƒnat but poorly distributed and a limited success. TF1 Video edited the video (VHS) version for the French market, and Akira quickly became an anime reference. However, Japanese animation genre became massively exploited by TV shows from the late 1980s onwards, most notably the cult Club Dorothƒe show (mostly dedicated to Toei anime and tokusatsu series). In fact, the commercial relationship between the Japanese studio and the French show producers were so good, that the French presenter was even featured in a Metal Hero Series episode as guest star.

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Manga outside Japan Just as in a Japanese manga series magazine, Club Dorothƒe audience voted by phone or minitel to select and rank their favourite series. Top-rank series continued the following week, others stopped, then a hundred of series aired the show. This imported Japanese marketing method had never previously operated in France, and never has since. The most popular series were Dragon Ball and later its sequel, Dragon Ball Z , which became number one, and was nicknamed le chouchou (the favorite") by the show presenter, Dorothƒe. As the series kept number one for several months, Dorothƒe invited Akira Toriyama (Toei Animation), creator of the series, on the TV show studio to introduce him to the French audience and award him a prize in the name of the TV show. Saint Seiya became the second anime series to achieve popularity in France. It too belonged to the seinen genre, and thus showed more violence - directed towards an older audience - than the Nippon Animation studio sh€nen/sh€jo series of the 1970s and 1980s. Notable Toei and non-Toei anime series broadcast by that time on French TV included Captain Tsubasa, Robotech, High School! Kimengumi and Kinnikuman. This cult TV show ran from 1987 to 1997 and had unpredicted effects and a deep influence on French culture. Not only it created a generation of Japanophile, but it did set a strong base for a durable and massive exploitation of manga publishing and anime video (DVD) in the following decade. The reason is most broadcast anime series were adaptations of existing manga, and that the grown up children would be later able to buy manga and DVD boxsets (TF1 Video and others) of their favourite childhood series.

Generational conflict around manga (1990 to 1995) Glƒnat published the first manga issued in France, Akira, in 1990 • supported by the respected newspaper Lib‚ration and by the national TV channel Antenne 2. Followers included Dragon Ball (1993), Appleseed (1994), Ranma 1/2 (1994) and five others. In the mid-1990s, both anime and manga became a social phenomenon in France, with different magazines in B5 size like Kameha (Glƒnat) and later Manga Player (MSE). At the same time a controversy arose among some parents. In particular, the conservative association Familles de France started a media polemic about the undesirable contents, such as violence, portrayed in the Club Dorothƒe, a kids' TV show. By this time, a generational conflict had arisen between the young fans of "Japanimation" (in use until anime became mainstream) and the older Japoniaiseries (a pejorative pun for Japonaiseries, literally "Japanese stuff" and "niaiseries", "simpleton stuff") . Sƒgol¤ne Royal even published a book, Le Ras le bol des b‚b‚s zappeurs in which Manga are described as decadent dangerous and violent. She hasn't changed her position on that topic yet. The same adult content controversy was applied to hentai manga, including the notorious, "forbidden", Shin Angel by U-Jin, published by pioneers such as Samourai Editions or Katsumi Editions and later to magazines. The first hentai series magazine, "Yoko", featured softcore series like Yuuki's Tropical Eyes. It was first issued in late 1995. The same year, the noir and ultra-violent series, Gunnm (aka Battle Angel Alita), was serialized in a slim, monthly, edition. Around the same period a hardcore version of Yoko magazine Okaz was issued.

Anime clearance and manga emergence (1996 to 1998) In Japan, television broadcasters scheduled series such as Hokuto no ken, Saint Seiya and City Hunter late at night for a teen and adult audience. French television finally discontinued these edited series, and the Club Dorothƒe, broadcast on private channel TF1, started to replace Japanese content with European or American animation series (imitating their rival public-channel television shows) and with French sitcoms. Even though the French-Belgian animation studios got rid of serious competition, the show lost its phenomenal audience and stopped in 1997. The mistake made by the Club Dorothƒe producers had to do with a cultural view: in France, as in most Western countries, animation was seen as a genre in its own right, a product dedicated to children not adults. An animation feature was not considered the same as a live-action film, which is totally different in Japan. Series were massively licensed to Toei without consideration of age ratings. In 1996 the production group of Club Dorothƒe set up a cable/satellite channel dedicated to manga and anime. The new channel changed its name to Mangas in 1998: the concepts of anime and manga have become intertwined in

43

Manga outside Japan France, and manga actually became the mainstream generic term to designate the two media. The channel broadcasts former discontinued series from the Club Dorothƒe both to nostalgic adults and to new and younger generations.

Cultural integration and revival (1999 to 2005) In the 2000s anime feature films, and by extension manga, are regarded with more respect than before. In late 1999 respected newspapers such as Le Monde gave critical acclaim to Hiroyuki Okiura's Jin-Roh, and in 2000, Hayao Miyazaki's Princess Mononoke became a commercial success, probably the biggest for an anime feature. In 2004, Mamoru Oshii's Innocence: Ghost in the Shell 2 became the first animation finalist in the prestigious International Film Festival of Cannes, which demonstrates a radical perspective change and a social acceptance of Japanese anime/manga. Since 2005, contemporary Japanese series such as Naruto, Initial D, Great Teacher Onizuka, Blue Gender or Gunslinger Girl appeared on new, analog/digital terrestrial (public) and on satellite/broadband (private) channels. As the highly aggressive competition who raged once between, the sole two or three available channels no more exists in the new, vast, and segmented French TV offer, the anime is doing a revival in France.

Manga made in France A surge in the growth of manga publishing circa 1996 coincided with the Club Doroth‚e show losing its audience which eventually led to the show going off the air. Some early publishers like Glƒnat, adapted manga using the Western reading direction and its induced work of mirroring each panel and graphical signs, and also using a quality paper standard to the Franco-Belgian comics , while others, like J'ai Lu, were faithful to the srcinal manga culture and not only kept the srcinal, inverted, Japanese direction reading but also used a newspaper standard, cheap quality, paper just like in Japan. The Japanese manga was such an important cultural phenomenon that it quickly influenced French comics authors. A new "French manga" genre emerged, known as "La nouvelle manga" ("lit. the new manga") in reference to the French Nouvelle Vague.

Brazil Before the 1990s some trial marketing of manga took place in Brazil, including Mai - The extra sensitive girl, Akira (which was cancelled) and Lone wolf and cub. The Brazilian comic market started in the mid-1990s with Ranma 1/2, although the publication did not prove successful. It was followed by the Pokƒmon manga being released by Conrad in the late 1990s, during the Pokƒmon boom. In 2002, Conrad published Saint Seiya and Dragon Ball (both titles already well known, since the equivalent anime had become highly successful in the 1990s). After the success of these titles, Conrad released not only trendy manga like One Piece, Vagabond, Neon Genesis Evangelion , and Slam Dunk, but also classic manga like Osamu Tezuka titles (including Adolf and Buddha), Nausica‹, and less known titles like Bambi and Sade. In 2003, the Japanese-Brazilian company Japan Brazil Communication (JBC) started publishing manga, releasing Rurouni Kenshin, Rayearth and Sakura Card Captors. As of 2009 JBC publishes Clamp titles, like X/1999, Tsubasa Reservoir Chronicle and xxxHolic, and popular titles like Negima!, Fruits Basket, Death Note , Fullmetal Alchemist, Yu-Gi-Oh, Love Hina and Video Girl Ai, having also taken over the publishing rights for Neon Genesis Evangelion in the same year. In 2004, Panini started publishing manga, with the release of Peach Girl and Eden. The editor was criticized because of bad translation and for releasing flipped titles, but since then started publishing in the srcinal way. As of 2010 Panini publishes the most popular manga in Brazil: Naruto and Bleach, as well as titles like Black Lagoon, Highschool of the Dead, Full Metal Panic! and Welcome to the N.H.K.. Originally, Brazilian manga appeared with about half the size of a tankoubon (about 100 pages of stories and two to eight pages of extras), but as of 2009 most manga is released in the srcinal format, with the exception of the ones published by JBC.

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Manga outside Japan Sh€jo-manga fans criticized publishing houses for ignoring sh€jo manga with only Peach Girl, CLAMP titles, Fruits Basket, Angel Sanctuary and Fushigi Yuugi available in this genre until 2006. However, in 2006 several of sh€jo manga series were started: MeruPuri, Kare Kano, Gravitation, Bijinzaka and Zettai Kareshi are currently being published with titles like Vampire Knight, Paradise Kiss, Nana, Princess Princess, among others already licensed.

Germany Although the German-language areas support a relatively small comic market and usually react slowly in comparison to other European countries, manga created a new boom. A volume of Barefoot Gen was licensed in Germany in the 1980s, as was Japan Inc., published by small presses.

Akira's first volume was not very popular. Paul Malone attributes the wider distribution of manga in the late 1990s to the fledgling commercial television stations showing dubbed anime, which lead to the popularity of manga. Malone also notes that the native German comics market collapsed at the end of the 1990s.[5] Manga began outselling other comics in 2000.[6] With a few other series like Appleseed in the following years, the "manga movement" picked up speed with the publication of Dragon Ball, the first un-flipped German manga, in late 1996. Today, manga account for approximately 70€75% of all comics published in Germany, with female readers outnumbering male manga fans. The first German manga magazine, Manga Power by Feest Comics, was launched in 1996. The first issue featured Ranma 1/2, Hellhounds Panzer Cops (based on the American edition of Kerberos Panzer Cops), and AD Police.

Indonesia Manga has become one of fastest-growing consumer industries, and Indonesia is now one of the biggest manga markets outside of Japan. Manga in Indonesia is published by Elex Media Komputindo, Acolyte, Level Comic, M&C and Gramedia, and has greatly influenced Indonesia's srcinal comic industry. The wide distribution of scanlations actually contributes to the growth of publication of bootleg manga, which is printed in lower quality. One of the most notable publisher is Seventh Heaven which publishes bootleg version of One Piece. Many popular titles, such as Bleach, Loki, Magister Nagi, Rose Hip Zero, and Kingdom Hearts, have been pirated, which draws controversy toward manga readers in Indonesia. Some people support the piracy because the local publishers do not publish the demanded popular titles, but legal manga supporters argue that the bootleg releases risk the local publisher to publish the manga because the srcinal Japanese licensor will see this as negative stance of manga market in Indonesia. Most of the bootlegs are also sold with the same or even higher price than the legal version.

Oceania In Australia and New Zealand, many popular Japanese- and Chinese-language manga and anime are distributed by Madman Entertainment.

Russia

Comics never gained high popularity in Russia, only few Marvel's titles being a moderate success. [7] Russian readers traditionally considered them children's literature, so the manga market developed late. [8] [9] A strong movement of anime fans helped to spread manga. [10] The general director of Egmont Russia Lev Yelin commented that the most popular manga series in Japan are comics which "contain sex and violence", so they probably won't be published in Russia.[9] A representative of Sakura Press (the licensor and publisher of Ranma Œ, Gunslinger Girl and some other titles) noted that although this niche is perspective, it's hard to advance on the market, because "in Russia comics are considered children's literature".[9] It is also impossible for publishers to predict the success or failure of any specific

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Manga outside Japan title.[10] On the contrary, Rosmen's general director Mikhail Markotkin said the whole popularity of comics doesn't matter, as only artistic talent and good story make a successful project, and only such manga "will work" on the market.[10] The first officially licensed and published manga series in Russia was Ranma Œ .[11] Sakura Press released the first volume in 2005.[10] Since then several legal companies appeared, including Comics Factory and Comix-ART. Comix-ART, which is working in collaboration with Eksmo, one of the largest publishing houses in Russia, [12] [13] was the first company to publish Original English-language manga (usually called "manga" or just "comics"), such as Bizenghast, Shutterbox and Van Von Hunter.

Singapore The company Chuang Yi publishes manga in English and Chinese in Singapore; some of Chuang Yi's English-language titles are also imported into Australia, New Zealand and the Philippines.

Thailand In Thailand, before 1992, almost all available manga were fast, unlicensed, poor quality bootlegs. However, due to copyright laws, this has changed and copyrights protect nearly all published manga. Thailand's prominent manga publishers include Nation Edutainment, Siam Inter Comics, Vibulkij, and Bongkoch. Many parents in Thai society are not supportive of manga. In October 2005, there was a television programme broadcast about the dark side of manga with exaggerated details, resulted in many manga being banned. The programme received many complaints and issued an apology to the audience.

United States The growth mangamanga-derived translation and publishing in the inUnited StatesStates has been slow progression over several decades. Theof earliest series to be released the United was aaredrawn American adaptation of Osamu Tezuka's Astro Boy published by Gold Key Comics starting in 1965. The first manga to be published in the US with its srcinal artwork intact was a ten-page story by Shinobu Kaze, "Violence Becomes Tranquility", which appeared in the March 1980 issue of Heavy Metal.[14] In December 1982 the San Francisco-based publisher Educomics released a colorized and translated version of Keiji Nakazawa's I Saw It. Four translated volumes of Nakazawa's major work Barefoot Gen were also published in the early 1980s by New Society Publishers. [15] Short works by several Garo-affiliated artists including Yoshiharu Tsuge and Terry Yumura appeared in May 1985 in RAW's no. 7 "Tokyo Raw" special. In 1987, Viz Comics, an American subsidiary of the Japanese publishers Shogakukan and Shueisha, began publishing translations of three manga series - Area 88, Mai the Psychic Girl, and The Legend of Kamui - in the U.S. in association with the American publisher Eclipse Comics. Viz went on to bring English translations of popular series such as Ranma Œ and Nausica‹ of the Valley of the Wind in the late 1980s and early 1990s. Some other American publishers released notable translations of Japanese comics in this period, such as First Comics' serialization of Lone Wolf and Cub which started in May 1987. However, the first manga to make a strong impression on American audiences was Katsuhiro Otomo's Akira, which was brought to the United States in colorized form in 1988 by Epic Comics, a division of Marvel. [16] Throughout the 1990s, manga slowly gained popularity as more was released for the US market. Viz Media, Dark Horse and Mixx (now Tokyopop) were all significant contributors to the growing pool of translated manga. Both Mixx and Viz published manga anthologies: MixxZine (1997€1999) ran serialized manga such as Sailor Moon, Magic Knight Rayearth and Ice Blade , while Viz's Animerica Extra (1998€2004) featured series including Fushigi Yugi, Banana Fish and Utena: Revolutionary Girl. In 2002 Viz began publishing a monthly American edition of the famous Japanese "phone book"-style manga anthology Sh€nen Jump featuring some of the most popular manga titles

46

Manga outside Japan from Japan, including Dragon Ball Z, Naruto, Bleach and One Piece. Its circulation far surpassed that of previous American manga anthologies, reaching 180,000 in 2005. [17] Also in 2005, Viz launched Shojo Beat, a successful counterpart to Shonen Jump aimed at female readers. In 2002, Tokyopop introduced its "100% Authentic Manga" line, which featured unflipped pages and were smaller in size than most other translated graphic novels. This allowed them be retailed at a price lower than that of comparable publications by Viz and others. The line was also made widely available in mainstream bookstores such as Borders and Barnes & Noble, which greatly increased manga's visibility among the book-buying public.[18] After Tokyopop's success, most of the other manga companies switched to the smaller unflipped format and offered their titles at similar prices. As of 2010 a large number of small companies in the United States publish manga. Several large publishers have also released, or expressed interest in releasing manga. Del Rey translated and published several Japanese series including xxxHolic, Tsubasa: Reservoir Chronicle and, Negima!: Magister Negi Magi, while Harlequin has brought its Ginger Blossom line of manga, srcinally released only in Japan, to the United States as well.

Other distribution methods Another popular form of manga distribution outside of Japan involves Internet scanlations (or scanslations). Typically, a small group of people scan the srcinal version of a series with no current license in the language which they wish to translate it to, translate it, and freely distribute it; usually through the use of IRC or BitTorrent. Most scanlation groups request that downloaders cease distribution and purchase official copies in the event that their projects become licensed, though it is a common concern that readers will continue to use these unauthorized copies. Many readers prefer scanlations due to the frequent changes found in official translations, though scanlations are more likely to have some unintentional mistakes due to the varying degrees of skill employed by the unpaid translators. Some scanlators do make edits, though it is rare, especially compared to the official manga translation industry.

Manga influences Manga has proved so popular that it has led to other companies such as Antarctic Press, Oni Press, Seven Seas Entertainment and TOKYOPOP, as well as long-established publishers like Marvel and Archie Comics, to release their own manga-inspired works that apply the same artist stylings and story pacing commonly seen in Japanese manga. One of the first of these such works came in 1985 when Ben Dunn, founder of Antarctic Press, released Mangazine and Ninja High School. While Antarctic Press actively refers to its works as "American Manga", it does not source all of these manga-inspired works from the United States. Many of the artists working on Seven Seas Entertainment series such as Last Hope and Amazing Agent Luna are Filipino and TOKYOPOP has hired a variety of Korean and Japanese artists to work on titles such as Warcraft and Princess Ai. Many of these works have been classified on the Internet with titles such as OEL Manga, MIC, and World Manga, although none of these terms have actually been used by manga companies to describe these works on the books themselves. In Germany, as manga began outselling domestic comics in 2000, German publishers began supporting German creators of manga-styled comics. J¥rgen Seebeck's Bloody Circus was not popular amongst German manga readers due to its European style, and other early German manga artists were affected by cancellations. After this, German publishers began focussing on female creators, due to the popularity of sh€jo manga, leading to what Paul Malone describes as a "home-grown sh€jo boom", and "more female German comics artists in print than ever before". However, to seem genuinely manga-influenced, stylistic conventions such as sweatdrops are employed to ensure "authenticity", srcinal German works are flipped to read in a right-to-left style familiar to manga readers, author's afterwords and sidebars are common, and many German manga take place in Asia. [6]

47

Manga outside Japan The Arabic language manga "Canary 1001" is by a group calling themselves Amateam, whose director is Wahid Jodar, from the United Arab Emirates. [19] [20] Another Arab language manga is Gold Ring, by Qais Sedeki, from 2009, also from the United Arab Emirates. [21] [22] [23] Both groups of artists use the word "manga" for their work. [19] [23]

In May 2010, Glenat Spain introduced their new line of works known as Linea Gaijin[24] which showcases the works of several Spanish and Latin American comic book artists. This is an effort on the part of Glenat to bring fresh new content and breed a new generation of manga-insipired artists that grew up reading manga. The line began with tittles such as Bakemono, Dos Espadas, and Lettera that were shown on the Salon de Manga de Barcelona[25] in October 2010, but it would later introduce other works as well. Many Western webcomics are influenced to varying degrees by manga. Some, like Megatokyo, follow traditional manga artwork and plotlines closely. Others, like Sinfest or Girly, incorporate Western techniques and do not follow traditional Japanese manga story elements.

References Kana (http:/ /www.mangakana.com/), (French) Editorial Ivrea Argentina (http:/ / editorialivrea.com/ARG/home.htm), (Spanish) Norma Editorial (http:/ / www.normaeditorial.com/), (Spanish) The Attic of ITAF (http:/ / j.knoertzer.free. fr/ chalopin.htm), Accessed 2009-03-10 (French) Malone, Paul M. (2010), "From BRAVO to Animexx.de to Export", in Levi, Antonia; McHarry, Mark; Pagliassotti, Dru, Boys' Love Manga: Essays on the Sexual Ambiguity and Cross-Cultural Fandom of the Genre, McFarland & Company, pp. 23€24, ISBN 9780786441952 [6] http:// intersections.anu.edu.au/issue20/malone.htm [7] Zlotnitsky, Dmitry (May 2007). "¦§¨©¨ ª«§¬: ®¨¯©¨°©«±²°³«² ³¬´«³°µ [Gate of the Worlds: Science fiction comics]" (http:// www.mirf. ru/ Articles/art1956.htm) (in Russian). ƒ45. Mir Fantastiki. . Retrieved 14 February 2010. [8] " Culture of manga and anime in Russia (http:/ / www.echo.msk.ru/programs/razvorot/512241-echo/)" (in Russian). Interview with Satoshi Endo (May 5, 2008). Echo of Moscow. Retrieved on 2008-11-26. [9] Anastasia Vasilyeva, Olga Goncharova (March 13, 2007). "The adventures of manga in Russia: Kodansha International is looking for partners" (http:/ /www.rbcdaily.ru/ 2007/03/13/media/268001) (in Russian). RBK Daily. . Retrieved 2008-11-19. [10] Olgerd, O.; Kunin A. (May 8, 2010). "¶§·¸¹µº °©¬¹ »¹¼ «½»¨©²¹²º « ±«©¨©²¹²º. ¾²´¨ ³§·¸¹¬¸¬ °©¬¹¨: ¿À·»ÁÂ¨ ´¨¯¸«  Ã¬°°««. ª¨¯¸¨ ³¨³ ±¨°©Á «½·¨¹Á¯¬º ³·¹Á©·§µÄ [Round table for publishers and readers. The fate of the manga in Russia. Manga as part of visual culture.]" (http:// chedrik.ru/up2/content/view/211/40/) (in Russian). Chedrik Chronicles. . Retrieved 10 June 2010. [11] "About Sakura Press" (http:/ /www.sakura-press.ru/about/) (in Russian). Sakura Press official website. . Retrieved 22 December 2009. [12] Anastasia Vasilyeva (October 4, 2007). "Eksmo Consolidates the Market" (http:/ / www.rbcdaily.ru/2007/10/04/media/296566) (in Russian). RBK Daily. . Retrieved 2008-11-19. [13] "Top 20 Russian Publishers" (http:/ /rating.rbc.ru/ article.shtml?2006/04/10/12577784) (in Russian). RBK Daily. April 10, 2006. . Retrieved 2008-11-19. [14] Frederik Schodt, Manga! Manga! The World of Japanese Comics (New York: Kodansha International, 1983), 154, 158. [15] http:/ /www.publishersweekly.com/article/CA6287306.html [16] akira2019.com (2005). "Marvel/Epic Comics: Akira Coloured Comic Book" (http:// www.akira2019.com/comics_marvel_epic.htm). akira2019.com. . Retrieved 29 May 2007. [17] Viz Media LLC (2005). "Viz Media Announces Anniversarry Edition of Shonen Jump" (http:// www.animenewsnetwork.com/ press-release/2005-12-06/viz-media-announces-anniversarry-edition-of-shonen-jump). Anime News Network. . Retrieved 29 May 2007. [18] Tokyopop (2002). "Tokyopop manga Sells Out" (http:// www.animenewsnetwork.com/news/2002-08-01/tokyopop-manga-sells-out). Anime News Network. . Retrieved 29 May 2007. [19] http:/ /amateam.deviantart.com/ [20] http:/ /www.deviantart.com/print/13298972/?itemtypeids= [21] Nitin Nair 2009 "Manga: Qais Sedeki's graphic obsession."http:// gulfnews.com/arts-entertainment/books/ manga-qais-sedeki-s-graphic-obsession-1.504820 [22] http:/ /www.pageflip.ae/ profile.html [23] http:/ /www.goldring.ae [24] Linea Gaijin Glenat (http:/ / www.gaijin.es/), (Spanish) [25] Linea Gaijin released (http:/ / www.edicionesglenat.es/noticia.aspx?pId=771), (Spanish) [1] [2] [3] [4] [5]

48

Manga outside Japan

External links • 800 Anime/Sentai series broadcast in France from the 1970s up to 2000s (http:/ /albator.com.fr/ AlWebSite/ desliste. php) • Anime series broadcast in Italy (http:/ /www.siglandia.net/borsino 45 italiani.htm) • Japanimation? The uncredited studios list (http:/ /xoomer.alice.it/fedgrame/co-productions.htm) • Mangajima.com (http:/ /www.mangajima.com) (French)

Scanlation Scanlation (also scanslation) is the scanning, translation and editing of a graphic novel from a foreign language into a different language. Scanlation is done as an amateur work and is nearly always done without express permission from the copyright holder. The word scanlation is a portmanteau of scan and translation. The term is most often used for Japanese graphic novels (manga), Korean graphic novels (manhwa), and Chinese graphic novels (manhua). Scanlations may be viewed at websites or as sets of image files downloaded via the Internet.

Origins Scanlations got their start due to a lack of translated Japanese manga releases outside of Japan. Manga fans cooperated and shared translation efforts since importing manga directly from Japan was often expensive, and a knowledge of the language was required to understand the srcinals. Similar to video fansubbing, scanlation began as small individual efforts between fans connected by telephone modems and postal mail. With the advent of the Internet, both the size of audience served as well as the methods used in both scanlation and distribution of scanlated works changed dramatically. Scanlation is older than its anime counterpart, fansubbing. Manga fans coordinated, translated and shared efforts via postal mail well before fansubs. The amateur press association (APA) was the first formally organized form of manga scanlation. Their major period of activity occurred during the late 1970s through the early 90's. The professional magazine Mangajin resembled scanlation efforts but went beyond that. It used authorized manga excerpts and professional translations to introduce contemporary Japanese language and culture to an English audience. Mangajin was first published in 1990. [1] As internet access became more widespread, the popularity of postal mail APAs declined in favour of internet-based efforts. Eventually, these efforts became more organized and coalesced into various groups of people forming their own communities. This approach to scanlation became dominant after the year 2000. Examples of the earliest organized scanlation groups are Mangaproject, Mangascreener, Manga-Sketchbook, and Omanga.[2] While early official translations of manga focussed on localising the manga to an Anglophone culture, scanlations retained the cultural differences, for example, leaving in forms of address, romanising sound effects and onomatopoeia instead of translating them, and providing the manga unflipped. [3]

Current practices

Many groups have their own webpage as well as an IRC channel. IRC is an important part of the community aspect, as they allow for real-time interaction between the group staff and the target audience. IRC also allows the groups to recruit new staff. Releases are often made through IRC rather via a centralized website, as it means the burden of bandwidth is distributed among multiple users, something especially important given the lack of funding of most groups. However, some groups do release downloads from their websites, as well as via torrents or download providers such as MegaUpload or RapidShare. Some sites also exist which do not make their own releases, but instead serve as a

49

Scanlation repository for releases from other groups: this sort of centralized, direct download approach is popular among users who are unfamiliar with IRC.

Process Scanlation is not an easy process. Scanlation team members are often located in different parts of the world. The first step in scanlation is to obtain the "raws" (srcinal manga) from the country of publication (typically Japan). Since Japanese manga magazines often use recycled paper, the "cleaner" uses image editing software to fix imperfections in the "raw" version to produce a "cleaned" version. Typesetting is the next step. This may seem easy in principle, but it can be quite difficult considering the different fonts that need to be used for specially formatted text. While many cleaners are also capable of typesetting, scanlation groups usually have a few dedicated typesetters just in case. While every department is essential in producing a complete manga release, it is fair to say that the release schedule of most projects rests in the hands of the translation department. It is usually the case that a project will be fully cleaned before it is translated, and proofreaders obviously have nothing to work with without a translation. Therefore, the speed of many projects often depends specifically on the speed of the translator. Ironically, while many people imagine that most translators live in Japan and fit the same profile, this is actually rarely the case. Finally, the translated, edited and "cleaned" manga is sent to the group's proofreader. After copyediting, the manga is finally published on the scanlation group's own website then usually on a larger manga hosting website.

Reason for scanlating Douglass, Huber and Manovich say that enthusiasm by fans about a particular series, coupled with delays in official translations lead to the formation of scanlation groups.[4] Scanlators say that they scanlate to promote the series or the author in their own language, but Hope Donovan suggests that the scanlator's goal is more along the lines of "self-promotion", and argues that it is prestigious for a scanlator to have many fans. [5] In addition to the groups who release scanlations of graphic novels which are unreleased outside of their country of srcin, there are groups who release graphic novels which have already been made commercially available. In some cases, this is due to perceived or actual censorship or shortcomings in the commercial release of the graphic novel. Another motivation is the quantity of new graphic novel series that are created. Most new anime series are fansubbed, and many are licensed for distribution by companies around the world. However, the quantity of manga series which are released in Japan (which has the largest market for graphic novels in the world) and other markets makes this eventual commercial release unlikely for graphic novels. Scanlators often release projects because they want to give it wider exposure. The quality of commercial offerings is a common complaint.[5] Localization is also a common complaint among supporters of scanlations. Commercial releases often have titles, names, puns, and cultural references changed to make more sense to their target audience. The act of horizontally 'flipping' the pages of commercial releases has also received criticism from fans of manga. The reason for this change is that the Japanese language reads from right-to-left, and Western languages such as English, Spanish, and French read from left-to-right. However, due to large-scale fan complaints that this 'flipping' has changed the finished product from the srcinal (e.g. A flipped manga image will keep the speech translations legible, while any graphics such as the wording on clothes or buildings will be reversed and confusing), this practice has largely diminished. The cost and speed of commercial releases remains an issue with some fans. Imported graphic novels from the srcinal countries' markets sometimes cost less than the commercially released version, despite the high cost of shipping. Despite weekly or monthly serialized releases in the country of srcin, translated editions often take longer to release due to the necessity of translating and repackaging the product before release.

50

Scanlation

51

Reasons for downloading scanlations Johanna Draper Carlson says that some readers of scanlations do not wish to spend money, or that they have limited mobility or funds, or that they are choosy about which series they wish to follow. Carlson feels that the readers of scanlations "do not care" that scanlations are illegal. [6] In the yaoi fandom, commercially published explicit titles are often restricted to readers aged 18 or above, and there is a tendency for booksellers to stock BL, but also insist that more of it is shrink-wrapped and labeled for adult readers.[7] Andrea Wood has suggested that teenage yaoi fans seek out more explicit titles using scanlations. [8] Another possible reason is to gain access to graphic novels that would otherwise not be available outside its native country. Also this practice is common for some manga which are given a release in a country then discontinued due to lack of popularity or sales in the target area; fans of the manga wanting to see a conclusion or for other reasons will attempt to find translators as well as scanlators for the manga. Another reason readers may prefer scanlations is that translations of the works to their native language often change terminology or names to make the works more commercially available in exchange for loss of cultural meaning. A more recent phenomenon amongst scanlation readers is the emergence of Ereaders. Software such as Mangle [9] allows users to more easily read scanlations on their Amazon Kindle. Since most scanlations are distributed as a series of images, many e-book readers already have the capability to read scanlations without additional software. Most, if not all, manga is not released in a digital format that is compatible with e-book readers, so downloading scanlations is the only way to do this.

Legal action According to a 2009 study, Japanese publishers felt that scanlation was "an overseas phenomenon", and no "coordinated action" had taken place against scanlation.[10] Historically, copyright holders have not requested scanlators to stop distribution before a work is licensed in the translated language. Thus, scanlators usually feel it is relatively 'safe' to scanlate series which have not been commercially released in their country. "Frankly, I find it kind of flattering, not threatening... To be honest, I believe that if the music industry had used downloading and file sharing properly, it would have increased their business, not eaten into it." • Steve Kleckner , former VP of sales for TOKYOPOP [11]

However, this view is not necessarily shared among the industry, as some Japanese publishers have threatened scanlation groups with legal action. Since the 1990s, publishers have sent cease and desist letters to various scanlation groups and websites [12] Due to manga's popularity steadily increasing in the overseas market, copyright holders felt that scanlators were intruding on their sales and in 2010, a group of Japanese publishers and US publishers banded together into a coalition to "combat" scanlations, especially mentioning scanlation aggregator websites. They have threatened to take legal action against at least thirty, unnamed websites. [13] So far, the coalition has achieved some degree of success. On July 2010, Scanlation aggregator site OneManga, "one of the top 1000 sites on the whole internet" announced its closure due to their respect towards the displeasure expressed by the publishers. As of August 1, 2010 it has officially shut down its online reader.

Scanlation

52

Reception Scanlations are often viewed by fans as the only way to read graphic novels that have not been licensed for release in their area. According to international copyright law, such as the Berne Convention, scanlations are illegal. However, since many scanlators stop distributing commercially licensed series[14] and advise fans to buy the official translation,[14] most groups view their releases as occupying a 'gray area' of legality. Some licensing companies, such as Del Rey Manga, TOKYOPOP, and VIZ Media, have used the response to various scanlations as a factor in deciding which manga to license for translation and commercial release. [11] "And, hey, if you get 2,000 fans saying they want a book you've never heard of, well, you gotta go out and get it." • Steve Kleckner , former VP of sales for TOKYOPOP [11] However, some translators feel differently:

"I know from talking to many folks in the industry that scanlations DO have a negative effect. Many books that are on the tipping point will never be legally published because of scanlations." •Toren Smith, Translator[15]

References [1] Spectrum Nexus: Mangajin [2] "Happy Belated 6th Birthday" (http:/ / www.omanga.net/?type=site&cid=news&nav=one&top=54). Omanga. 8 March 2007. . Retrieved 2008-04-02. [3] James Rampant (2010). "The Manga Polysystem: What Fans Want, Fans Get". In Johnson-Woods, Toni. Manga: An Anthology of Global and Cultural Perspectives. Continuum. pp. 221€232. ISBN 9780826429384. [4] http:// www.imageandnarrative.be/index.php/imagenarrative/article/viewFile/133/104 [5] Donovan, Hope (2010), "Gift Versus Capitalist Economies", in Levi, Antonia; McHarry, Mark; Pagliassotti, Dru, Boys' Love Manga: Essays on the Sexual Ambiguity and Cross-Cultural Fandom of the Genre, McFarland & Company, pp. 18€19, ISBN 9780786441952 [6] Carlson, Johanna Draper (2010-03-22). "Legal Doesn„t Matter: More on Scanlation Sites" (http:/ / comicsworthreading.com/2010/03/22/ legal-doesnt-matter-more-on-scanlation-sites/). Manga Worth Reading. . Retrieved 16 October 2010. [7] Pagliassotti, Dru (November 2008) 'Reading Boys' Love in the West' (http:/ / www.participations.org/Volume 5/Issue 2/ 5_02_pagliassotti. htm) Particip@tions Volume 5, Issue 2 Special Edition [8] Wood, Andrea. (Spring 2006). "Straight" Women, Queer Texts: Boy-Love Manga and the Rise of a Global Counterpublic. WSQ: Women's Studies Quarterly, 34 (1/2), pp. 394-414. [9] http:// foosoft.net/mangle/ [10] "'Scanlators' freely translating 'manga,' 'anime'" (http:// search.japantimes.co.jp/cgi-bin/nn20090310f2.html). The Japan Times Online (LONDON (Kyodo)). 2009-03-10. . Retrieved 16 October 2010. [11] Jeff Yang (14 June 2004). "No longer an obscure cult art form, Japanese comics are becoming as American as apuru pai." (http:/ / www. sfgate.com/cgi-bin/article.cgi?file=/g/archive/2004/06/14/manganation.DTL). SFGate. . Retrieved 2008-05-05. [12] "Legal Issues and C&D Letters" (http:/ / insidescanlation.com/backgrounds/legal.html). Inside Scanlation. . [13] Reid, Calvin (June 8, 2010). "Japanese, U.S. Manga Publishers Unite To Fight Scanlations" (http://www.publishersweekly.com/pw/ by-topic/digital/copyright/article/43437-japanese-u-s-manga-publishers-unite-to-fight-scanlations.html). Publishers Weekly. . Retrieved 16 October 2010. [14] "FAQ: Manga Scanslations" (http:/ / www.mangascreener.com/faq.php). Mangascreener.com. . Retrieved 2008-04-02. [15] Toren Smith (27 February 2006). "Comment on "The Bard is right again"" (http:// mrcaxton.livejournal.com/11270. html?thread=25350#t25350). LiveJournal. . Retrieved 2008-11-25.

Scanlation

Further reading • Deppey, Dirk (8 March 2005 ). "Scanlation Nation: Amateur Manga Translators Tell Their Stories" (http:/ /web. archive.org/web/20060505014917/http://www.tcj. com/269/n_scan.html). The Comics Journal #269. Archived from the srcinal (http:/ /www.tcj.com/ 269/n_scan.html) on 2006-05-05. Retrieved 2005-07-13. • Dirk Deppey. "A Comics Reader's Guide to Manga Scanlations" (http:/ /www.tcj.com/ index. php?option=com_content&task=view&id=430&Itemid=70). The Comics Journal. Retrieved 2007-07-11. • Donovan, Hope (2010), "Gift Versus Capitalist Economies", in Levi, Antonia; McHarry, Mark; Pagliassotti, Dru, Boys' Love Manga: Essays on the Sexual Ambiguity and Cross-Cultural Fandom of the Genre, McFarland & Company, pp. 11€22, ISBN 9780786441952 • Between fan culture and copyright infringement: manga scanlation (http:/ /mcs.sagepub.com/content/31/6/ 1011.citation)

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54

Manga Companies Chuang Yi Chuang Yi ÷ø Industry

Publishing

Founded

1990

Headquarters Singapore Area served

Singapore, Australia, New Zealand, Malaysia, Philippines, India

Products

Comics

Website

ChuangYi.com.sg

[1]

Chuang Yi Publishing Pte Ltd. (Simplified Chinese: ÷ø, Pinyin: Chu†ngy, meaning "creative arts") is a publishing company based in Singapore that specializes in producing domestic and imported comics and comics-related merchandise, in English and simplified Chinese. Chuang Yi distributes all or some of its products in Singapore, Malaysia, India, and the Philippines. Distribution to Australia and New Zealand occurs through Madman Entertainment and uses Australian English translations.[2]

History Chuang Yi Publishing was founded in 1990 as a distributor of Japanese comics published in simplified Chinese. It had early success with Dragon Ball and Slam Dunk, and soon began importing titles from Hong Kong, Taiwan, and South Korea. In 1995, Chuang Yi set up its first branch office in Kuala Lumpur, Malaysia, and launched two Japanese comic series in Malay. In 1998 and 1999, Chuang Yi published its first TV-drama-to-comic adaptations of Legend of the Eight Immortals and Liang Po Po. Chuang Yi expanded into the English-language market in 2000 with the launch of its Pok‚mon series, and two Taiwanese comics began serialization in local newspapers. In 2003, Chuang Yi secured licensing rights to distribute its comics to Australia, New Zealand, and the Philippines, and in 2004 branched into the magazine market including licensing of several Disney titles. Chuang Yi began distribution of sticker collectibles from Panini Comics and Topps UK in 2004 and 2005, and in 2006 began distribution of comics in India.[3] In 2007, the company secured the rights to develop stationery merchandise for Pokƒmon and Disney products, and began exclusive distribution of DC Comics and Marvel Comics products to Singapore and Malaysia. [4]

Chuang Yi

Manga published by Chuang Yi Publishing in Chinese • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

20th Century Boys (20¢ ù~Ë ) 21st Century Boys (21¢ ù~Ë ) Absolute Boyfriend (úûoü) Air Gear Blaue Rosen (ýþÿ的藍色薔薇) Bleach (死- ) Bloody Monday D.Gray-Man (死亡筆²Å) Death NoteConan (名侦探柯南) Detective Dragonball (© 龙朱) Eyeshield 21 Fairy Tail Fruits Basket (果藍) Fullmetal Alchemist (钢之炼术师) Flame of Recca (烈火之炎) GetBackers Hayate the Combat Butler (疾风守护Ñ) Hikaru no Go (棋灵ë ) Katekyo Hitman Reborn (家庭教师HITMAN REBORN!) Kekkaishi (结£ 师) Kindaichi Case Files (= ~Ë 之事ÄÅ) Konjiki no Gash!! (§!ZX) Initial D (" ^D) Love Celeb (#$%Ô X) MŽR MŽR Omega Monster Soul Naruto (火&ÐÑ) NANA Negima!: Magister Negi Magi (§'()) Ninkuu (ÐY) Ninkuu SECOND STAGE One Piece Ouran High Host Club (Ouran High School Host Club in North America, ‰ran K€k€ Hosuto Kurabu in Japan) Placebo Prince of Tennis (*|ë X)

• • • • • • • • •

PSYCHO BUSTERS (+,‹~Ë ) Saint Seiya EPISODE G (-O<./ EPISODE.G) Samurai Deeper Kyo (0123 Kyo) Special A Shaman King (4灵!X) The Gentlemen's Alliance To Love-Ru (To Lovef5° 67) Tsubasa: Reservoir Chronicle (TSUBASA翼) Vampire Knight (890<)

55

Chuang Yi • • • •

MŠ0 W-change xxxHolic ($:§'; XXX HOLIC) Yankee-kun to Megane-chan (<¼ ~Ë =>1?)

Manga published by Chuang Yi Publishing in English • .hack//Legend of the Twilight • Absolute Boyfriend ("Zettai Kareshi") • Astro Boy (Akira Himekawa's series) •• • • • • • • • • • • • • • • • • • • • • • •

Ballad of a Shinigami Battle B-Daman Beyblade Blaue Rosen (Japanese title: Ai wo Utau yori Ore ni Oborero) Bakegyamon Because You Smile when I Sing Bio Booster Armor Guyver Bloody Monday Boys Est‚ Captive Hearts Chrono Crusade Crush Gear Turbo Digimon Doraemon Fairy Cube FIGHT! Crush Gear Turbo Flunk Punk Rumble (Yankee-kun to Megane-chan) Fruits Basket Fullmetal Alchemist Full Metal Panic! Sigma Fushigi Yƒgi (Including Fushigi Yƒgi Genbu Kaiden) Fushigiboshi no Futagohime Girls Bravo Gundam

• • • •

• Gundam Seed Hamtaro Handbook Hellsing Hoshi wa Utau Imadoki!

• • • • • • • • •

Kingdom Hearts Kingdom Hearts: Chain of Memories Kingdom Hearts II La Corda D'Oro Land of the Blindfolded Love Hina Maburaho MŽR Medabots

56

Chuang Yi

57

• • • • • • • • • •

The Melancholy of Haruhi Suzumiya Metal Fight Beyblade Midori Days Mirmo! Mon Colle Knights Monochrome Factor My-HiME My Fair Lady known in North America as The Wallflower and Yamato nadeshiko Shichihenge in Japan Negima! Magister Negi Magi Neon Genesis Evangelion

• • • •

Otomen Ouran High School Host Club Phantom Dream Pok‚mon • • • • • • •

Pok‚mon: The Electric Tale of Pikachu Pok‚mon Adventures Magical Pok‚mon Journey Ash & Pikachu Phantom Thief Pok‚mon 7 Pok‚mon Gold & Silver The Golden Boys Pok‚mon Pocket Monsters

• Pok‚mon Ruby-Sapphire • Pok‚mon Jirachi Wish Maker • Pok‚mon Destiny Deoxys

• • • • • • • • • • •

• Pok‚mon: Lucario and the Mystery of Mew • Pok‚mon Ranger and the Temple of the Sea • Pok‚mon Battle Frontier Placebo RahXephon S  A: Special A Saiyuki: Reload Slam Dunk Solar Boy Django Speed Grapher Spriggan SuperPsychic Nanaki (Ch€shinri Gensh€ N€ryokusha Nanaki) Tactics Tenchi Muyo!

•• • • • • • • •

There, Beyond The Beyond (Sono Mukou-no Mukougawa) The Girl Who Leapt Through Time The Melancholy of Haruhi Suzumiya The Mythical Detective Loki The Mythical Detective Loki Ragnarok Tokyo Mew Mew Trinity Blood Trigun Tsubasa: Reservoir Chronicle

Chuang Yi • • • • • • • • • •

Tsubasa: Those with Wings Twin Princesses of the Wonder Planet Vagabond Vampire Knight Venus in Love Wild Adapter Wings of Desire World Embryo X Young Guns

• • • •

Super Yo-Yo Zatch Bell! (Konjiki no Gash!!) [5] Zig Zag Zoids

Other comic magazines published by Chuang Yi Publishing in English • • • • • •

Disney Fairies Disney Princess Monster Allergy W.I.T.C.H Winnie the Pooh and Friends Winx Club (up to issue #39; MediaCorp has handled Winx from #40 onwards)

Manhwa published by Chuang Yi Publishing in English • Ragnarok: Into The Abyss

References [1] http:// www.chuangyi.com.sg/ [2] "New Madman Manga for 2005" (http:/ / www.mania.com/new-madman-manga-for-2005_article_84761.html). Mania (archived from Anime on DVD.com). 2005-01-04. . Retrieved 2008-07-21. [3] "Japanese Manga Comics to debut in India courtesy Chuang Yi and Sterling Publishers" (http:// www.techshout.com/features/2007/07/ japanese-manga-comics-to-debut-in-india-courtesy-chuang-yi-and-sterling-publishers/ ). Tech Shout!. 2007-06-07. . Retrieved 2008-07-21. [4] "Distribution" (http:/ / web.archive.org/web/20080616200735/http://www.chuangyi.com.sg/new/distri.php). Chuang Yi. Archived from the srcinal (http:/ / www.chuangyi.com.sg/new/distri.php) on 2008-06-16. . Retrieved 2008-07-19. [5] http:// www.chuangyi.com.sg/board/cgi-bin/forum/YaBB.pl?num=1142405427/0#0

External links • Official website (http:/ /www.chuangyi.com.sg)

58


59

Funimation Entertainment Funimation

Type

Private

Industry

multimedia entertainment

Genre

Anime, Japanese cinema, Asian cinema

Founded

Fort Worth, Texas, U.S. (1994)

Founder(s)

Gen Fukunaga

Headquarters Flower Mound, Texas, United States Key people

Gen Fukunaga Founder/CEO

Owner(s)

Independent (1994-2005) Navarre Corporation (2005-2011) Funimation Communications (2011-present)

Website

www.funimation.com

[1]

Funimation (formerly known as Funimation Productions and Funimation Entertainment, and usually stylized as FUNimation) is an American entertainment company. Originally founded in 1994 by Gen Fukunaga, the company

became a subsidiary of Navarre Corporation on May 11, 2005. I n April 2011, Navarre sold Funimation to a group of investors including Gen Fukunaga for $24 million. [2] It is speculated that FUNimation was sold at such a low cost (in comparison to how much it was srcinally purchased for, almost 100 million in cash and 15 million in stock in 2005) because Navarre wanted to continue distributing goods in relation to the products, but not handle the publishing. Around the same time, the company's trademark ball, star & blue bar were dropped from it's logo as well as the word "entertainment" dropped from it's name to simply be called "Funimation".[3] Funimation produces, markets, and distributes anime and other entertainment properties in the United States and international markets. The company is headquartered in Flower Mound, Texas.[4] Funimation is a portmanteau of the English words fun and animation.

History The company was founded in 1994 by Japanese-born businessman Gen Fukunaga.[5] Fukunaga's uncle was one of the producers for the popular anime series Dragon Ball; he approached Gen about bringing the series over to America. He proposed that if Fukunaga could start a production company and raise enough money, Toei Animation would license the rights to the show. Fukunaga met with co-worker Daniel Cocanougher whose family owned a feed mill in Decatur, Texas and convinced Cocanougher's family to sell their business and serve as an investor for his company. The company was eventually formed in Fort Worth, Texas as Funimation Productions. By 1998, after two failed attempts to bring the Dragon Ball franchise to a U.S. audience, it finally found success on Cartoon Network's action-oriented programming block Toonami, and the Dragon Ball phenomenon quickly grew in the United States as it had elsewhere. This led Funimation to begin licensing other anime to the U.S. On May 11, 2005, Funimation was acquired by Navarre Corporation for US$100.4 million in cash and 1.8 million shares of Navarre stock. As part of the acquisition, the president Fukunaga was retained as head of the company, transitioning to the position of CEO, and the company's name was changed from Funimation Productions to

Funimation Entertainment Funimation Entertainment.[6] [7] In 2007 Funimation moved from North Richland Hills, Texas to Flower Mound; the standalone Flower Mound facility has double the square footage of the space Funimation occupied previous North Richland Hills facility; in the North Richland Hills facility Funimation shared the building with other tenants.[4] Funimation moved into the Lakeside Business District with a ten year lease. [8] According to an interview in February 2008 with Navarre Corporation CEO Cary Deacon, Funimation was in early stage negotiations to acquire some of the titles licensed through Geneon's USA division, which ceased operations in December 2007.[9] In July 2008, Funimation confirmed that they had acquired distribution rights to several Geneon titles, including some that Geneon had left unfinished when they ceased operations. [10] At Anime been Expolicensed 2008, Funimation announced that it had acquired over 30 titles from the Sojitz catalog that had [11] previously by ADV Films. On October 14, 2011, Funimation announced a partnership with Niconico, the English-language version of Nico Nico Douga, to form the 'Funico' brand for the licensing of anime for streaming and home video release. [12]

Reaction to fansubbing In 2005, Funimation's legal department began to pursue a more aggressive approach toward protecting their licensed properties, and started sending "cease and desist" (C&D) letters to sites offering links to fansubs of their titles. This move was similar to that taken by the now-defunct ADV Films several years before with several of the major torrent sites. Funimation's legal department served C&D letters for series that had not yet been advertised or announced as licensed, including Tsubasa: Reservoir Chronicle, Black Cat, and SoltyRei, with a few known series also mentioned in the letter.[13] Funimation revealed more licenses on 6 October 2006 when it sent letters to torrent sites demanding that distribution of xxxHolic's TV series, Mushishi, Ragnarok the Animation, and other series cease.[14]

Sale from Navarre In the first quarter of 2010, Navarre Corporation reclassified Funimation as "discounted operations" and began preparations to sell the company. Navarre released a statement in April 2011 confirming that Funimation has been sold to a group of investors, including Fukunaga, for $24 million. [2] Navarre will remain as exclusive distributor of Funimation's titles.

Foreign distribution Funimation does not directly release its properties in non-U.S. (English language-speaking) markets, instead sublicensing to other companies such as Manga Entertainment in the United Kingdom and Madman Entertainment in Australia and New Zealand. Towards the end of 2005, Fullmetal Alchemist (along with Beez Entertainment's Wolf's Rain) became one of the flagship programs on the relaunch of satellite channel Rapture TV and had only one edit, that of changing the opening to "Ready Steady Go" (the second opening), instead of the few minor edits the show received for its Adult Swim airings. YuYu Hakusho has also been acquired for television broadcast in the UK. However, it has not been announced who has picked it up and who the intended audience is.

60


Funimation Channel Funimation Entertainment with OlympuSAT launched the FUNimation Channel, the second 24 hour anime digital cable network in North America (the first being A.D. Vision's Anime Network). OlympuSAT is the exclusive distributor and the Funimation Channel is now available to video service providers. Since its launch in September 2005, FUNimation Channel has expanded into more homes and continues to expand via digital cable, fiber optics, and DBS systems. When the channel first launched, it was available to a few cities via UHF digital signals.[15] The service was temporary as the channel was trying to gain a foothold in the already crowded digital cable landscape. Another short-term service was the syndication of a FUNimation Channel block to one of OlympuSAT's affiliate networks € Colours TV [16].[17] Both services were discontinued in favor for a more successful expansion on digital cable, fiber optics and DBS systems.

Alternative distribution In July 2008, Funimation and Red Planet Media announced the launch of a mobile video-on-demand service for AT&T and Sprint mobile phone subscribers. [18] Three titles were part of the launch, Gunslinger Girl, Tsukuyomi: Moon Phase, and The Galaxy Railways, with entire seasons of each made available. On September 19, 2006, Funimation created an official channel on YouTube where they upload advertisements for box sets, as well as clips and preview episodes of their licensed series. In September 2008, they began distributing full episodes of series at Hulu. [19] In December of the same year, Funimation added a video section to their main website with preview episodes of various series. In April 2009, they began distributing full episodes of series at Veoh.[20] [21] Full episodes are also available on the YouTube channel as well as on the PlayStation Network (PSN) Video Store and Xbox Live/Zune Marketplace.

References [1] http:// www.funimation.com [2] "Navarre Corporation Announces Sale Of FUNimation Entertainment" (http:// www.tradershuddle.com/20110404196448/globenewswire/ Navarre-Corporation-Announces-Sale-of-FUNimation-Entertainment.html). GLOBE NEWSWIRE. 2011-04-04. . Retrieved 2011-04-04. [3] "Navarre Sells Anime Studio FUNimation" (http:/ /asiapacificarts.usc.edu/article@apa?navarre_sells_anime_studio_funimation_16622. aspx). Asia Pacific Arts. 04/08/2011. . [4] Wethe, David (2007-06-07). "Funimation moving headquarters to Flower Mound" (http://www.accessmylibrary.com/coms2/ summary_0286-30963771_ITM). Fort-Worth Star Telegram. . Retrieved 2007-06-07. [5] "Interview with Gen Fukunaga, Part 1" (http:/ / www.icv2.com/articles/news/6036.html). ICv2. 2004-11-01. . Retrieved 2008-02-08. [6] "Navarre Corporation Acquires Funimation, and Provides Financial Update and Guidance" (http:// ir.navarre.com/phoenix. zhtml?c=105157&p=irol-newsArticle&ID=709018&highlight=) (Press release). Navarre Corporation. 2005-05-11. . Retrieved 2006-07-08. [7] "Navarre Completes Funimation Acquisition" (http://www.icv2.com/articles/news/6866.html) (Press release). ICv2. 2005-05-12. . Retrieved 2008-02-08. [8] "FUNimation Entertainment scripts HQ move" (http:// www.flower-mound.com/econdev/articles/ FUNimationEntertainmentscriptsHQmove.pdf). Dallas Business Journal. 2007-06-08. . Retrieved 2008-06-20. [9] "Navarre/FUNimation Interested in Some Geneon Titles" (http:// www.icv2.com/articles/home/12043.html). ICv2. 2008-02-08. . Retrieved 2008-02-08. [10] "FUNimation Entertainment and Geneon Entertainment Sign Exclusive Distribution Agreement for North America" (http:/ / funimation. com/f_index.cfm?page=news&id=454) (Press release). funimation.com. 2008-07-03. . Retrieved 2008-07-03. [11] "Funimation Picks Up Over 30 Former AD Vision Titles" (http:// www.animenewsnetwork.com/news/2008-07-04/ funimation-picks-up-over-30-former-ad-vision-titles) (Press release). animenewsnetwork.com. 2008-07-04. . Retrieved 2008-07-04. [12] http:/ /www.animenewsnetwork.co.uk/news/2011-10-14/funimation-niconico-to-jointly-license-anime [13] "Funimation Enforces Intellectual Property Rights (ANN)" (http://www.animenewsnetwork.com/article.php?id=7979). . Retrieved 2006-10-14. [14] "Funimation Sends out Cease & Desist Letters For Multiple Anime (ANN)" (http:// www.animenewsnetwork.com/article.php?id=9625). . Retrieved 2006-10-14. [15] http:/ /www.mania.com/navarres-funimation-entertainment-announces-launch-funimation-channel-seattle_article_85177.html service on UHF signals

61

Funimation Entertainment [16] http:/ /www.colourstv.org/ [17] http:/ /www.redorbit.com/news/technology/648247/ navarres_funimation_entertainment_doubles_anime_programming_for_syndicated_anime_block/index.html syndicated block [18] "Full Seasons of the Best Anime from FUNimation Channel Launch on JumpInMobile.TV € The New Mobile Video-on-Demand Service from Red Planet Media" (http:/ /www.animenewsnetwork.com/press-release/2008-07-09/ full-seasons-of-the-best-anime-from-funimation-channel-launch-on-jumpinmobile. tv-the-new-mobile-video-on-demand-service-from-red-planet-media). Anime News Network. 2008-07-09. . Retrieved 2008-07-09. [19] Hulu.com Launches Channel for Free, Legal Anime Streams (Update 2) (http:// www.animenewsnetwork.com/news/2008-09-23/ hulu-website-launches-channel-for-free-legal-anime) [20] Rojas (2009-04-01). "Legal Anime Watching on Veoh.com" (http:// blog.funimation.com/2009/04/legal-anime-watching-on-veohcom/). The Funimation Update. Funimation Entertainment. . Retrieved 2009-04-04. [21] "Funimation Adds More Anime to Veoh Video Website" (http:/ /www.animenewsnetwork.com/news/2009-04-02/ funimation-adds-anime-to-veoh-streaming-site).ANN News. Anime News Network. 2009-04-02. . Retrieved 2009-04-04.

External links • • • •

Funimation (http:/ /www.funimation.com/) Funimation Channel (http:/ /www.funimationchannel.com/) Funimation Films (http:/ /www.funimationfilms. com) Funimation Entertainment (http:/ /www.animenewsnetwork.com/encyclopedia/company.php?id=6515) at Anime News Network's Encyclopedia

62

Hakusensha

63

Hakusensha Hakusensha, Inc. @AB® óC® Type

Kabushiki kaisha

Industry

Publishing, production

Genre

Sh€nen, Sh€jo, Seinen, Josei, Yaoi, Yuri

Founded December 1, 1973 Headquarters D101-0063

Chiyoda, Tokyo Kanda-Awajich€ 2-2-2 Area served

Japan

Key people

Sei Aoki Norikazu Sakaguchi (formerly)

Products

Magazines, manga, picture books, light novels, other type of books and drama CDs

Employees

[1] 91 (January 2009)

Website

[2]

Hakusensha, Inc. (@AB® óC® Kabushiki-gaisha Hakusensha) is a Japanese publishing company. It is headquartered in Chiyoda, Tokyo.[1] The company mainly publishes manga magazines of various genres and is involved in certain series' productions in their games, srcinal video animation, musical and their animated TV series.

About History Hakusensha was founded on December 1, 1973 by Shueisha, but is now a separate company although still a part of the Hitotsubashi Group together with Shueisha and Shogakukan as one of the major members of the keiretsu.

After setting up the company for 5 months, the firm published their first magazine, a sh€jo manga magazine titled as Hana to Yume (EとFめ) and in November that year, they moved from T€ky€-to, Chiyoda-ku, Kanda-Jinb€ch€ Ichi-ch€me (GH“ I)=Ñ - =- JK1QÀ) to Kanda-Jinb€ch€ San-ch€me (- =- JK3QÀ). Then in year 1975, the firm changed the frequency of their magazine from monthly to semi-monthly and in March, they created their first imprint, Hana to Yume Comics (EとFめÄÅß…³ ). In July 1976, Hakusensha's headquarters at their present they published their second manga magazine, a sh€jo manga magazine location. named Hana to Yume LaLa (EとFめ LaLa) as a sister magazine to Hana to Yume that is published bi-monthly. In April 1977, they set up a publication editing department and in July, they began publishing a seasonal magazine titled Bessatsu Hana to Yume (LMEとFめ).

Hakusensha In March 1981, they moved again from Kanda-Jinb€ch€ San-ch€me (- =- JK3QÀ) to Nishi-Kanda San-ch€me (N- =3QÀ) and in September, they branch out from their usual sh€jo manga magazines to a sh€nen genre by publishing Sh€nen Jets (~Ë ï sß O). Along with that, the company released their series in Sh€nen Jets under a new imprint, Jets Comics (ï sß OÄÅß…³ ) in July 1982. But as of January 2009, the magazine is now defunct but the imprint is still used to publish their seinen manga series serializing in Young Animal and Young Animal Arashi as well as certain series serializing in Melody. 3 years later on August, they published a new magazine, specialising under the josei genre, Silky that is published bi-monthly on even-numbered months. With that, they created an imprint for Silky's series to be published under Ladies' Comics (ÀÁÂ„³ÄÅß…³ ). In March 1989, they started publishing a seinen manga magazine called Animal House. 3 years after Animal House, they published Moe, a monthly magazine for picture books targeted towards sh€jo readers. In May that year when Moe was published, Animal House was renamed to Young Animal and was then published semi-monthly since. In March 1994, they created another imprint, Hakusensha Bunko (óC®   ). This imprint are for publishing manga in the bunkoban format. Moreover, in December 1995, they started publishing another magazine that was published seasonally, Sh€setsu HanaMaru (ZºEP) which is targeted towards the josei readers. In January 1996, they created another imprint for Sh€setsu HanaMaru (ZºEP),HanaMaru Comics (EPÄÅß…³ ). In July that year, they created another imprint, HanaMaru Bunko (EP  ). In September, they published Melody which publishes on odd-numbered months. On the same month, they moved from (N- =3QÀ) to Nishi-Kanda San-ch€me Kanda-Awajich€ Ni-ch€meqHakusensha Biru (- =QRK2QÀqóC® ·† ), their present location. 2 years later on April, they published LaLa DX with a frequency of bi-monthly on odd-numbered months. The company also began selling their drama CDs under Hakusensha CD Collection (óC® CDÄ À … rð Ý ) or abbreviated as HCD. In June 2001, they published Candy but as Animal of January 2009, has been discontinued. May 2005, they changed their special publication of Young Arashi intothea magazine monthly publication. In July 2006,InBessatsu Hana to Yume was changed to a monthly publication. HanaMaru Black (EPBLACK), a magazine targeted at readers of yaoi genre started its publication on May 2008. Their latest publication, Le Paradis, a manga anthology published triannually will publish its first issue on October 29, 2008.[3] [4] Source:

[5]

Media Mix Besides publishing, the company also release drama CDs of series under their magazines which are, Hana to Yume Series (EとFめr² „ F), Bessatsu Hana to Yume Series (LMEとFめr² „ F), LaLa Series (LaLar² „ F), Young Animal Series (‘Ý á ³Õê† r² „ F) and HanaMaru Series (EPr² „ F). Moreover, they are also involved in the productions of games, TV drama, theatrical movies, musicals, radio shows, TV animation and srcinal video animation. Series under the company can be read through mobile phones in Japan using the following service portals, Hakusensha e-Comics (óC® e-ÄÅß…³ ) and Hakusensha HanaMaru Bunko (óC® EP  ). Hakusensha e-Comics was started in September 2005 and is operated by both Hakusensha and CharaWeb. [6] This service is available in two variations and customers will have to pay 315 yen and 512 yen respectively to access this service every month.[6] Source:

[7]

64

Hakusensha

65

Sony PlayStation Portable manga distribution service It was announced in the press conference in the 2009 Tokyo Game Show that Hakusensha, together with 11 other publishing companies in Japan, such as Kodansha, Shueisha, Shogakukan, Square Enix, publishers associated with Kadokawa Shoten, Bandai Visual and Futabasha will provide nearly 100 titles of manga to supply the service in PlayStation Store. Hakusensha has yet to be provide details of the supplied titles for the service. This service is only available for Japanese PlayStation Portable consoles and will start in December 2009. Sources:

[8] [9]

Publications Manga magazines • • • • • • • • • • • •

Hana to Yume Bessatsu Hana to Yume The Hana to Yume LaLa LaLa DX Sh€nen Jets (defunct) Melody Silky Young Animal Young Animal Arashi HanaMaru Black Le Paradis

Source:[5] [10]

Other publications • Sh€setsu HanaMaru • Moe Source:

[5] [10]

Imprints Hakusensha publishes their books and manga under these imprints. • • • • • • • •

Hana to Yume Comics Jets Comics Hakusensha Ladies Comics HanaMaru Comics Hakusensha Bunko HanaMaru Bunko HanaMaru Novels HanaMaru Black

Source:

[11]

Hakusensha

Awards Hakusensha organizes contests to offer aspiring manga artist a professional debut as well to be affiliated with their magazines. These contests or awards are Hakusensha Athena Shinjin Taish€ (óC® ³テè t• ° S, Hakusensha Athena Newcomers' Awards), Hana to Yume Mangaka Course or else abbreviated as HMC, LaLa Mangaka Scout Course otherwise known as LMS, LaLa Manga Grand Prix , abbreviated as LMG and Big Challenge Awards, abbreviated as BC. Source:

[12]

Radio show There was previously a radio show hosted by voice actor, Takehito Koyasu and Atsushi Kisaichi called KoyasuKisaichi no HanaYume Check ni LaLa Shimasho (XTÅUíé EFめチß … õLaLaî まî ¶ ) that was broadcasted by Nippon Cultural Broadcasting. The radio show has ended in March 2002. The radio show was compiled into 2 CDs and is sold under Hakusensha's drama CD imprint, Hakusensha CD Collection, otherwise known as HCD.[13] [14]

References [1] "óC® B® V € Profile" (http:/ / www.hakusensha.co.jp/corporate/profile.html) (in Japanese). Hakusensha. . Retrieved 2009-05-05. [2] http:// www.hakusensha.co.jp/corporate/index.html [3] "Hakusensha to Launch Rakuen Anthology in October" (http:// www.animenewsnetwork.com/news/2009-09-15/ hakusensha-to-launch-rakuen-anthology-in-october). Anime News Network. . Retrieved 2009-10-02. [4] "tî ¹ fW³Ý X YÕ Z[\筆]/” … ³ ^² メÝ タ† " (http:/ / natalie.mu/comic/news/show/id/21183) (in Japanese). Comic Natalie. . Retrieved 2009-10-02. [5] "óC® B® V_ € History" (http:// www.hakusensha.co.jp/corporate/history.html) (in Japanese). Hakusensha. . Retrieved 2009-05-04. bcƒ E´ YóC® e-ÄÅß…³ Zd€„ ÷ Ý " (http:/ /plusd.itmedia.co.jp/mobile/articles/0509/08/news098.html) [6] "àÄÅß… (in Japanese). ITMedia Inc.. . Retrieved 2009-05-04. [7] "óC® B® V_ € Media Mix" (http:/ /www.hakusensha.co.jp/corporate/media_mix.html) (in Japanese). Hakusensha. . Retrieved 2009-05-04. [8] "Japan's Sony PSP Manga Distribution Service Detailed" (http:// www.animenewsnetwork.com/news/2009-09-24/ japan-sony-psp-manga-distribution-service-detailed). Anime News Network. . Retrieved 2009-09-25. [9] "PSPY÷ À E³ テ„ rð Ý qe„ タ+† Z™šÄÅß…ÄÝ テÝ Obc PlayStationStoreõf2009Ë 12ghi bchij¼µ :_klØ m® 11® õ¼þ タE´ † ö EÝ ³ß ÷ dno" (http:/ / www.scei.co.jp/corporate/release/090924i.html) (in Japanese). Sony Computer Entertainment Inc.. . Retrieved 2009-09-25. [10] "óC® B® V_ €Magazines" (http:/ /www.hakusensha.co.jp/corporate/magazines.html) (in Japanese). Hakusensha. . Retrieved 2009-05-04. [11] "óC® B® V_ € Books" (http:/ / www.hakusensha.co.jp/corporate/books.html) (in Japanese). Hakusensha. . Retrieved 2009-05-04. [12] "óC® pq‰rsë>!!" (http:// www.hakusensha.co.jp/mangaprize) (in Japanese). Hakusensha. . Retrieved 2009-05-04. [13] "Amazon.co.jp: EFめチß … õLaLaî まî ¶ : Ú ö ê, XTt• , Uíu: v" (http:/ / www.amazon.co.jp/dp/B00005NS3C/) (in Japanese). Amazon.co.jp. . Retrieved 2009-05-05. [14] "Amazon.co.jp: HCD XTÅUíé EFめチß … õLaLaî まî ¶ II: ö ï €qƒÝ´ö , XTt• , Uíu: v" (http:/ / www. amazon.co.jp/dp/B000063L1J/) (in Japanese). Amazon.co.jp. . Retrieved 2009-05-05.

66

Hakusensha

67

External links • Official Website (http:/ /www.hakusensha.co.jp) (Japanese) • Corporate Website (http:/ /www.hakusensha.co.jp/corporate/index.html) (Japanese) • Official Twitter of Hakusensha (http:/ /twitter.com/#!/hakusensha) (Japanese)

Kodansha Kodansha Limited (@AB® wx® Kabushiki-gaisha K€dansha),

the largest Japanese publisher, produces the manga magazines Nakayoshi, Afternoon, Evening, and Weekly Shonen Magazine, as well as more literary magazines such as Gunz€, Sh…kan Gendai, and the Japanese dictionary Nihongo Daijiten. The company has its headquarters in Bunky€, Tokyo.[1] As of 2010 the Noma family•relatives of the founder•continues to own Kodansha.

History

The head office of Kodansha

Seiji Noma (Noma Seiji) founded Kodansha in 1909 as a spinoff of the Dai-Nippon Y…benkai (Greater Japan Oratorical Society) and produced the literary magazine Y…ben as its first publication. The name Kodansha (taken from "K€dan Club", a now defunct magazine published by the company) srcinated in 1911 when the publisher formally merged with the Dai-Nippon Y…benkai. The company has used its current legal name since 1958. It uses the motto Omoshirokute tame ni naru ("To be interesting and beneficial"). Kodansha Limited owns the Otowa Group, which manages subsidiary companies such as King Records and Kobunsha, and publishes Nikkan Gendai, a daily tabloid. It also has close ties with The Walt Disney Company, and officially sponsors Tokyo Disneyland. The largest publisher in Japan, Kodansha once had an annual revenue of more than ¢200 billion. Revenues dropped due to the 2002 recession in Japan and an accompanying downturn in the publishing industry: the company posted a loss in the 2002 financial year for the first time since the end of the World War II. (The second-largest publisher, Shogakukan, has done relatively better. In the 2003 financial year, Kodansha had revenues of ¢167 billion, as compared to ¢150 billion for Shogakukan. Kodansha at its peak led Shogakukan by over ¢50 billion in revenue.) Kodansha sponsors the prestigious Kodansha Manga Award, which has run in its current form since 1977 (and since 1960 under other names). Kodansha's headquarters in Tokyo once housed Noma D€j€, a kendo practice-hall established by Seiji Noma in 1925. The hall was demolished in November 2007, however, and replaced with a d€j€ in a new building nearby. The company announced that it was closing its English-language publishing house, Kodansha International, at the end of April 2011.[2] Their American publishing house, Kodansha Comics USA, will still be open.

Kodansha

Relationships with other organizations The Kodansha company holds ownership in various broadcasters in Japan, and is believed to hold around 20% of the TBS Group's stock. It also holds shares in Nippon Cultural Broadcasting, along with Kobunsha. In the recent takeover-war for Nippon Broadcasting System between Livedoor and Fuji TV, Kodansha supported Fuji TV by selling its stock to Fuji TV. Kodansha has a somewhat complicated relationship with NHK, Japan's public broadcaster. Many of the manga and novels published by Kodansha have spawned anime adaptations. Animation such as Cardcaptor Sakura aired in NHK's Eisei Anime Gekij€ time-slot, and Kodansha published a companion-magazine to the NHK children's show Ok•san to Issho. The two companies often clash editorially, however. The October 2000 issue of Gendai accused NHK of staging footage used in a news report in 1997 on dynamite fishing in Indonesia. NHK sued Kodansha in the Tokyo District Court, which ordered Kodansha to publish a retraction and to pay ¢4 million in damages. Kodansha appealed the decision, and reached a settlement where it had to issue only a partial retraction, and to pay no damages.[3] Gendai's sister magazine Sh…kan Gendai nonetheless published an article which probed further into the staged-footage controversy which has dogged NHK.

Honors • Japan Foundation: Japan Foundation Special Prize, 1994. [4]

Publications • Gunzo, monthly literary magazine

References [1] " Company Overview (http:/ / www.kodansha.co.jp/english/company/company.html)." Kodansha. Retrieved on April 5, 2011. "Address: 12-21, Otowa 2-chome, Bunkyo-ku, Tokyo 112-8001, Japan" [2] Kamiya, Setsuko and Mizuho Aoki, " Kodansha International to close doors (http:// search.japantimes.co.jp/cgi-bin/nn20110304a1. html)", Japan Times, 4 March 2011, p. 1. [3] http:// engei.s17.xrea.com/gendai1/0001.html [4] Japan Foundation Special Prize, 1994 (http:/ / www.jpf.go.jp/e/ about/award/index.html)

External links • • • •

Kodansha Official Japanese website (http:/ /www.kodansha.co.jp/) (Japanese) Kodansha Official English Website (http:/ /www.kodansha.co.jp/english/index.html) Kodansha USA Official Website (http:/ /www.kodanshausa.com/) Kodansha Comics USA Official Website (http:/ /www.kodanshacomics.com)

68

Shogakukan

69

Shogakukan Shogakukan Inc @AB® Zyz

Type

Kabushiki gaisha

Industry

Publishing

Founded

August 8, 1922

Headquarters D101-8001

Tokyo-to, Chiyoda-ku Hitotsubashi 2-3-1 Area served

Japan

Key people

Masahiro Šga (president)

Products

Magazines, manga, picture books, light novels, educational books, reference books, other books

Employees

792(as of June 15, 2010)

Website

http:// www.shogakukan.co.jp

Shogakukan (Zyz Sh€gakukan) is a Japanese publisher of dictionaries, literature, manga, non-fiction, DVDs, and other media in Japan. Shogakukan founded Shueisha which founded Hakusensha. These are three separate companies, but are together called the Hitotsubashi Group, one of the largest publishing groups in Japan. Shogakukan is located in the Shogakukan Building in Hitotsubashi, Chiyoda, Tokyo,[1] and the other two companies are located in the same ward.

Shogakukan in the United States Shogakukan, along with Shueisha, owns Viz Media, which publishes manga from both companies in the United States. Shogakukan's licensing arm in North America was ShoPro Entertainment; it was merged into Viz Media in 2005. Shogakukan's production arm is Shogakukan Productions Co.,Ltd. (now Shogakukan Shueisha Productions). In March 2010 it was announced that Shogakukan would partner with the American comics publisher Fantagraphics [2]

to issue a line of manga to be edited by Matt Thorn.

Shogakukan

List of magazines published by Shogakukan Manga magazines Male oriented manga magazines Children's manga magazines

• CoroCoro Comic • Bessatsu CoroCoro Comic • CoroCoro Ichiban! Sh€nen manga magazines

• • • •

Sh€nen Sunday Bessatsu Sh€nen Sunday (discontinued) Sh€nen Sunday Super Monthly Sh€nen Sunday

Seinen manga magazines

• Big Comic • Big Comic Business • Big Comic Original • Big Comic Spirits • Monthly Big Comic Spirits • Big Comic Special • Big Comic Superior • IKKI • Monthly Sunday Gene-X • Weekly Young Sunday(discontinued) Female oriented manga magazines Sh€jo manga magazines

• • • • • •

Betsucomi Cheese! ChuChu Ciao Pochette Sh€jo Comic

70

Shogakukan Josei manga magazines

• flowers • Judy • Petit Comic

Fashion magazines • CanCam

List of manga published by Shogakukan • • • • • • • • • • • • • •

7 Seeds A Cruel God Reigns Bakus€ Ky€dai Let's & Go!! Dengeki Daisy Detective Conan Doraemon Duel Masters Esper Mami H3 School! (Happy Hustle High) Happy! Hayate the Combat Butler In the Bathroom InuYasha Law of Ueki

•• • • • • • • • • • • • • • • •

Law UekizoPlus Kamiofnomi Shiru Sekai Kare First Love Kaze to Ki no Uta Kekkaishi Kikaider Kimi no Tonari de Seishunchuu Kiteretsu Daihyakka Konjiki no Gash Bell! (Zatch Bell!) Maison Ikkoku MŽR Midori no Hibi (Midori Days) Mobile Police Patlabor Monster O~i! Ry€ma Pluto Pocket Monsters

• Pocket Monster • Pocket Monsters SPECIAL (Pok‚mon Adventures) • Den-Geki! Pikachu (Pok‚mon: The Electric Tale of Pikachu) • Pocket Monsters PiPiPi Æ Adventures (Magical Pok‚mon Journey) • Pok‚mon Fushigi no Danjon Ginji no Ky…jotai (Pok‚mon Mystery Dungeon: Ginji's Rescue Team) • Prefectural Earth Defense Force

71

Shogakukan • • • • • • • • • •

RahXephon Ranma Œ Rekka no Hon€ (Flame of Recca) Revolutionary Girl Utena Rockman EXE (MegaMan NT Warrior) Saikano Selfish Fairy Mirumo de Pon (Mirmo Zibang!) Sonic the Hedgehog Sora wa Akai Kawa no Hotori (Red River) SP: Security Police

• • • • • • •

Spriggan Super Mario-Kun Cirque du Freak Togari Urusei Yatsura Yaiba Yakitate!! Japan

References [1] " Ù {Ì (http:// www.shogakukan.co.jp/main/company/location.html)." Shogakukan. Retrieved on October 1, 2009. [2] Deppey, Dirk (March 8, 2010). "Journalista reputation-destroying extra: Four years„ work" (http:// www.tcj.com/manga/ journalista-reputation-destroying-extra-four-years-work). Journalista!. The Comics Journal. . Retrieved 8 March 2010.

New Manga Awards Shogakukan has awards for amateur manga artist who want to become professional. It allows people to either send in their manga by mail or bring it in to an editor.

External links • Shogakukan website (http:/ /www.shogakukan.co. jp/english/) • Shogakukan website (http:/ /www.shogakukan.co. jp/) (Japanese) • Shogakukan Productions Co., Ltd. (http:/ /www.animenewsnetwork.com/encyclopedia/company. php?id=1017) at Anime News Network's Encyclopedia

72

Shueisha

73

Shueisha Shueisha Inc.

Type

Kabushiki kaisha

Industry

Publishing

Founded

1925 (founded) 1949 (formed)

Headquarters D101-8050

Chiyoda, Tokyo Hitotsubashi 2-5-10 Area served

Japan

Key people

Hideki Yamashita (president)

Products

Magazines, manga, picture books, light novels, educational books, reference books, other books

Employees

812 (475 men, 337 women) (as of July 2009)

Divisions

Viz Media, Shueisha-Shogakukan Productions

Subsidiaries Home-sha Website

shueisha.co.jp

[1]

Shueisha Inc. (@AB® ë|® Kabushiki Kaisha Sh…eisha, lit. "Shueisha Publishing Co., Ltd.") is a major

publisher Japan. The company was founded 1925 as became the entertainment-related publishingcompany. division ofMagazines Japanese publisher inShogakukan. The following year, in Shueisha a separate, independent published by Shueisha include Weekly Sh€nen Jump, Weekly Young Jump, Non-no, and Ultra Jump. Shueisha, along with Shogakukan and Hakusensha, own Viz Media, which publishes manga from both companies in the United States. It is headquartered in Chiyoda, Tokyo. [2]

Shueisha

History In 1925, Shueisha was created by major publishing company Shogakukan (founded in 1922). A novel called Jinj€ Sh€gaku Ichinen Josei (}~Z• Ë Æ €) became the first novel published by Shueisha in collaboration with Shogakukan•the temporary home of Shueisha. In 1927, two novels titled Danshi Ehon, and Joshi Ehon were created. In 1928, Shueisha was hired to edit Gendai Y…moa Zensh… ()¤„ ’³ôë), a compilation of the author's works. Gendai Y…moa Zensh… continued 12 volumes, some issues being Joshi

Shinjidai ei Sh…ji Ch€ and Shinjidai ei Sh…ji Ch€ (tj)|‚^ƒ). In the 1930s another novel called Tantei-ki Dan was launched and Gendai Y…moa Zensh… was completed in 24 volumes. In 1931 two more novels were launched, Danshi Y€chien and Joshi Y€chien. The preceding year of 1933 was used to repair the Shueisha building in Hitotsubashi and moved down three addresses. [3] After World War II, Shueisha started publishing a manga line called Omoshiro Book. Omoshiro Book published a picture book called Sh€nen ‰ja, which became a huge hit among boys and girls in that Shueisha Jimbocho Building in Chiyoda, Tokyo, Japan period. The first full volume of Sh€nen ‰ja was released as Sh€nen ‰ja Oitachi Hen, which became an instant best-seller. The first magazine published by Shueisha was Akaru ku Tanoshi i Sh€nen-Sh€jo Zasshi. In September 1949, Omoshiro Book was made into a magazine with all the contents of the former line. In 1950, a special edition of the magazine was published under the title "Hinomaru". In addition to Omoshiro Book, a female version was published in 1951: Sh€jo

Book which featured manga aimed at adolescent girls. The Hitotsubashi building of Shueisha became completely independent in 1952. In that year, Omoshiro Book ceased publication and My€j€ began publication as a monthly magazine. The series of Omoshiro Book were published in bunkoban editions under the Omoshiro Manga Bunko line.[4] A novel called Yoiko Y€chien was published and Omoshiro Book was replaced with another children's manga magazine called Y€nen Book. In 1955, the success of Sh€jo Book led to the publication of currently running Ribon. The novel Joshi Y€chien Kobato began publication in 1958. On November 23, a special issue of My€j€ entitled Weekly My€j€ was released. In 1951, another male edition of Sh€jo Book was released after Omoshiro Book ceased publication, Sh€nen Book was made and additionally Sh€jo Book series were released in bunkoban editions under the Sh€jo Manga Bunko imprint. In the 1960s, another spin-off issue of My€j€ was released called Bessatsu Weekly My€j€. Shueisha continues to publish many novels. A compilation of many Omoshiro Book series was released as Sh€nen-Sh€jo Nippon Rekishi Zensh… complete in 12 volumes. Many other books were published including Hirosuke Y€nen D€wa Bungaku Zensh…, Hatachi no Sekkei, D€d€ Taru Jinsei , Shinjin Nama Gekij€, and Gaikoku Karakita Shingo Jiten. In 1962, Shueisha published a female version of My€j€ entitled Josei My€j€ and many more novels. In 1963, Shueisha began publication of the widely successful Margaret with the additional off-shoot Bessatsu Margaret. A novel entitled Ukiyoe Hanga was released complete in 7 volumes and the picture book Sekai 100 Nin no Monogatari Zensh… was released in the usual 12. In 1964, Kanshi Taikei was released in 24 volumes plus a reprint. Also in that year a line of novels, Compact Books was made and a line of manga called Televi- Books ("Televi": short for "Television"). In 1965, two more magazines were made Cobalt and the Sh€nen Book off-shoot Bessatsu Sh€nen Book.[5] In 1966, Shueisha began publication of Weekly Playboy, Seishun to Dokusho and Sh€setsu Junia. A novel called Nihonbon Gaku Zensh… spawned a great 88 volumes. Another manga magazine was made entitled Young Music. Deluxe Margaret began publication in 1967 and the additional Maragret Comics and Ribon Comics lines. In 1968

74

Shueisha

75

the magazine Hoshi Young Sense began publication as spin-off to the short-lived Young Sense. Later in that year Margaret launched the Seventeen magazine as a Japanese version of the English. Sh€nen Jump was created in the same year as a semi-weekly magazine. Another children's manga magazine was created in that year called Junior Comic and another Ribon spin-off called Ribon Comic. In 1969 the magazine Joker began publication along with guts. Several other novels were published. The magazine Bessatsu Seventeen began publication. In that year Sh€nen Jump became a weekly anthology and correctly changed its title to Weekly Sh€nen Jump. Following up to the end of Sh€nen Book a spin-off of Weekly Sh€nen Jump started at the same time as it became weekly, Bessatsu Sh€nen Jump. The 1970s started with the launch of the novel magazine Subaru and in 1971 the Non-no magazine began publication and the Ocean life magazine. The novel series Gendai Nippon Bijutsu Zensh… spawned 18 volumes and became a huge seller. In 1972 Roadshow began publication and The Rose of Versailles begins in the Margaret

Comics line gaining massive popularity. In 1973 the Playgirl magazine began publication and the novel series Zenshaku Kanbun Taikei spawning a huge 33 volumes. In 1974 Weekly Sh€nen Jump launched Akamaru Jump and Monthly Sh€nen Jump was launched to follow after Bessatsu Sh€nen Jump end. Also Saison de Non-no began its launch.[6] Shueisha announced that in the summer of 2011, it will launch a new manga magazine titled "Miracle Jump."[7]

Magazines Magazine

Defunct?

Medium

Omoshiro Book (おgî ¾+ß … )

Yes

Sh€nen and Sh€jo manga

Hinomaru (¼¹ Ì é とg)

Yes

Sh€nen and Sh€jo manga

Sh€jo Book (~Æ +ß … )

Yes

Sh€jomanga

My€j€ (ˆ .)

No

Popular culture and music

Y€nen Book („Ë +ß … ) Ribon (µ » º )

Yes No

Children manga Sh€jomanga

Weekly My€j€ (…†ˆ .)

Yes


Sh€nen Book (~Ë +ß … )

Yes

Sh€nenmanga

Bessatsu My€j€ (LM…†ˆ .)

Yes


Josei My€j€ (Æ Ç ˆ .)

Yes

Women's fashion

Margaret (ê„ ÙÀ ß ´ )

No

Sh€jomanga

Bessatsu Margaret (LMê„ ÙÀ ß ´ )

Yes

Sh€jomanga

Bessatsu Sh€nen Book (LM~Ë +ß … )

Yes

Sh€nenmanga

Weekly Playboy (…†÷ À ED„ E)

No

Men's and Seinen manga

Sh€setsu Junai (Zºï ‡Õ³)

Yes

Novels

Nihonban Gaku Zensh… (日„ yôë)

Yes

Seishun to Dokusho(Ê ˆと‰ß) Young Music (‘Ý á Å ‡„ïß… )

No Yes

Deluxe Maragret (Áöß…³

Yes

ê„ ÙÀ ß ´ )

Bessatsu Young Sense (ˆ .‘Ý á Ý ³ )

Yes

Weekly Seventeen (…†+Ý テÂ „ Ý )

Yes

Joker (ïð„Û„

Yes

Guts (guts)

)

Yes

Graphicsandart Music

Shueisha

76 Weekly Sh€nen Jump (…†~Ë ï ャÝ ÷ )

No

Bessatsu Sh€nen Jump (LM~Ë ï ャÝ ÷ )

Yes

Subaru (mþ )

No

Non-no (ŠÝ ‹Š)

No

Ocean life (€„ rャÝ ö Eフ)

Yes

Roadshow ( „ Ú rð „ )

No

Monthly Seventeen (g†+Ý テÂ „ Ý )

Yes

Play Girl (÷ À EÙ„ † )

Yes

Monthly Sh€nen Jump (g†~Ë ï ャÝ ÷ ) Saison de Non-no(SAISON de nonqno)

Yes Yes

Weekly Maragaret (…†ê„ ÙÀ ß ´ )

Yes

Playboy (÷ À ED„ E)'

No

More (MORE)

No

Bessatsu Hair Catalog (ˆ .Œ³Û タ á )

Yes

Bouquet (û š )

Yes

Weekly Young Jump (…†‘Ý á ï ャÝ ÷ )

No

Cosmopolitan (Ä ³ ’e² タÝ )

No

Ribon Original (µ » º €²ïè†

No

)

You (¤„ )

No

Cobalt (COBALT)

No

Non-no More Books (nonqno MORE BOOKS) Lee (² „ )

No No

Sumuappu (ƒ ,³ß ÷ )

Yes

Dunk (DUNK)

Yes

Office You (OFFICE YOU)

No

Business Jump (·ï Ž³ ï ャÝ ÷ )

No

Men's Non-no (メÝ FŠÝ Š)

No

Young You(‘Ý á ¤„ )

Yes

J€h€ Chishiki Imidas (#q‘ imidas)

Yes

Sh€setsu Subaru(Zºmþ )

No

Monthly Bees Club (g†Ü ³„ F… ö +)

Yes

Monthly Tiara (g†テÂ ³ö )

Yes

Super Jump (³„â„ï Spur (SPUR)

No No

ャÝ ÷ )

Bart (バ„ ´ )

Yes

Tanto (TANTO)

Yes

V Jump (Vï ャÝ ÷ )

No

Fresh Jump (フÀ ß r‡ï ャÝ ÷ )

Yes

Chorus (Ä„ö³

No

)

Shueisha

77 All Natural (’³qè チ‡ö † )

Yes

Manga Allman (êÝ Ùq€„ † êÝ )

Yes

Tepee (Tepee)

Yes

Telekids (テÀ à ß F)

Yes

Maple (メE÷ † )

Yes

Shueisha Shinsho(ë|® tß)

No

Ultra Jump (K†´öï

No

Cookie (…ßà„

ャÝ ÷ )

No

)

Baila (BAILA) Sportiva (³ e† テÂ „ バ)

No No

Maquia (MAQUIA)

No

Pinky (PINKY)

No

Yomu Ningen Dock Kenk€ Hyakka (‰’• “Úß… Uomo (UOMO)

”é¤ ¥ ) Yes

No

Monthly Young Jump (g†‘Ý á ï ャÝ ÷ )

No

Seinenmanga

Jump SQ. (ï ャÝ ÷ SQ.)

No

Sh€nenmanga

Shueisha Kanzenban magazines The major publisher Shueisha has published many Kanzenban magazines. Kanzenban magazines consist of one series being published in the magazine for roughly a year and then another and so on, unlike normal manga magazines which have a variety of series. The select series in the magazine has chapters from roughly 3 volumes in every issue. Monthly Comic Tokumori Monthly Comic Tokumori (g†ÄÅß…

– Gekkan Kommiku Tokumori) is a seinen Kanzenban magazine[8]

published by Shueisha's subsidiary Home-sha.[9] The magazine currently serializes the samurai-based Nobunaga no Kyodai Tetsu Fune: Sengoku no Umi o Seisu every month.[9] Shueisha Original

Sh…eisha Orijinaru) is a multi-demographic manga magazine published by Shueisha. The magazine features an individual Kanzenban of a classic Shueisha manga series. Each issue is a continuation of the last Kanzenban. Shueisha Original has only featured two series which both have run in the magazine for a long time. The first series was Chibi Maruko-chan from the sh€jo manga anthology Ribon. Chibi Maruko-chan ran in the magazine from August 2007 to January 2008. Rokudenashi Blues by Masanori Morita which Shueisha Original (ë|® €²ïè†

ran in Weekly Sh€nen Jump started on March 2008 and is still currently running in Shueisha Original.

Shueisha Shueisha Remix

Sh…eisha Rimikkusu) is a one of many Kanzenban magazines published by Shueisha. Shueisha Remix magazines are split into four lines: Shueisha Jump Remix, Shueisha Girls Remix, Shueisha Home Remix and Shueisha International Remix. Shueisha Remix (ë|®²Åß…³

References [1] [2] [3] [4]

http:// www.shueisha.co.jp/ " B® V_ (http:/ / www.shueisha.co.jp/company_info/)." Shueisha. Retrieved on October 1, 2009. "ë|® Z_—˜™š" (http:/ / www.shueisha.co.jp/history/history1.html). Shueisha. . Retrieved 2008-11-26. "ë|® Z_—˜™š" (http:/ / www.shueisha.co.jp/history/history2.html). Shueisha. . Retrieved 2008-11-26.

[5] "ë|® Z_—˜ ›š" (http:/ / www.shueisha.co.jp/history/history3.html). Shueisha. . Retrieved 2008-08-12. [6] "ë|® Z_—˜ ›š" (http:/ / www.shueisha.co.jp/history/history4.html). Shueisha. . Retrieved 2008-12-12. [7] "Manga powerhouse Shueisha announces new magazine" (http:// asiapacificarts.usc.edu/ article@apa?manga_powerhouse_shuseisha_announces_new_magazine_16705.aspx). Asia Pacific Arts. 05/06/2011. . [8] "g†ÄÅß… –" (http:/ / www.shueisha.co.jp/CGI/magazine/rack.cgi/magazine/tokumori.html?key=detail&zashimei=tokumori& janru=menc). Shueisha. . Retrieved 2008-12-25. [9] "g†ÄÅß… –" (http:/ / www.shueisha.co.jp/home-sha/manga/tokumori/). Shueisha. . Retrieved 2008-12-25.

External links • Official Shueisha website (http:/ /www.shueisha.co.jp/) (Japanese)

78

Tokyopop

79

Tokyopop Tokyopop Former type

Private

Industry

Publication

Genre

Manga, Japanese light novels, graphic novels, srcinal English-language manga

Fate

Active (Germany publishing division only)

Founded

Los Angeles, California, United States (1997)

Founder(s)

Stuart J. Levy

Defunct

2011 (US publishing division)

Headquarters

Los Angeles, California, United States

Number of locations2 Area served

Germany (active); United States, Japan (previously)

Key people

Stuart J. Levy, Founder, CEO, & CCO John Parker, President & COO Victor Chin, Vice President of Inventory Control Bill Josey, General Counsel & Vice President, Business and Legal Affairs [1] Mike Kiley, Publisher

Revenue

$35 million (2003)

Parent

Mixx Entertainment

Website

German division: tokyopop.de

[2]

[3]

Tokyopop, styled TOKYOPOP, and formerly known as Mixx, is a distributor, licensor, and publisher of anime, manga, manhwa, and Western manga-style works. The existing German publishing division produces German translations of licensed Japanese properties and srcinal English-language manga, as well as srcinal German-language manga. Tokyopop's defunct US publishing division previously published works in English and Japanese. Tokyopop formerly had its US headquarters in the Variety Building in Los Angeles, California,[4] and branches in the United Kingdom and Germany. Tokyopop products are available internationally.

On April 15, 2011 the ComicsBeat website announced that US publishing operations at Tokyopop would be shutting down on May 31, 2011; the German branch of the company would continue to publish for the international market.[5] Company president Stu Levy posted a farewell letter[6] on the American Tokyopop website; however, this site was redirected to the Tokyopop Facebook page [7] beginning in May, 2011.[8]

The Variety Building, the location of the Tokyopop headquarters

Tokyopop's official twitter account has recently stated that its "ultimate goal is to start publishing manga again". With this Stu Levy implies that they might restart publishing manga. [9]

Tokyopop

History Tokyopop was srcinally founded in 1997 by Stuart J. Levy. [2] In the late 1990s the company headquarters were in Los Angeles.[10] When the company was known as Mixx, it sold MixxZine, a manga magazine. Mixx also sold the sh€jo manga anthology Smile. Mixxzine later became Tokyopop before it was discontinued. In 2002, Tokyopop began selling "unflopped" manga, branding it as "100% Authentic Mangaƒ, which permitted Tokyopop to undercut other companies.[11] Matt Thorn characterises Tokyopop as "cutting corners on everything" in order to bring the price of manga below $10 per volume, cheap enough for children to buy, and says that this has spread to other US manga publishing companies.[12] In 2005, Tokyopop began a new, free publication called Manga (srcinally Takuhai) to feature their latest releases. Tokyopop is one of the biggest manga publishers outside of Japan and as such has been attributed with popularizing manhwa in the United States. Brad Brooks and Tim Pilcher, authors of The Essential Guide to World Comics. London, said that Tokyopop "published many Korean artists' work, possibly without Western fans even realizing the strips don't come from Japan. Series like King of Hell by Kim Jae-hwan and Ra In-soo, and the Gothic vampire tale Model by Lee So-young are both Korean, but could easily be mistaken for manga." [13] In March 2006, Tokyopop and HarperCollins Publishers announced a co-publishing agreement in which the sale and distribution rights of some Tokyopop manga and books, under this co-publishing license, would be transferred to HarperCollins in mid-June 2006. The agreement also enabled Tokyopop to produce srcinal English-language manga (OEL) adaptations of HarperCollins' books. Meg Cabot's books were the first to be adapted into the manga format, along with the Warriors series by Erin Hunter.[14] The first line of Tokyopop-HarperCollins OEL manga was released in 2007 with the goal of publishing up to 24 titles each year. [15] Tokyopop has released several series based on American games, films, and characters, such as Warcraft,[16] [17] the Kingdom Hearts video game series, and Jim Henson films. [18] They released the first volume of a series based on the

Hellgate: London video game in April 2008.[19]

2008 restructuring In June 2008, the company announced that it was being restructured, with its name being changed to Tokyopop Group, a holding group for several new subsidiaries. The existing Tokyopop operations in the United States would be split into two subsidiaries: Tokyopop, Inc., and Tokyopop Media. Tokyopop, Inc., consists of the company's existing publications business, while Tokyopop Media focuses on the company's digital and comics-to-film works.[20] Tokyopop Media will also manage the Tokypop website, which will continue to promote its publications.[21] According to Tokyopop representative Mike Kiley, the division into two companies would allow the company to "set things up in ways that would very clearly and definitively allow those businesses to focus on what they need to do to succeed. The goals in each company are different and the achievement of those goals is more realistic, more possible if everyone working in each of those companies is very clearly focused." [21] During the restructure, Tokyopop laid off 39 positions, equating to 35 €40% of its total American workforce. Most of the positions cut were those involved in the direct publication of its books. [20] [21] The publication output from Tokyopop, Inc., was scaled back. Tokyopop reported that it would be cutting the volumes released per year by approximately 50%, to an average of 20 €22 volumes per month.[21] [22] [23] Tokyopop's Japan division was also to be split, with one unit operating under Tokyopop Media and the other becoming a subsidiary under the overall Tokyopop Group. [23] In response to Tokyopop's restructuring, declining sales, and losing 20% of its manga market share, Tokyopop UK cut its publication release schedule from approximately 25 volumes a month to 20. [24] In December 2008, citing "dramatically low sales" in the publishing industry as a whole, Tokyopop, Inc., laid off eight more employees, including three editors, and noted that the company would have to rearrange some of its

80

Tokyopop upcoming publication schedules.[25] [26]

Loss of Kodansha licenses Licenses from the Japanese manga publisher Kodansha historically were a large part of Tokyopop's catalog. In the years leading up to 2009, the number of Kodansha titles licensed by Tokyopop decreased. The final new Kodansha title was Tokko by Tohru Fujisawa, and the final batch of volumes of Kodansha titles appeared around March 2009. Around that time Kodansha began to consistently give licenses to its manga to Del Rey Manga. Deb Aoki of About.com said "Well, more or less. You get the idea. If you're the type who reads the tea leaves of the manga publishing biz, you kinda sensed that things weren't quite the same as they used to be." [27] On August 31, 2009, Tokyopop announced that Japanese manga publisher Kodansha was allowing all of its licensing agreements with both the North American and German divisions of Tokyopop to expire for reasons unknown. Due to this loss in licensing, Tokyopop was forced to leave several Kodansha series unfinished, including popular series Rave Master, Initial D , GetBackers, and Life. It also would be unable to reprint any previously published volumes, rendering all Kodansha-owned Tokyopop releases out-of-print.[28] Several other titles licensed and published by Tokyopop, including best sellers Cardcaptor Sakura, Chobits, Clover, and Magic Knight Rayearth, were reacquired by Dark Horse Comics, though two other titles Kodansha licensed to Dark Horse had since transferred to Random House. [27] [28] Samurai Deeper Kyo was relicensed by competitor Del Rey Manga, a division of Random House, which published the remaining volumes of the series. [28] Tokyopop said that it expected the loss of the licenses to have minimal impact on the company economically due to its diversification of their holdings over the last few years, though they acknowledged the loss would hurt fans of the ongoing series who face uncertainty about the completion of those titles from other companies. ICv2 reported that Tokyopop would continue to publish light novels from Kodansha, and that Kodansha appeared to be planning to publish its own titles through its partnership with Random House. [29] In an interview with the website Anime Vice, Tokypop Marketing Manager Kasia Piekarz noted that the company was not entirely surprised by the move, stating, "It wasn't completely unexpected as we haven't licensed anything new from Kodansha in quite some time. What surprised us most was that they canceled licenses for series that were almost finished, such as Samurai Deeper Kyo and Rave Master. From a fan and collector's perspective, that doesn't make sense to us."[30]

Resignations and layoffs In February 2011, the President and Chief Operating Officer, John Parker, resigned from the company and took the position of Vice President of Business Development for Diamond. This came shortly after Diamond became Tokyopop's new distributor, taking the business from Harper Collins. Tokyopop did not name a replacement for Parker. Parker's departure left only three remaining executives: the founder and CEO, Stuart Levy; Mike Kiley, Publisher; and Victor Chin, Vice President of Inventory. On March 1, Tokyopop continued layoffs, removing many high-profile employees such as long-time manga editors Lilian Diaz-Przyhyl and Troy Lewter. Tokyopop's management also eliminated the position of Director of Sales Operations. In an interview with ICv2, Stuart Levy revealed that the layoffs were due to Borders Group, Tokyopop's largest customer, filing bankruptcy in March 2011, no longer carrying Tokyopop stock, and not paying debts that the company owed to Tokyopop. [31]

81

Tokyopop

North American publishing shutdown On April 15, 2011, Tokyopop announced that it would close its Los Angeles, CA-based North American publishing operations on May 31, 2011. According to the release, Tokyopop's film and television projects, as well as European publishing operations and global rights sales, will not be closing. However, it was later announced via the Tokyopop facebook pages that the UK branch would cease to operate after May 31st due to their reliance on the importing of the North American branch's product. [32] Stuart Levy, Tokyopop's founder, also released a personal statement reaffirming Tokyopop's role in introducing manga to the mainstream North American audience and thanking fans, creators, and employees for their dedication. [33] On May 24, Tokyopop stated that the manga they licensed would revert to their srcinal respective owners, who may license the titles to other companies. [34]

Foreign markets Tokyopop Germany In the summer of 2004, Tokyopop founded its first foreign branch in Germany, incorporated as Tokyopop GmbH and headquartered in Hamburg. The first manga and manhwa by Tokyopop Germany were published in November 2004, and the first anime in the fall of 2005. In 2006, Tokyopop GmbH entered a "strategic partnership" with the Japanese publisher Shueisha, allowing them to publish popular titles such as Death Note, and Bleach. [35] According to then-sales manager Vincent Lampert, Tokyopop GmbH was the second-largest manga publisher in Germany in 2010.[36] The company has also released a number of srcinal German-language manga, including Gothic Sports, winner of a 2007 Sondermann award.[37] Tokyopop GmbH continues to operate as a publisher of German-language manga for the international market after the closure of the US publishing office.

Other overseas markets Also in 2004, in Tokyopop setKingdom. up a London, UK, office that an mainly books fromUnited the U.S. and distributes to bookstores the United Tokyopop released animeimports collection in the Kingdom market inthem late 2006, including titles such as Initial D and Great Teacher Onizuka. Vampire Princess Miyu was released on DVD by MVM Entertainment, and the Toonami television channel aired the first half of Rave Master in early 2005. It was announced via the official Tokyopop facebook page that because the UK branch mainly imported the North American branch's translated titles, the UK branch will become defunct. Levy also mentioned that the only branch left open would be the German office. [38] [39] Tokyopop also distributes some of their titles to Australia and New Zealand through Funtastic, who recently acquired Madman Entertainment. In Greece, Tokyopop-owned properties are licensed by Anubis Comics.

Imprints Blu Manga Blu Manga is an imprint under which Tokyopop publishes sh€nen-ai and yaoi manga titles. The imprint was launched in 2005. Initially, the company denied that it owned Blu, stating that it was only distributing for another company. The company also released no editor names nor company contact info, out of fear there would be backlashes and hate mail from "moral crusaders." [40] In 2006, the company confirmed Blu was their own imprint. [40] [41] Blu Manga consider that they have "non-girly" branding which has enabled the imprint, in a genre stereotypically by women for women, to reach out to a male or gay audience. [42] Early titles published by BLU were Earthian, Love Mode, and Shinobu Kokoro.[43]

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Criticism Americanization Fans critical of possible mishandling of the Initial D property voiced concerns regarding "editorial changes" in the language localization of the manga and anime.[44] The changes included renaming of several characters and the removal of one character's involvement in enjo k€sai, a practice in Japan where younger women are paid to provide older men with companionship.[44] [45] In a letter sent to Anime News Network, Tokyopop responded to the criticisms, noting that they felt the edits were necessary because they were marketing the series to a younger target audience than it was srcinally designed for in Japan. They also felt that the series would reach a larger audience if it had a broader American appeal.[44] We also know that we have a responsibility to be true to the spirit of the srcinal Japanese version of Initial D. So, we start having lots of late night sessions about how to present Initial D to the widest possible audience and yet still retain its core essence... We are passionate about anime and manga, and we believe in helping spread the word to as many people as we can. •Tokyopop Staff, Anime News Network[44] The company alleviated some of the concerns by noting that the anime series would receive an "unedited, subtitled, Japanese language" DVD release. The manga series remained edited except for the first volume, which was accidentally printed before the editing decisions were made.[44]

Tokyopop Tour The Tokyopop Tour is a web-based documentary series created to search for "America's Greatest Otaku." The company developed the idea for the Tour back in 2009. It was to feature a group of Tokyopop Interns, called the "Otaku Six" and Tokyopop's CEO, Stu Levy. Filming them as they traveled across America. The show was filmed in summer of 2010 documenting various "otaku" culture hotspots from July 1, 2010, to August 25, 2010. [46] Filming in over twenty-cities, in order of travel, Los Angeles, San Francisco, Salt Lake City, Denver, Dallas, Kansas City, Albuquerque, Phoenix, San Diego, Oklahoma, Nashville, Baltimore, Washington D.C., New York City, Philadelphia, Indianapolis, Louisville, Atlanta, New Orleans, and Chicago. The show was advertised as also a competition. Applicants were filmed all over the U.S in hopes of gaining the title "America's Greatest Otaku" and to win a trip to Japan. [47]

The Otaku Six cast mates involved in the web-based documentary series include:'[48] [49] [50] 1. Andre Jeanjacques [51] [52] from San Antonio, TX, One of the Otaku Six [53] 2. Diana Hsu [54] [55] from St. Louis, MO, One of the Otaku Six [56] 3. Dominique Therese Kruse [57] [58] from Anchorage, AK One of the Otaku Six [59] [60] 4. Meera Marie[61] [62] from St. Charles, IL, One of the Otaku Six 5. Stephan Cho[63] [64] from New York, NY, One of the Otaku Six [65] 6. William Sullivan Brown[66] [67] from Seattle, WA, One of the Otaku Six [68]

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References [1] "Executive Team: Introduction" (http:/ / www.tokyopop.com/corporate/about_us/exec._team). Tokyopop. . Retrieved 2007-12-25. [2] Jarvis, Michael (2003-10-26). "The Godzilla-Sized Appeal of Japan's Pop Culture" (http:// pqasb.pqarchiver.com/latimes/access/ 430966331.html?dids=430966331:430966331&FMT=ABS&FMTS=ABS:FT&type=current&date=Oct+26,+2003&author=MICHAEL+ T.+ JARVIS&pub=Los+Angeles+Times&edition=&startpage=I.9&desc=Metropolis+/+Chat+Room;+The+Godzilla-Sized+Appeal+ of+Japan's+Pop+Culture). Los Angeles Times: p. 9. . [3] http:// www.tokyopop.de [4] " Contact Us (http:/ /www.tokyopop.com/corporate/contact_us)." Tokyopop. Retrieved on April 17, 2011. "TOKYOPOP Variety Building 5900 Wilshire Boulevard 20th Floor Los Angeles, CA 90036-5020" and "(One block east of Fairfax and across the street from the Los Angeles County Museum of Art.)" [5] "End of an era: To kyopop shutting down" (http:/ /www.comicsbeat.com/2011/04/15/end-of-an-era-tokyopop-shutting-down/). The Beat. . Retrieved April 15, 2011. [6] Levy, Stu (15 April 2011). "Stu Levy's Personal Message: On Tokyopop's Closing" (http://www.icv2.com/articles/news/19870.html). ICv2. . Retrieved 26 September 2011. [7] "TOKYOPOP" (http:/ / www.facebook.com/TOKYOPOP/). Facebook. . Retrieved 26 September 2011. [8] "http:/ / www.tokyopop.com" (http:/ /wayback.archive.org/web/*/ http:// www.tokyopop.com/). The Internet Archive. . Retrieved 26 September 2011. [9] "http:/ / animenewsnetwork" (http:// www.animenewsnetwork.com/news/2011-10-12/tokyopop-confirms-intent-to-publish-manga-again). . Retrieved 12 October 2011. [10] " MIXX'S SAILOR MOON MANGA IS THE NUMBER 1 GRAPHIC NOVEL OR TRADE PAPERBACK IN AMERICA! (http://web. archive.org/web/20001029221527/http:// www.mixxonline.com/mixxonline/company/press_releases/pr_990618_sailor_tops.html)" Mixx Entertainment. June 18, 1999. Retrieved on August 21, 2011. "Mixx Entertainment, Inc. 746 W. Adams Blvd. Los Angeles, CA 90089-7727" [11] http:/ /academinist.org/wp-content/uploads/2010/06/MP03_02_02Noonan_Child.pdf [12] http:/ /matt-thorn.com/wordpress/?p=495 [13] Brooks, Brad; Pilcher, Tim (2005-10-28). The Essential Guide to World Comics. London: Collins & Brown. ISBN 1-84340-300-5. [14] Wyatt, Edward (2006-03-28). "Comic Book Publisher Switches a Deal to HarperCollins" (http:// www.nytimes.com/2006/03/28/ business/media/28comics.html?scp=3&sq=meg+cabot&st=nyt). The New York Times. . Retrieved 2010-05-25. [15] Crum, Erin (2006-03-27). "HarperCollins Publishers and Tokyopop Announce Innovative Co-Publishing, Sales, and Distribution Agreement" (http:/ /www.harpercollins.com/footer/release.aspx?id=423&b=&year=2006). HarperCollins Publishers. . Retrieved 2006-04-10. [16] Fahey, Mike (2008-04-17). "Tokyopop Publishing More Warcraft, StarCraft Manga" (http:// kotaku.com/380931/ tokyopop-publishing-more-warcraft-starcraft-manga).Kotaku. . [17] Patty, Shawn (2004-08-05). "TokyoPop to Produce Warcraft Manga Trilogy" (http://www.comicsbulletin.com/news/109173264226099. htm). ComicsBulletin. . [18] "Book Info: Return to Labyrinth Volume 1" (http:// www.tokyopop.com/product/1712). Tokyopop. . [19] "Book Info: Hellgate: London Volume 1" (http:// www.tokyopop.com/shop/2244/HellgateLondon/1). Tokyopop. . [20] "Tokyopop to Restructure Update" (http:/ / www.animenewsnetwork.com/news/2008-06-04/tokyopop-to-restructure-update). Anime News Network. 2008-06-04. . Retrieved 2008-06-04. [21] "Inside the Tokyopop Restructuring" (http:/ / icv2.com/articles/news/12707.html). ICv2. 2008-06-08. . Retrieved 2008-06-09. [22] "Tokyopop to Restructure" (http:/ /www.animenewsnetwork.com/news/2008-06-03/tokyopop-to-restructure). Anime News Network. 2008-06-03. . Retrieved 2008-06-03. [23] "Tokyopop Splits into Two Companies" (http://www.icv2.com/articles/news/12677.html). ICv2. 2008-06-03. . Retrieved 2008-06-03. [24] "Tokyopop to Cut Manga Output in United Kingdom" (http:// www.animenewsnetwork.com/news/2008-06-12/ tokyopop-to-cut-manga-output-in-united-kingdom). Anime News Network. 2008-06-12. . Retrieved 2008-06-12. [25] "Manga Publisher Tokyopop Lays Off Eight More Staffers" (http:// www.animenewsnetwork.com/news/2008-12-12/ manga-publisher-tokyopop-lays-off-eight-more-staffers).Anime News Network. 2008-12-12. . Retrieved 2008-12-12. [26] McDonald, Heidi (2008-12-12). "More layoffs at Tokyopop" (http:// pwbeat.publishersweekly.com/blog/2008/12/12/ more-layoffs-at-tokyopop/). The Beat: The News Blog of Comics Culture. Publishers Weekly. . Retrieved 2008-12-12. [27] Aoki, Deb (2009-09-01). "The Kodansha-TokyoPop Split: Which Manga Are Left in Limbo?" (http:// manga.about.com/b/2009/09/01/ the-kodansha-tokyopop-split-which-manga-are-left-in-limbo.htm). About.com. . Retrieved 20090-09-01. [28] "Tokyopop Confirms Its Kodansha Manga Licenses Will End" (http://www.animenewsnetwork.com/news/2009-08-31/ tokyopop-confirms-its-kodansha-manga-licenses-will-end). Anime News Network. 2009-08-31. . Retrieved 2009-09-01. [29] "No More Kodansha Manga for Tokyopop" (http:// www.icv2.com/articles/news/15747.html). ICv2. 2009-09-01. . Retrieved 2009-09-01. [30] Manry, Gia (2009-09-01). "Tokyopop Talks Kodansha" (http:// www.animevice.com/news/tokyopop-talks-kodansha/2288/). Anime Vice. . Retrieved 2009-09-01.

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Tokyopop [31] "Tokyopop discusses the consequence of Borders' bankruptcy on publishers" (http:/ / asiapacificarts.usc.edu/ article@apa?tokyopop_discusses_the_consequence_of_borders_bankruptcy_on_publishers_16492.aspx). Asia Pacific Arts. 03/07/2011. . [32] http:/ /www.facebook.com/permalink.php?story_fbid=215312715148557&id=144756362204193 [33] "End of an era: Tokyopop shutting down" (http:// www.comicsbeat.com/2011/04/15/end-of-an-era-tokyopop-shutting-down/). Comics Beat. 04/15/2011. . [34] Tokyopop: Japanese manga licenses to revert to owners (http://www.animenewsnetwork.com/news/2011-05-24/tokyopop/ japanese-manga-licenses-to-revert-to-owners) [35] Tokyopop GmbH. "Der Verlag" (http:/ / www.tokyopop.de/ueberuns/db_ueberuns_impressum.php) (in German). Tokyopop GmbH. . Retrieved 6 May 2011. [36] Alt, Andreas. "Zwischen Schwindsucht und Publikumsansturm" (http:// www.titel-magazin.de/artikel/35/8055/ comics-auf-der-frankfurter-buchmesse.html) (in German). Titel Kulturmagazin. . Retrieved 6 May 2011. [37] Ponel, Valerie. "Son dermann Award 2007" (http:/ / www.goethe.de/ins/ca/lp/prj/grn/mat/son/enindex.htm). Goethe-Institut Kanada. . Retrieved 6 May 2011. [38] http:/ /www.facebook.com/TOKYOPOP?sk=wall&filter=2 [39] http:/ /www.facebook.com/permalink.php?story_fbid=215105081835987&id=144756362204193 [40] Brill, Ian; Cha, Kai-Ming (2006-10-24). "New Publishers, More Titles at Yaoi-Con 2006" (http:// www.publishersweekly.com/article/ CA6384211.html). PW Comics Week (Publishers Weekly). . Retrieved 2009-03-11. [41] "Tokyopop Confirms Blu Label" (http:/ /www.animenewsnetwork.com/news/2005-06-08/tokyopop-confirms-blu-label). Anime News Network. 2005-06-08. . Retrieved 2009-03-11. [42] http:/ /intersections.anu.edu.au/issue20/pagliassotti.htm [43] http:/ /books.google.com.au/books?id=PGUEAAAAMBAJ&pg=PA84&lpg=PA84&dq=%22The+Advocate%22+blu+manga& source=bl&ots=_RAFeuzVGi&sig=j6wudDi4T1RzGtTcE4hUV0SycGo&hl=en&ei=nBu2TZGSB4PevQPz0qTFDw&sa=X& oi=book_result&ct=result&resnum=1&ved=0CBcQ6AEwAA#v=onepage&q&f=false [44] "Tokyopop Open Letter Regarding Initial D" (http://www.animenewsnetwork.com/news/2002-07-13/ tokyopop-open-letter-regarding-initial-d). Anime News Network. 2002-07-13. . Retrieved 2008-04-14. [45] "Ask John: Is Edited Anime on American TV a Good Thing?" (http://www.animenation.net/blog/2003/08/29/ ask-john-is-edited-anime-on-american-tv-a-good-thing/). AnimeNation Blog. AnimeNation. 2003-08-29. . Retrieved 2008-04-14. [46] Publishers Weekly (http:/ / www.publishersweekly.com/pw/by-topic/book-news/comics/article/ 43131-tokyopop-s-america-s-greatest-otaku-goes-on-the-road.html) [47] Tokyopop Tour 2010 Official site (http:/ /tokyopoptour.ning.com/) [48] Commercial 1 (http:/ / www.youtube.com/watch?v=H_qBZPVayUI) [49] Commercial 2 (http:/ / www.youtube.com/watch?v=Ib3kCv7TSxU&feature=fvst) [50] Commercial 3 (http:/ / www.youtube.com/watch?v=plRNjbFhp9c) [51] Andre JeanJacques IMBd (http:/ / www.imdb.com/name/nm4310615/) [52] Andre Jeanjacques (http:/ / tokyopoptour.ning.com/profile/AndreJeanjacques) [53] Andrew Jeanjacques Cast in Commercial 1 (http:/ / www.youtube.com/watch?v=H_qBZPVayUI) [54] Diana Hsu IMBd (http:/ /www.imdb.com/name/nm4309821/) [55] Diana Hsu (http:/ /tokyopoptour.ning.com/profile/DianaHsu) [56] Diana Hsu Cast in Commercial 1 (http:/ / www.youtube.com/watch?v=H_qBZPVayUI) [57] Dominique Kruse IMBd (http:/ /www.imdb.com/name/nm4311319/) [58] Dominique Therese Kruse (http:/ /tokyopoptour.ning.com/profile/DominiqueTKruse) [59] Dominique Kruse Voice/Cast in Commercial 1 (http:// www.youtube.com/watch?v=H_qBZPVayUI) [60] Dominqiue Kruse Commercial 3 (http:/ / www.youtube.com/watch?v=plRNjbFhp9c) [61] Meera Marie IMBd (http:/ /www.imdb.com/name/nm4310411/) [62] Meera Marie (http:/ /tokyopoptour.ning.com/profile/MeeraMarieJogani) [63] Stephan Cho IMBd (http:/ / www.imdb.com/name/nm4310238/) [64] Stephan Cho (ht tp:/ /tokyopoptour.ning.com/profile/StephanCho2010) [65] Stephan Cho Cast in Commercial 1 (http:/ / www.youtube.com/watch?v=H_qBZPVayUI) [66] William Sullivan Brown IMBd (http:/ / www.imdb.com/name/nm4311090/) [67] Sullivan Brown (http:/ / americasgreatestotaku.com/profile/WilliamSullivanBrownWilliam) [68] William Brown Cast in Commercial 1 (http:/ / www.youtube.com/watch?v=H_qBZPVayUI)

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External links • • • • • •

TOKYOPOP (http:/ /www.facebook.com/TOKYOPOP) at Facebook Official website (http:/ /tokyopop.de/) (German) America's Greatest Otaku (http:/ /americasgreatestotaku.com/) Official website (http:/ /web.archive.org/*/http://www.tokyopop.com/) (Archive) Mixx Entertainment (http:/ /wayback.archive.org/web/*/http://www.mixxonline.com) (Archive) Blu Manga imprint (http:/ /web.archive.org/ */http://blumanga.com) Official site (Archive)

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Viz Media

87

Viz Media VIZ Media Type

Private

Industry

publication

Founded

San Francisco, California (1986)

Founder(s)

Seiji Horibuchi

Headquarters San Francisco, CA, United States Area served

North America, Europe, South America

Key people

Hidemi Fukuhara (Vice-president, CEO)

Owner(s)

Shogakukan, Shueisha, Shogakukan Productions

Divisions

VIZ Pictures, J-Pop Center

Website

vizmedia.com

[1]

VIZ Media, LLC, headquartered in San Francisco, is an anime, manga, and Japanese entertainment company. It was founded in 1986 as VIZ LLC. In 2005, VIZ LLC and ShoPro Entertainment merged to form the current VIZ Media LLC, which is jointly owned by Japanese publishers Shogakukan and Shueisha, and Shogakukan's licensing division Shogakukan Productions (ShoPro Japan).[2]

History Early history Seiji Horibuchi, srcinally fr om Tokushima Prefecture in Shikoku, moved to California in 1975. After living in the mountains for almost two years, he moved to San Francisco, where he started a business exporting American cultural items to Japan, and became a writer of cultural information. He also became interested in publishing Japanese manga in the United States, though he himself was not a fan of Japanese comics until a visit to Japan in 1985 exposed him to Katsuhiro Otomo's single-volume title Domu: A Child's Dream. His idea came to fruition after he met Masahiro Ohga, then managing director of Shogakukan, in 1985 and shared his vision. Shogakukan provided Horibuchi with $200,000 in startup capital, which Horibuichi used in 1986 to found VIZ Communications. [3] VIZ Communications released its first titles in 1987, which included Legend of Kamui, however sales were mediocre due to the specialist comic market being adverse to venturing into new territory. To counteract this problem, VIZ expanded into the general publishing business and began publishing various art related books in 1992. Into these titles, Horibuchi began publishing manga, calling them graphic novels so they would be carried by mainstream bookstores. The plan Viz Media headquarters in San Francisco worked and after several years, leading booksellers began to have dedicated shelves for manga titles. Sales also picked up when VIZ Communications acquired the license for the comedy series Ranma Œ, which became an instant hit.[3] The company continued to see success when it expanded into the anime distribution market, began publishing Shonen Jump, an English adaptation of the popular Japanese magazine Weekly Sh€nen Jump. It also acquired another huge selling title, InuYasha. In the late 1990s, VIZ began making the push to move into the European and South

Viz Media American markets.[3]

Shueisha co-ownership and mergers: 2000 to present When Shueisha became a joint owner of VIZ Media in 2002, [4] both Shogakukan and Shueisha began to release manga exclusively through VIZ. Shueisha's deal with VIZ may have been prompted by competition with Raijin Comics, a rival manga publisher created in 2002 by editors and artists who had split off from Shueisha, taking their properties with them. Some exceptions to this exclusivity exist, however: Shueisha permitted DC Comics's subsidiary CMX Manga to license Tenjho Tenge (although it was later re-licensed and re-released by VIZ Media) and Kamikaze Kaito Jeanne, permitted Dark Horse Comics to license Gantz, Gate 7, Lady Snowblood, Shadow Lady and The Monkey King, and permitted Seven Seas Entertainment to license Hayate X Blade. Shueisha also permitted Tokyopop to license Kodocha, Marmalade Boy and Digimon Next along with Disney Publishing. Shogakukan permitted Dark Horse Comics to license Crying Freeman (even though it was previously licensed by VIZ), and permitted Hachette Book Group's subsidary Yen Press to license Azumanga Daioh and Cirque du Freak. In 2003, possibly in response to Shogakukan and Shueisha's co-ownership of VIZ, Japanese publisher Kodansha formed a co-venture with Del Rey.[5] In 2004, VIZ Communications was merged with ShoPro Entertainment, funding company Shogakukan's American distribution division. Horibuchi became the new company's chairman. In 2005, Horibuchi started a related division, VIZ Pictures, for releasing selected live-action films in the US to theaters and DVD. [6] On December 17, 2008, VIZ Media announced that starting on April 1, 2009, Warner Home Video would be handling the distribution of both its new and existing catalog releases. VIZ itself is still the licensor and will do all production, while tapping the distribution powerhouse that distributes the works of other major companies such as BBC, National Geographic, and Cartoon Network. Viz President and CEO Hidemi Fukuhara stated that he believes the partnership will help the company grow its anime holdings more effectively. [7] On February 20, 2009, VIZ Media laid off an unknown number of employees in order to help be more streamlined to face the current economic climate.[8] On May 11, 2010, VIZ Media again laid off a number of workers, 60 this time, again in order to try and become more streamlined. [9] This time they released a press release claiming that none of their current product lines would be affected. [10]

Manga ratings VIZ also has "manga ratings" for their products; U - Unknown; Rating coming soon. Similar to the Rating Pending rating. A - All Ages; Suitable for all ages. The Pok‚mon and Dragon Ball Z manga carry this rating. T - Teen; 13 years or older. May contain material some people may find inappropriate. The Dragon Ball, One Piece, Naruto, Bleach and Yu-Gi-Oh! manga have this rating. T+ - Older teens; Contains material suitable for ages 16 or older. The Death Note, InuYasha and D.Gray-man manga have this rating. M - Mature readers; Contains material suitable for ages 18 or older. The Vagabond and Black Lagoon manga have this rating.

88

Viz Media

89

Reception VIZ Media was awarded the Manga Publisher of the Year Gem Award by Diamond Comic Distributors in 2007. VIZ also received an award for Manga Trade Paperback of the Year for its release of the fourteenth volume of the Naruto series.[11]

Publication style By 2002 VIZ Communications kept some publications in the srcinal right-to-left format, while in other publications it mirrored pages from Japan's right-to-left reading format to fit the Western left-to-right reading style. During that year Dallas Middaugh, the senior marketing manager of VIZ, stated that the left-to-right version of Neon Genesis

Evangelion outsold the right-to-left version of Neon Genesis Evangelion on a three to one basis; Middaugh concluded that readers wanted "an easy reading experience." Akira Toriyama, creator of Dragon Ball, requested that his work, labeled as Dragon Ball and Dragon Ball Z in the VIZ versions, be published in the srcinal right-to-left format. Vagabond was printed in right-to-left to preserve historical accuracy. Middaugh said that younger readers of Dragon Ball adapted to the right to left format more easily than their parents. [12] VIZ has censored some of its titles. Some titles, such as Dragon Ball, were published in both censored and uncensored forms.[13]

Divisions VIZ Pictures In November 2005,[14] Viz Pictures was officially formed as the company's division for releasing live-action Japanese films as theatrical releases in selected markets. According to Horibuchi, the company will focus on films that focus on the "Japanese 'kawaii (cute) and cool' pop culture." [6] In 2007, the division released seven films to theaters, including Train Man: Densha Otoko and Honey and Clover. DVD releases for all VIZ Pictures films are distributed exclusively by its parent, VIZ Media. [6] On August 4th, 2011, it was announced that Walt Disney Pictures and VIZ Pictures would be making a film adaption of the Tuxedo Gin manga.

J-Pop Center In August 2009, VIZ opened a three-story entertainment complex in San Francisco called New People. The center piece of the complex is a 143-seat movie theater that screens anime and Japanese live action films. The center also has a cafe, a store selling anime and manga related items, and clothing stores offering Japanese clothing items. [6] [15]

Publications For a list of anime and Japanese films released by VIZ, see the Viz Media category. For manga titles released, see the Viz Media manga category. Animerica

Animerica is a quarterly anime and manga digest that initially started as a monthly magazine featuring reviews of anime and manga titles, as well as related works. After a preview issue was released in November 1992, the magazine's first issue was released in February 1993 with a March 1992 cover date.[16] The magazine srcinally featured articles and reviews on manga, anime, and related media, as well as manga preview chapters. In 1998, Animerica Extra was launched as a manga anthology that eventually focused specifically on sh€jo titles. It was canceled in 2004. VIZ changed the magazine's format in April 2005, with the new magazine really being two free publications of the same name. One is advertising-oriented and created specially for distribution at anime and manga conventions while

Viz Media

90

the other is more general in scope and distributed through retail stores. Both versions have fewer and briefer articles and a lower page count. [17] The last monthly issue of the srcinal format Animerica had a cover date of June 2005 (Volume 13, No. 6).[18]

Animerica was one of the first professional anime and manga magazines released in the United States, and one of the most popular in the 1990s. In 2004, it had a circulation of 45,000 readers, but low sales and high competition from NewType USA resulted in the essential cancellation of the srcinal magazine and its reformatting as a free digest. [19] Game On! USA

Game On! USA was a gaming magazine focused on Fighting games and RPGs with a secondary focus on any anime themed games. It was published in May 1996 and ran for 7 monthly issues before being discontinued that same year in November. The magazine had news and reviews and other articles about classic fighting games like Street Fighter, Samurai Shodown and Virtua Fighter. Two video game-based manga series, Super Street Fighter II: Cammy by Masahiko Nakahira, and Samurai Shodown by Kyoichi Nanatsuki and Yuki Miyoshi, were serialized in the magazine. A one shot story based on Battle Arena Toshinden, illustrated by the game's character designer Tsukasa Kotobuki was published in the magazine as well. Manga Vizion Manga Vizion, sometimes misspelled Manga Vision, is a manga anthology introduced by VIZ in 1995. It is believed to be the first manga anthology published in the United States. The premiere issue was dated March 1995 and featured three series: The Tragedy of P, Samurai Crusader: The Kumomaru Chronicles, and Ogre Slayer. It ran for four years until it was canceled in 1999. Pulp

Pulp was a monthly manga anthology introduced by VIZ in 1997. The magazine featured more mature titles,

marketed at adults rather than teenage readers. Some of titles serialized in the magazine included: Uzumaki, Banana Fish, and Dance Till Tomorrow. The magazine was canceled in 2002.[20] Shonen Jump

Shonen Jump is a sh€nen manga anthology that debuted in November 2002, with a January 2003 cover date. Based on the popular Japanese anthology Weekly Sh€nen Jump, published by Shueisha, Shonen Jump is retooled for English readers and the American audience and is published monthly, instead of weekly. It features serialized chapters from seven manga series, and articles on Japanese language and culture, as well as manga, anime, video games, and figurines. In conjunction with the magazine, Viz launched new imprints for releasing media related to the series presented in the magazine, and other sh€nen works. This includes two new manga imprints, an anime DVD imprint, a fiction line for releasing light novels, a label for fan and data books, and a label for the release of art books. Prior to the magazine's launch, VIZ launched an extensive marketing campaign to promote the magazine and help it succeed where other manga anthologies in North America have failed. [21] Shueisha purchased an equity interest in [22]

Viz to help fund the venture, and issue Cartoon Network, andmeet Diamond Distributors became promotional [21] partners in the magazine. The first required threeSuncoast, printings to demand, with over 300,000 copies sold. It was awarded the ICv2 "Comic Product of the Year" award in December 2002, and has continued to enjoy high sales with a monthly circulation of 215,000 in 2008.

Viz Media Shojo Beat

Shojo Beat was a sh€jo manga magazine VIZ launched in June 2005 as a sister magazine for Shonen Jump.[23] [24] It featured serialized chapters from six manga series as well as articles on Japanese culture, manga, anime, fashion and beauty.[24] [25] Viz launched related "Shojo Beat" imprints in its manga, light novel, and anime divisions to coordinate with the magazine's contents.[26] [27] Targeted at women ages 16€18, the first issue of Shojo Beat launched with a circulation of 20,000 copies. [24] [28] By 2007, average circulation was approximately 38,000 copies. Half of its circulation came from subscriptions rather than store sales.[28] In May 2009, the magazine was discontinued after 49 issues, with the July 2009 issue being the last released.[29] Viz stated the "difficult economic climate" was behind the magazine's cancellation, and that it would continue releasing the magazine's titles, as well as others, using the "Shojo Beat" imprint. [30] Haikasoru

In January 2009, VIZ Media announced plans to launch a Japanese science fiction novel line called Haikasoru. The first novels were scheduled to be released in the summer of the same year, with four novels: The Lord of the Sands of Time by Issui Ogawa, ZOO by Otsuichi, All You Need is Kill by Hiroshi Sakurazaka, and Usuper of the Sun by H€suke Nojiri.[31] In addition, the imprint released an expanded edition of K€shun Takami's Battle Royale. In 2010, the imprint release Project Itoh's novel Harmony, which later won a Special Citation Philip K. Dick Award.

Business partnerships In October 2011, VIZ Media launched the yaoi imprint SuBLime in collaboration with the Japanese yaoi publisher Libre and its parent company Animate to publish English-language yaoi manga for the print and worldwide digital market.[32] [33] Although the first slate of books announced under SuBLime are Libre titles, the imprint will potentially offer titles from other Japanese publishers in the future. [33] VIZ Media's Vice President of Publishing Leyla Aker stated that SuBLime is not an imprint of VIZ but a partnership between VIZ and Animate. [33]

Filmography Manga The following are licensed by VIZ Media: • • • • • • • • • • • • • • • • •

2001 Nights 20th Century Boys A, A Prime A.D. Police: Dead End City Absolute Boyfriend Adolf (manga) Afterschool Charisma Aishiteruze Baby Alice All My19th Darling Daughters (manga) The All-New Tenchi Muyo! (manga) Angel Sanctuary Aqua Knight Arata: The Legend Area 88 Ashen Victor B.B. Explosion

91

Viz Media • • • • • • • • • •

B.O.D.Y. (manga) Baby and Me Backstage Prince Bakegyamon Bakuman Banana Fish Baoh Baron: The Cat Returns Basara (manga) Bastard!!

• • • • • • • • • • • • • •

Battle Angel Alita Battle Angel Alita: Last Order Beast Master (manga) Beauty is the Beast Beauty Pop Beet the Vandel Buster Benkei in New York Beyblade The Big O Bio Booster Armor Guyver Biomega (manga) Black Bird (manga) Black Cat (manga) Black Jack (manga)

•• • • • • • • • • • • • • • • • • • • • • •

Black BleachLagoon (manga) Blood: The Last Vampire 2002 Blue Exorcist Blue Spring (manga) Bobobo-bo Bo-bobo Bokurano: Ours Boys Over Flowers Buso Renkin Butterflies, Flowers Cactus's Secret Captive Hearts Case Closed Ceres, Celestial Legend Cheeky Angel Chicago (manga) Children of the Sea (manga) Claymore (manga) La Corda d'Oro Earl Cain Crimson Hero Cross Game D.Gray-man

92

Viz Media • • • • • • • • • •

Dance till Tomorrow Death Note Dengeki Daisy Descendants of Darkness Detroit Metal City Di Gi Charat Dogs (manga) Dorohedoro Doubt!! Dr. Slump

• • • • • • • • • • • • • •

Dragon Ball Dragon Ball Z Dragon Drive The Drifting Classroom Eagle: The Making of an Asian-American President Eat-Man El-Hazard Excel Saga Eyeshield 21 Fairy Cube Fall in Love Like a Comic! Firefighter! Daigo of Fire Company M Fist of the North Star Flame of Recca

•• • • • • • • • • • • • • • • • • • • • • •

From Far Away Full Moon o Sagashite Fullmetal Alchemist Fushigi Yƒgi Gaba Kawa Galaxy Express 999 The Gentlemen's Alliance Cross Gestalt (manga) Getter Robo Go Gimmick! Gin Tama Golgo 13 Grand Guignol Orchestra Grey (manga) Gun Blaze West Hana-Kimi Haou Airen Happy Happy Clover Happy Hustle High Haruka: Beyond the Stream of Time Hayate the Combat Butler Heaven's Will (manga) Here is Greenwood

93

Viz Media • • • • • • • • • •

High School Debut Hikaru no Go Honey and Clover Honey Hunt Hoshin Engi Hot Gimmick House of Five Leaves Hunter x Hunter I''s I.O.N

• • • • • • • • • • • • • •

Ikigami: The Ultimate Limit Imadoki! Inubaka: Crazy for Dogs InuYasha Itsuwaribito JoJo's Bizarre Adventure Jormungand (manga) Kamikaze Girls Kamisama Kiss Karakuri D‡ji Ultimo Kare First Love Kaze Hikaru Kekkaishi Kimi ni Todoke

•• • • • • • • • • • • • • • • • • • • • • •

Kingyo Used Books Kirby (manga) Kurohime (manga) Kurozakuro The Law of Ueki The Legend of Kamui The Legend of Zelda (manga) Legendz Love Com Macross II Magical Pokemon Journey Mai, the Psychic Girl Maison Ikkoku MŽR Marionette Generation Medabots MegaMan NT Warrior Mermaid Saga MeruPuri Midori Days Millennium Snow Mixed Vegetables Mobile Suit Gundam

94

Viz Media • • • • • • • • • •

Mobile Suit Gundam Wing Mobile Suit Gundam: The Origin Monkey High! Monster (manga) Muhyo & Roji's Bureau of Supernatural Investigation Nana (manga) Naruto Natsume's Book of Friends Nausica‹ of the Valley of the Wind (manga) Neon Genesis Evangelion (manga)

• • • • • • • • • • • • • •

No Need for Tenchi Nora: The Last Chronicle of Devildom Nura: Rise of the Yokai Clan O-Parts Hunter Ogre Slayer Oishinbo One Piece One-Pound Gospel ‰oku: The Inner Chambers Oresama Teacher Otomen Ouran High School Host Club Patlabor Phoenix (manga)

•• • • • • • • • • • • • • • • • • • • • • •

Please Save My Earth Pluto (manga) Pok‚mon (manga) Pok‚mon Adventures Pok‚mon Diamond and Pearl Adventure! Pretty Face The Prince of Tennis Project ARMS RahXephon Ral Grad Ranma Œ Read or Die Read or Dream Real (manga) Reborn! The Record of a Fallen Vampire Red River (manga) Revolutionary Girl Utena Rin-ne Ristorante Paradiso Rosario + Vampire Rumic Theater Rurouni Kenshin

95

Viz Media • • • • • • • • • •

S € A: Special A Saikano Saint Seiya Sakura Hime: The Legend of Princess Sakura Samurai Crusader Sanctuary (manga) Sand Chronicles Sand Land Saturn Apartments Sensual Phrase

• • • • • • • • • • • • • •

Sexy Voice and Robo Shakugan no Shana Shaman King Short Cuts (manga) Short Program (manga) Short-Tempered Melancholic Silent M‘bius Skip Beat! Slam Dunk (manga) Socrates in Love Solanin Spriggan (manga) St. Dragon Girl Steam Detectives

•• • • • • • • • • • • • • • • • • • • • • •

Stepping The Storyon of Roses Saiunkoku Strain (manga) Strawberry 100% Street Fighter II (manga) Sugar Princess Switch (manga) Tail of the Moon Tegami Bachi Tekkonkinkreet Tenjho Tenge Time Stranger Kyoko Togari (manga) Tokyo Boys & Girls Toriko Toshokan Senso Tough (manga) Train Man: Densha Otoko Tuxedo Gin Ultimate Muscle Ultra Maniac Urusei Yatsura Uzumaki

96

Viz Media • • • • • • • • • •

Vagabond Vampire Knight Video Girl Ai W Juliet Wanted (manga) W•qw•q We Were There (manga) Wedding Peach Whistle! Wild Ones (manga)

• • • • • • • • • • • • • •

Wolf's Rain X (manga) Xenon (manga) Yakitate!! Japan Yumekui Kenbun YuYu Hakusho Yu-Gi-Oh! Yu-Gi-Oh! Duelist Yu-Gi-Oh! GX Yu-Gi-Oh! 5D's Yu-Gi-Oh! Millennium World Yu-Gi-Oh! R Yume Kira Dream Shoppe Yurara

•• Zatch Zoids:Bell! Chaotic Century • Zombiepowder.

Anime The following are licensed by VIZ Media: • • • • • • • •

Bleach Blue Dragon Boys Over Flowers Buso Renkin Ceres, Celestial Legend Corrector Yui Cross Game Death Note

• • • • • • • • •

Deko Boko Friends Flame of Recca Full Moon o Sagashite Grandpa Danger Great Dangaioh Hikaru no Go Honey and Clover Honey and Clover II Hunter x Hunter

97

Viz Media • • • • • • • • • •

Hyde & Closer I"s I"s Pure InuYasha InuYasha: The Final Act Kekkaishi Key the Metal Idol Maison Ikkoku MŽR MegaMan NT Warrior

• • • • • • • • • • • • • •

Mega Man Star Force (anime) Mermaid Saga Mobile Suit Gundam 0083: Stardust Memory Monster Nana Naruto Naruto Shippuden Night Warriors: Darkstalkers' Revenge Nura: Rise of the Yokai Clan Ogre Slayer One-Pound Gospel Please Save My Earth The Prince of Tennis Project ARMS

•• • • • • • • • • •

Ranma Reborn!Œ Saikano Sanctuary Strawberry 100% Trouble Chocolate Vampire Knight Vampire Knight Guilty Zatch Bell! Zoids: Chaotic Century Zoids: Genesis

Films The following are licensed by VIZ Media: • • • • • • • • •

Bleach: Memories of Nobody Bleach: The DiamondDust Rebellion Bleach: Fade to Black The Cat Returns Death Note Death Note: The Last Name Densha Otoko Detroit Metal City Fatal Fury: Legend of the Hungry Wolf

98

Viz Media • • • • • • • • • •

Fatal Fury 2: The New Battle Fatal Fury: The Motion Picture Ghost in the Shell 2: Innocence Grey: Digital Target Honey and Clover InuYasha the Movie: Affections Touching Across Time InuYasha the Movie: The Castle Beyond the Looking Glass InuYasha the Movie: Swords of an Honorable Ruler InuYasha the Movie: Fire on the Mystic Island Kamikaze Girls

• • • • • • • • • • • • • •

L: Change the World Love*Com Nana Nana 2 Naruto the Movie: Ninja Clash in the Land of Snow Naruto the Movie 2: Legend of the Stone of Gelel Naruto the Movie 3: Guardians of the Crescent Moon Kingdom Naruto: Shipp…den the Movie Naruto Shipp…den 2: Bonds Ping Pong Pok‚mon Ranger and the Temple of the Sea Pok‚mon: Giratina and the Sky Warrior Pok‚mon: Lucario and the Mystery of Mew Ranma Œ: Big Trouble in Nekonron, China

•• Ranma Œ: Nihao My Concubine Sanctuary

Web site For a period VIZ offered an e-mail service called VIZ Mail. In the first two weeks of service it had 1,000 members.[34] The service allowed users to use stationery and letterheads decorated with characters from VIZ Media properties.[35]

References [1] http:// www.vizmedia.com/ [2] "About Our Company" (http:/ / www.vizmedia.com/about/jobs/). Viz Media. . Retrieved 2008-03-12. [3] Oikawa, Tomohiro (2007-09-01). "Weekend Beat: Cashing in on over-the-counter culture" (http:// web.archive.org/web/20080316125943/ http:// www.asahi.com/english/Herald-asahi/TKY200709010077.html). Asahi Weekly. Asahi Shimbun Company. Archived from the srcinal (http:/ / www.asahi.com/english/Herald-asahi/TKY200709010077.html) on 2008-03-16. . Retrieved 2008-03-12. [4] "Shueisha Buys Equity Interest in Viz" (htt p:/ /www.icv2.com/articles/news/1679.html). ICv2. 2002-08-02. . Retrieved 2006-09-30. [5] "Random House Preps Manga Releases" (http:/ / www.icv2.com/articles/news/2941.html). ICv2. 2004-06-23. . Retrieved 2006-09-30. [6] "Interview With Viz Media's Seiji Horibuchi On Viz Media's Live Action Initiative" (http:// www.icv2.com/articles/news/10739.html). ICv2. 2007-06-13. . Retrieved 2008-03-12. [7] "WHV to Distribute Viz Media Anime" (http:/ /icv2.com/articles/news/13941.html). ICv2. 2008-12-17. . Retrieved 2008-12-17. [8] "News: Viz Media Restructures with Some Employee Layoffs" (http://www.animenewsnetwork.com/news/2009-02-23/ viz-media-restructures-with-some-employee-layoffs). Anime News Network. . [9] "News: PW: Viz Media Lays Off Up to 60, Closes NY Branch (Updated)" (http:// www.animenewsnetwork.com/news/2010-05-11/pw/ viz-media-lays-off-up-to-60-closes-ny-branch). Anime News Network. . [10] "News: Viz: No Product or Business Line Cancellations Planned (Updated)" (http:// www.animenewsnetwork.com/news/2010-05-13/ viz/no-product-or-business-line-cancellations-planned). Anime News Network. .

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Viz Media [11] "Viz Wins Two 2007 Gem Manga Awards from Diamond" (http://www.animenewsnetwork.com/news/2008-04-07/ viz-wins-two-2007-gem-manga-awards-from-diamond). Anime News Network. 2008-04-07. . Retrieved 2008-04-07. [12] "What Manga Right to Left • Will It Fly?" (http:/ / www.icv2.com/articles/news/1189.html). ICv2. 2002-03-08. . Retrieved 2006-09-30. [13] "Viz Unleashes Uncensored Dragon Ball" (http:/ / www.icv2.com/articles/news/216.html). ICv2. 2001-03-11. . Retrieved 2006-09-30. [14] Bertschy, Zac (November 30, 1999). "Seiji Horibuchi, Chairman of Viz Media" (http:// www.animenewsnetwork.com/interview/ 2007-05-07/seiji-horibuchi-chairman-of-viz-media). Anime News Network. . Retrieved July 7, 2009. [15] http:/ /www.newpeopleworld.com/ [16] Patten, Fred. "Fifteen Years of Japanese Animation Fandom". Watching Anime, Reading Manga. Stone Bridge Press. p. 43. ISBN 1880656922. [17] "Animerica to Change Format" (http:/ / www.animenewsnetwork.com/news/2005-04-12/animerica-to-change-format). Anime News Network. 2005-04-12. . Retrieved 2008-10-15. [18] "Animerica to Radically Change Distribution" (http://www.animenewsnetwork.com/news/2005-02-17/ animerica-to-radically-change-distribution). Anime News Network. 2005-02-17. . Retrieved 2008-10-15. [19] Koulikov, Mikhail (2005-01-26). "2004 Year in Review: Anime Magazines" (http:// www.animenewsnetwork.com/feature/2005-01-26/ 8). . Retrieved 2008-10-15. [20] VIZ Media . news . press room . 2002 press releases (http://www.viz.com/news/newsroom/2002/04_pulpcancelled.php) [21] "Viz and Shueisha To Launch Mass Market Boys Magazine in US" (http:// www.icv2.com/articles/news/1494.html). ICv2. June 10, 2002. . Retrieved June 30, 2008. [22] "Shueisha Buys Equity Interest in Viz" (http :/ / www.icv2.com/articles/news/1679.html). ICv2. August 2, 2002. . Retrieved July 1, 2008. [23] "Shojo Beat Details" (http:/ / www.animenewsnetwork.com/news/2005-02-08/shojo-beat-details). Anime News Network. 2005-02-08. . Retrieved 2008-03-07. [24] "Viz Media Happy Birthday Shojo Beat Magazine" (http:// www.animenewsnetwork.com/press-release/2007-05-14/ viz-media-happy-birthday-shojo-beat-magazine). Anime News Network. 2007-05-14. . Retrieved 2008-03-07. [25] "In the Magazine" (http:/ / www.shojobeat.com/inthemagazine/33.php). Shojo Beat Online. Viz Media. . Retrieved 2008-03-07. [26] "Viz to Publish Novels" (http:/ / www.animenewsnetwork.com/news/2005-06-04/viz-to-publish-novels). Anime News Network. 2005-06-04. . Retrieved 2008-03-07. [27] "Viz Launches New Fiction Imprints" (http:/ /www.icv2.com/articles/news/6985.html). ICv2 News. 2005-06-06. . Retrieved 2008-03-07. [28] "Shojo Beat Media Kit (January 2008)" (http:/ / www.shojobeat.com/mediakit/SB_Media_Kit_2008.pdf) (PDF) (Press release). Viz Media. January 2008. . Retrieved 2008-03-07. [29] "Shojo Beat Magazine No Longer Accepting Subscriptions" (http:// www.animenewsnetwork.com/news/2009-05-19/ shojo-beat-magazine-no-longer-accepting-subscriptions). Anime News Network. 2009-05-19. . Retrieved 2009-05-19. [30] "Viz Confirms Shojo Beat Manga Magazine's End in June (Updated)" (http:// www.animenewsnetwork.com/news/2009-05-19/ viz-confirms-shojo-beat-manga-magazine-end-in-june). Anime News Network. 2009-05-19. . Retrieved 2009-05-19. [31] "Viz Media Launches Landmark Imprint Haika Soru to Published Acclaimed Japanese Science Fiction Novels" (http://viz.com/news/ newsroom/?id=196) (Press release). Viz Media. 2009-01-29. . Retrieved 2009-06-14. [32] http:/ /www.animenewsnetwork.com/news/2011-10-22/viz-launches-sublime-boys-love-manga-line-with-love-pistols [33] Balistrieri, Emily. "SuBLime: Everything We Know About VIZ's New Boys' Love Line" (http://www.crunchyroll.com/anime-feature/ 2011/10/22/sublime-everything-we-know-about-vizs-new-boys-love-line). Crunchyroll. . Retrieved 24 October 2011. [34] "Viz Relaunches 4 Anime and Manga Websites" (http://www.highbeam.com/doc/1G1-57825898.html). PR Newswire. November 30, 1999. . Retrieved July 7, 2009. [35] "Viz This Week" (http:/ / www.animenewsservice.com/archives/vizin811.txt). Viz Media at Anime News Network. August 11, 2000. . Retrieved July 7, 2009.

External links • Official website (http:/ /www.vizmedia.com) • Official VIZ Media Facebook Fan Page (https:/ /www.facebook.com/OfficialVIZMedia) • Viz Media (http:/ /www.animenewsnetwork.com/encyclopedia/company.php?id=4552) at Anime News Network's Encyclopedia • Viz Video (http:/ /www.imdb.com/ company/co0077046/) at the Internet Movie Database

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Anime Anime Anime (³Õメ, Japanese pronunciation: [anime] (

listen); English: /†¡n‹meŒ/ ( listen) or English pronunciation: /†‡ˆn‹meŒ/) is the Japanese abbreviated pronunciation of "animation". The definition sometimes changes depending on the context.[1] In English-speaking countries, the term most commonly refers to Japanese animated cartoons. [2] While the earliest known Japanese animation dates to 1917, and many srcinal Japanese cartoons were produced in the ensuing decades, the characteristic anime style developed in the 1960s •notably with the work of Osamu Tezuka•and became known outside Japan in the 1980s.

Anime, like manga, has a large audience in Japan and recognition throughout the world. Distributors can release anime via television broadcasts, directly to video, or theatrically, as well as online. Both hand-drawn and computer-animated anime exist. It is used in television series, films, video, video games, commercials, and internet-based releases, and represents most, if not all, genres of fiction. As the market for anime increased in Japan, it also gained popularity in East and Southeast Asia. Anime is currently popular in many different regions around the world.

History Anime began at the start of the 20th century, when Japanese filmmakers experimented with the animation techniques also pioneered in France, Germany, the United States, and Russia.[3] The oldest known anime in existence first screened in 1917 € a two-minute clip of a samurai trying to test a new sword on his target, only to suffer defeat.[4] [5] Early pioneers included Shimokawa Oten, Jun'ichi Kouchi, and Seitar€ Kitayama.[6] By the 1930s animation became an alternative format of storytelling to the live-action industry in Japan. But it suffered competition from foreign producers and many animators, such as Nobur€ Šfuji and Yasuji Murata still worked in cheaper cutout not cel animation, although with masterful results.[7] Other creators, such as Kenz€ Masaoka and Mitsuyo Seo, nonetheless made great strides in animation technique, especially with increasing help from a government using animation in education and propaganda.[8] The first talkie anime was Chikara to Onna no Yo no Naka, produced by Masaoka in 1933. [9] [10] The first feature length animated film was Momotaro's Divine Sea Warriors directed by Seo in 1945 with sponsorship by the Imperial Japanese Navy. [11] Screenshot from Momotaro's Divine Sea Warriors (1944), the first feature-length anime film

The success of The Walt Disney Company's 1937 feature film Snow White and the Seven Dwarfs influenced Japanese animators.[12] In the 1960s, manga artist and animator Osamu Tezuka adapted and simplified many Disney animation-techniques to reduce costs and to limit the number of frames in productions. He intended this as a temporary measure to allow him to produce material on a tight schedule with inexperienced animation-staff. The 1970s saw a surge of growth in the popularity of manga € many of them later animated. The work of Osamu Tezuka drew particular attention: he has been called a "legend" [13] and the "god of manga".[14] [15] His work € and that of other pioneers in the field € inspired characteristics and genres that remain fundamental elements of anime today. The giant robot genre (known as "Mecha" outside Japan), for instance, took shape under Tezuka, developed

Anime

102

into the Super Robot genre under Go Nagai and others, and was revolutionized at the end of the decade by Yoshiyuki Tomino who developed the Real Robot genre. Robot anime like the Gundam and The Super Dimension Fortress Macross series became instant classics in the 1980s, and the robot genre of anime is still one of the most common in Japan and worldwide today. In the 1980s, anime became more accepted in the mainstream in Japan (although less than manga), and experienced a boom in production. Following a few successful adaptations of anime in overseas markets in the 1980s, anime gained increased acceptance in those markets in the 1990s and even more at the turn of the 21st century.

Terminology „

ð Ý

Japanese r Japanese write the Englishand termthe"animation" in katakana as ³Õメ Japanese (anim„shon, pronounced listen) term ³Õメ (anime, pronounced pronunciation: [anime] ( in [16] Japanese) emerged in the 1970s as an abbreviation. Others claim that the word derives from the French phrase dessin anim‚.[3] Japanese-speakers use both the srcinal and abbreviated forms interchangeably, but the shorter form occurs more commonly. The pronunciation of anime in Japanese, [anime], differs significantly from the Standard English English pronunciation: /†¡nŒmeŒ/, which has different vowels and stress. (In Japanese each mora carries equal stress.) As with a few other Japanese words such as sak‚, Pok‚mon, and Kobo Ab‚, English-language texts sometimes spell anime as anim‚ (as in French), with an acute accent over the final e, to cue the reader to pronounce the letter, not to leave it silent as English orthography might suggest. pronunciation: [animeˆoŽ]),

Word usage In Japan, the term anime does not specify an animation's nation of srcin or style; instead, it serves as a blanket term to refer to all forms of animation from around the world. [17] [18] English-language dictionaries define anime as "a [19] [20]

Japanese style of motion-picture animation" or as "a style of animation developed in Japan". Non-Japanese works that borrow stylization from anime are commonly referred to as "anime-influenced animation" but it is not unusual for a viewer who does not know the country of srcin of such material to refer to it as simply "anime". Some works result from co-productions with non-Japanese companies, such as most of the traditionally animated Rankin/Bass works, the Cartoon Network and Production I.G series IGPX or ‰ban Star-Racers; different viewers may or may not consider these anime. In English, anime, when used as a common noun, normally functions as a mass noun (for example: "Do you watch anime?", "How much anime have you collected?"). [21] However, in casual usage the word also appears as a count noun. Anime can also be used as a suppletive adjective or classifier noun ("The anime Guyver is different from the movie Guyver").

Synonyms English-speakers occasionally refer to anime as "Japanimation", but this term has fallen into disuse. "Japanimation" saw the most usage during the 1970s and 1980s, but the term "anime" supplanted it in the mid-1990s as the material became more widely known in English-speaking countries.[22] In general, the term now only appears in nostalgic contexts.[22] Since "anime" does not identify the country of srcin in Japanese usage, "Japanimation" is used to distinguish Japanese work from that of the rest of the world. [22] In Japan, "manga" can refer to both animation and comics. Among English speakers, "manga" has the stricter meaning of "Japanese comics", in parallel to the usage of "anime" in and outside of Japan. The term "ani-manga" is used to describe comics produced from animation cels. [23]

Anime

Visual characteristics Many commentators refer to anime as an art form. [24] As a visual medium, it can emphasize visual styles. The styles can vary from artist to artist or from studio to studio. Some titles make extensive use of common stylization: FLCL, for example, has a reputation for wild, exaggerated stylization. Other titles use different methods: Only Yesterday or Jin-Roh take much more realistic approaches, featuring few stylistic exaggerations; Pok‚mon uses drawings which specifically do not distinguish the nationality of characters. [25] While different titles and different artists have their own artistic styles, many stylistic elements have become so common that describe them as definitive of anime in general. However, this does not mean that all modern anime share one strict, common art-style. Many anime have a very different art style from what would commonly be called "anime style", yet fans still use the word "anime" to refer to these titles. Generally, the most common form of anime drawings include "exaggerated physical features such as large eyes, big hair and elongated limbs... and dramatically shaped speech bubbles, speed lines and onomatopoeic, exclamatory typography."[26] The influences of Japanese calligraphy and Japanese painting also characterize linear qualities of the anime style. The round ink brush traditionally used for writing kanji and for painting, produces a stroke of widely varying thickness. Anime also tends to borrow many elements from manga, including text in the background and panel layouts. For example, an opening may employ manga panels to tell the story, or to dramatize a point for humorous effect. See for example the anime Kare Kano.

Character design Proportions

Body proportions emulated in anime come from proportions of the human body. The height of the head is considered by the artist as the anime base unit of proportion. Head heights can heads vary astall, long the remainder remains proportional. Most characters are about seven to eight andasextreme heightsofarethesetbody around nine heads tall.[27] Variations to proportion can be modified by the artist. Super-deformed characters feature a non-proportionally small body compared to the head. Sometimes specific body parts, like legs, are shortened or elongated for added emphasis. Most super deformed characters are two to four heads tall. Some anime works like Crayon Shin-chan completely disregard these proportions, such that they resemble Western cartoons. For exaggeration, certain body features are increased in proportion.[27] Eye styles

Many anime and manga characters feature large eyes. Osamu Tezuka, who is believed to have been the first to use this technique, was inspired by the exaggerated features of American cartoon characters such as Betty Boop, Mickey Mouse, and Disney's Bambi.[3] [28] Tezuka found that large eyes style allowed his characters to show emotions distinctly. When Tezuka began drawing Ribbon no Kishi, the first manga specifically targeted at young girls, Tezuka further exaggerated the size of the characters' eyes. Indeed, through Ribbon no Kishi, Tezuka set a stylistic template that later sh€jo artists tended to follow. Coloring is added to give eyes, particularly to the cornea, some depth. The depth is accomplished by applying variable color shading. Generally, a mixture of a light shade, the tone color, and a dark shade is used. [29] [30] Cultural anthropologist Matt Thorn argues that Japanese animators and audiences do not perceive such stylized eyes as inherently more or less foreign.[31] However, not all anime have large eyes. For example, some of the work of Hayao Miyazaki and Toshiro Kawamoto are known for having realistically proportioned eyes, as well as realistic hair colors on their characters. [32]

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Anime

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Facial expressions

Anime characters may employ a variety of predetermined facial expressions to denote moods and thoughts.[33] These techniques are often different in form than their counterparts in western animation, and they include a fixed iconography that's used as shorthand for certain emotions and moods. [34] There are a number of other stylistic elements that are common to conventional anime as well but more often used in comedies. Characters that are shocked or surprised will perform a "face fault", in which they display an extremely exaggerated expression. Angry characters may exhibit a "vein" or "stress mark" effect, where lines representing bulging veins will appear on their forehead. Angry women will sometimes summon a mallet from nowhere and strike another character with it, mainly for the sake of slapstick comedy. Male characters will develop a bloody nose around their female love interests (typically to indicate arousal, which is a play on an old wives' tale). [34] Embarrassed or stressed characters either produce a massive sweat-drop (which has become one of the most widely recognized motifs of conventional anime) or produce a visibly red blush or set of parallel (sometimes squiggly) lines beneath the eyes, especially as a manifestation of repressed romantic feelings. Characters who want to childishly taunt someone may pull an akanbe face (by pulling an eyelid down with a finger to expose the red underside). Characters may also have large "X" eyes to show a knockout, or in some cases, even illness. This is typically used for comedic purposes. Vacant, non-reflecting eyes can be used to indicate a state of semi-consciousness.

Animation technique Like all animation, the production processes of storyboarding, voice acting, character design, cel production and so on still apply. With improvements in computer technology, computer animation increased the efficiency of the whole production process. Anime is often considered a form of limited animation. That means that stylistically, even in bigger productions the conventions of limited animation are used to fool the eye into thinking there is more movement than there is. [3] Many of the techniques that are used comprise cost-cutting measures while working under a set budget. Anime scenes place emphasis on achieving three-dimensional views. Backgrounds depict the scenes' atmosphere. [3] For example, anime often puts emphasis on changing seasons, as can be seen in numerous anime, such as Tenchi Muyo!. Sometimes actual settings have been duplicated into an anime. The backgrounds for the Melancholy of Haruhi Suzumiya are based on various locations within the suburb of Nishinomiya, Hyogo, Japan. [35] Camera angles, camera movement, and lighting play an important role in scenes. Directors often have the discretion of determining viewing angles for scenes, particularly regarding backgrounds. In addition, camera angles show perspective.[36] Directors can also choose camera effects within cinematography, such as panning, zooming, facial closeup, and panoramic.[37] The large majority of anime uses traditional animation, which better allows for division of labor, pose to pose approach and checking of drawings before they are shot € practices favored by the anime industry. [38] Other mediums are mostly limited to independently made short films, [39] examples of which are the silhouette and other cutout animation of Nobur€ Šfuji,[38] [40] the stop motion puppet animation of Tadahito Mochinaga, Kihachir€ Kawamoto[41] and Tomoyasu Murata[42] and the computer animation of Satoshi Tomioka [43] (most famously [44]

Usavich).

Anime

Story themes A wide variety of stories have been adapted into anime. They are sourced from Japanese history, classical literature, and even adult-oriented themes. While animation for children exists, most anime are intended for an older audience.[45]

Distribution While anime had entered markets beyond Japan in the 1960s, it grew as a major cultural export during its market expansion during the 1980s and 1990s. The anime market for the United States alone is "worth approximately $4.35 billion, according to the Japan External Trade Organization".[46] Anime has also had commercial success in Asia, Europe and Latin America, where anime has become more mainstream than in the United States. For example, the Saint Seiya video game was released in Europe due to the popularity of the show even years after the series has been off-air. Anime distribution companies handled the licensing and distribution of anime outside Japan. Licensed anime is modified by distributors through dubbing into the language of the country and adding language subtitles to the Japanese language track. Using a similar global distribution pattern as Hollywood, the world is divided into five regions. Some editing of cultural references may occur to better follow the references of the non-Japanese culture. [47] Certain companies may remove any objectionable content, complying with domestic law. This editing process was far more prevalent in the past (e.g. Voltron), but its use has declined because of the demand for anime in its srcinal form. This "light touch" approach to localization has favored viewers formerly unfamiliar with anime. Robotech and Star Blazers were the earliest attempts to present anime (albeit still modified) to North American television audiences without harsh censoring for violence and mature themes. With the advent of DVD, it became possible to include multiple language tracks into a simple product. This was not the case with VHS cassette, in which separate VHS media were used and with each VHS cassette priced the same as a single DVD. The "light touch" approach also applies to DVD releases as they often include both the dubbed audio and the srcinal Japanese audio with subtitles, typically unedited. Anime edited for television is usually released on DVD "uncut", with all scenes intact. The Internet has played a significant role in the exposure of anime beyond Japan. Prior to the 1990s, anime had limited exposure beyond Japan's borders. Coincidentally, as the popularity of the Internet grew, so did interest in anime. Much of the fandom of anime grew through the Internet. The combination of internet communities and increasing amounts of anime material, from video to images, helped spur the growth of fandom. [48] As the Internet gained more widespread use, Internet advertising revenues grew from 1.6 billion yen to over 180 billion yen between 1995 and 2005.[49] Some fan groups add subtitles to anime on their own and distribute the episodes. These are known as fansubs. Before the popularity of the Internet, fansubbing used VHS as a means of distribution. Often, people will collect these fansubs and upload them to websites which they also put advertisements on so as to earn money, which violates copyright laws in many countries. The ethical implications of distributing or watching fansubs are topics of much controversy even when fansub groups do not profit from their activities. Once the series has been licensed outside of Japan, fansub groups often cease distribution of their work. In one case, Media Factory Incorporated requested that no fansubs of their material be made, which was respected by the fansub community. [50] In another instance, Bandai specifically thanked fansubbers for their role in helping to make The Melancholy of Haruhi Suzumiya popular in the English speaking world.[51]

105

Anime

106

Broadcasting TV networks regularly broadcast anime programming. In Japan, major national TV networks, such as TV Tokyo broadcast anime regularly. Smaller regional stations broadcast anime under the UHF. In the United States, cable TV channels such as Cartoon Network, Disney, Syfy, and others dedicate some of their timeslots to anime. Some, such as the Anime Network and the FUNimation Channel, specifically show anime. Sony-based Animax and Disney's Jetix channel broadcast anime within many countries in the world. AnimeCentral solely broadcasts anime in the UK.

Influence on world culture Anime has become commercially profitable in western countries, as early commercially successful western [52]

adaptations of anime, such phenomenal of Nintendo's multi-billion [53]as Astro Boy, have revealed. dollar Pok‚mon franchise was helped greatly by the spin-offThe anime series that,success first broadcast in the late 1990s, is still running worldwide to this day. In doing so, anime has made significant impacts upon Western culture. Since the 19th century, many Westerners have expressed a particular interest towards Japan. Anime dramatically exposed more Westerners to the culture of Japan. Aside from anime, other facets of Japanese culture increased in popularity.[54] Worldwide, the number of people studying Japanese increased. In 1984, the Japanese Language Proficiency Test was devised to meet increasing demand. [55] Even domestic animation industries had made attempts at emulating anime. Anime-influenced animation refers to non-Japanese works of animation that emulate the visual style of anime.[56] Most of these works are created by studios in the United States, Europe, and non-Japanese Asia; and they generally incorporate stylizations, methods, and gags described in anime physics, as in the case of Avatar: The Last Airbender. Often, production crews either are fans of anime or are required to view anime. [57] Some creators cite anime as a source of inspiration with their own series.[58] [59] Furthermore, a French production team for ‰ban Star-Racers moved to Tokyo to collaborate with a Japanese production team from Hal Film Maker. [60] Critics and the general anime fanbase do not consider them as anime.[61] Some American animated television-series have singled out anime styling with satirical intent, for example South Park (with "Chinpokomon" and with "Good Times with Weapons"). South Park has a notable drawing style, itself parodied in "Brittle Bullet", the fifth episode of the anime FLCL, released several months after "Chinpokomon" aired. This intent on satirizing anime is the springboard for the basic premise of Kappa Mikey, a Nicktoons Network srcinal cartoon. Even clichƒs normally found in anime are parodied in some series, such as Perfect Hair Forever. Anime conventions began to appear in the early 1990s, during the Anime boom, starting with Anime Expo, Animethon, Otakon, and JACON. Currently anime conventions are held annually in various cities across the Americas, Asia, and Europe.[62] Many attendees participate in cosplay, where they dress up as anime characters. Also, guests from Japan ranging from artists, directors, and music groups are invited. In addition to anime conventions, anime clubs have become prevalent in colleges, high schools, and community centers as a way to publicly exhibit anime as well as broadening Japanese cultural understanding. [63] Viewers may also pick up on Japanese terms either within or related to anime, though at times those words may take on different connotations. For instance, the Japanese term otaku is used as a term for anime fans beyond Japan, more particularly the itobsessive ones. Thethenegative context, where instead connotes pride ofconnotations the fans. associated with the word in Japan have lessened in foreign

Anime

References [1] Brown, Steven T. Cinema Anime. Palgrave Macmillan, 2006, p. 7 [2] "anime - Definition from the Merriam-Webster Online Dictionary" (http:// www.merriam-webster.com/dictionary/anime). Merriam-webster.com. 2010-08-13. . Retrieved 2010-11-01. [3] Schodt, Frederik L. (Reprint edition (August 18, 1997)). Manga! Manga!: The World of Japanese Comics. Tokyo, Japan: Kodansha International. ISBN 0-87011-752-1. [4] "Japan„s oldest animation films" (http:/ /imprinttalk.com/?p=1557). ImprintTALK. 2008-03-31. . [5] "Historic 91-year-old anime discovered in Osaka" (http:// web.archive.org/web/20080402012234/http://www.hdrjapan.com/japan/ japan-news/historic-91yearold-anime-discovered-in-osaka/). HDR Japan. 2008-03-30. Archived from the srcinal (http:/ /www.hdrjapan. com/japan/japan-news/historic-91yearold-anime-discovered-in-osaka/) on 2008-04-02. . Retrieved 2008-05-12. [6] Yamaguchi, Katsunori; Yasushi Watan abe (1977). Nihon anim„shon eigashi. Y‚bunsha. pp. 8€11. [7] Sharp, Jasper (September 23, 2004). "Pioneers of Japanese Animation (Part 1)" (http://www.midnighteye.com/features/pioneers-of-anime. shtml). Midnight Eye. . Retrieved 11 December 2009. [8] Yamaguchi, Katsunori; Yasushi Watan abe (1977). Nihon anim„shon eigashi. Y‚bunsha. pp. 26€37. [9] Baricordi, Andrea; de Giovanni, Massimiliano; Pietroni, Andrea; Rossi, Barbara; Tunesi, Sabrina (December 2000). Anime: A Guide to Japanese Animation (1958-1988). Montreal, Quebec, Canada: Protoculture Inc.. p. 12. ISBN 2-9805759-0-9. [10] Japan: An Illustrated Encyclopedia. Tokyo, Japan: Kodansha. 1993. ISBN 9784062064897. [11] Official booklet, The Roots of Japanese Anime, DVD, Zakka Films, 2009. [12] "A Brief History of Anime" (http:/ /www.corneredangel.com/amwess/papers/history.html). Michael O'Connell, Otakon 1999 Program Book. 1999. . Retrieved 2007-09-11. [13] Ohara, Atsushi (2006-05-11). "5 missing manga pieces by Osamu Tezuka found in U.S." (http:// web.archive.org/web/20060520053910/ http:// www.asahi.com/english/Herald-asahi/TKY200605110157.html). Asahi Shimbun. Archived from the srcinal (http:/ /www.asahi. com/english/Herald-asahi/TKY200605110157.html) on 2006-05-20. . Retrieved 2006-08-29. [14] "Dr. Osamu Tezuka" (http:/ / www.abcb.com/ency/t/tezuka_osamu.htm). The Anime Encyclopedia. The Anime Cafƒ. 2000-03-14. . Retrieved 2006-08-29. [15] Gravett, Paul (2003). "Osamu Tezuka: The God of Manga" (http://web.archive.org/web/20071231013227/http:// www.paulgravett. com/articles/006_tezuka/006_tezuka.htm). Archived from the srcinal (http:/ / www.paulgravett.com/articles/006_tezuka/006_tezuka. htm) on 2007-12-31. . Retrieved 2006-08-29. [16] "Etymology Dictionary Reference: Anime accessdate=2007-09-13" (http:// www.etymonline.com/index.php?term=anime). Etymonline. . [17] "What is Anime?" (http:/ / www.bellaonline.com/articles/art4260.asp). Lesley Aeschliman. Bellaonline. . Retrieved 2007-10-28. [18] "Tezuka: The Marvel of Manga - Education Kit" (http:// web.archive.org/web/20070830033821/http://artgallery.nsw.gov.au/__data/ page/9842/Tezuka_Kit_1.pdf) (PDF). Art Gallery New South Wales. 2007. Archived from the srcinal (http:/ / www.artgallery.nsw.gov. au/__data/page/9842/Tezuka_Kit_1.pdf) on 2007-08-30. . Retrieved 2007-10-28. [19] "Anime Dictionary Definition" (http:/ / dictionary.reference.com/browse/anime). Dictionary.com. . Retrieved 2006-10-09. [20] "Merriam-Webster:anime" (http:/ /www.merriam-webster.com/dictionary/anime). Merriam-Webster. . Retrieved 2010-11-18. [21] American Heritage Dictionary, 4th ed.; Dictionary.com Unabridged (v 1.1). [22] Patten, Fred (2004). Watching Anime, Reading Manga: 25 Years of Essays and Reviews. Stone Bridge Press. ISBN 1880656922. [23] "Inu Yasha Ani-MangaGraphic Novels" (http:/ /www.animecornerstore.com/inuyaanno.html). Animecornerstore.com. 1999-11-01. . Retrieved 2010-11-01. [24] "Ask John: Do Japanese Viewers Treat Anime Shows as Fads?" (http://www.animenation.net/blog/2006/04/07/ ask-john-do-japanese-viewers-treat-anime-shows-as-fads/). Ask John. AnimeNation. 2006-04-07. . Retrieved 2008-01-23. [25] Tobin, Joseph Jay (2004). Pikachu's Global Adventure: The Rise and Fall of Pok‚mon. Duke University Press. p. 88. ISBN 0-822-33287-6. [26] "Japan Times" (http:/ / search.japantimes.co.jp/print/fl20060528x1.html). . Retrieved 2008-02-06. [27] "Body Proportion" (http:/ / animeworld.com/howtodraw/bodies1.html). Akemi's Anime World. . Retrieved 2007-08-16. [28] Schodt, Frederik L. (1996). Dreamland Japan: Writings on Modern Manga. Berkeley, California: Stone Bridge Press. ISBN 1-8806562-3-X. [29] "Basic Anime Eye Tutorial" (http:/ / www.biorust.com/tutorials/detail/141/en/). Centi, Biorust.com. . Retrieved 2007-08-22. [30] Carlus (2007-06-06). "How to color anime eye" (http:// www.youtube.com/watch?v=VyJ9yfYl_Fc). YouTube. . Retrieved 2007-08-22. [31] "Do Manga Characters Look "White"?" (http:/ / web.archive.org/web/20060517194357sh_re_/www.matt-thorn.com/mangagaku/ faceoftheother.html). . Retrieved 2005-12-11. [32] Poitras, Gilles (1998). Anime Companion. Berkeley, California: Stone Bridge Press. ISBN 1-880656-32-9. [33] "Manga Tutorials: Emotional Expressions" (http://www.mangatutorials.com/tut/expressions.php). Rio. . Retrieved 2008-08-22. [34] University of Michigan Animae Project (Current). "Emotional Iconography in Animae" (http:// www.umich.edu/~anime/info_emotions. html). . Retrieved 2009-08-08. [35] "Reference pictures to actual places" (http:/ / www.rinku.zaq.ne.jp/p_v/haruhi.html). . Retrieved 2007-01-25. [36] "Anime production process - feature film " (http:/ / www.huitula.com/productionIG2_page2.htm). PRODUCTION I.G. 2000. . Retrieved 2007-08-27.

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Anime [37] "Cinematography: Looping and Animetion Techniques" (http://web.archive.org/web/20080613154025/http:// www. understandinganime.com/cinematography.php). Understanding Anime. 1999. Archived from the srcinal (http:/ / www.understandinganime. com/cinematography.php) on 2008-06-13. . Retrieved 2007-08-29. [38] Jouvanceau, Pierre; Clare Kitson (translator) (2004). The Silhouette Film (http:/ /www.heeza.fr/ description.php?lang=2&path=64& sort=Article&page=0&id=296). Genoa: Le Mani. p. 103. ISBN 88-8012-299-1. . Retrieved 2009-08-08. [39] Sharp, Jasper (2003). "Beyond Anime: A Brief Guide to Experimental Japanese Animation" (http:// www.midnighteye.com/features/ beyond_anime.shtml). Midnight Eye. . Retrieved 2008-07-21. [40] "Tribute to Nobur€ Šfuji" (http:/ /www.cinematheque.qc.ca/animation_japonaise.pdf) (PDF). To the Source of Anime: Japanese Animation. Cinƒmath¤que quƒbƒcoise. 2008. . Retrieved 2008-07-21. [41] Sharp, Jasper (2004). "Interview with Kihachir€ Kawamoto" (http://www.midnighteye.com/interviews/kihachiro_kawamoto.shtml). Midnight Eye. . Retrieved 2008-07-21. [42] Munroe Hotes, Catherine (2008). "Tomoyasu Murata and Company" (http:/ /www.midnighteye.com/features/ tomoyasu-murata-and-company.shtml). Midnight Eye. . Retrieved 2008-07-21. [43] Walters, Helen (2004). Animation Unlimited: Innovative Short Films Since 1940 (http:/ / lib.leeds.ac.uk/record=b2662684). London: Laurence King. ISBN 18-5669-346-5. . Retrieved 2009-08-08. [44] "Works" (http:/ / www.mtvjapan.com/usavich/about.html). KANABAN-Web. Kanaban Graphics. 2008. . Retrieved 2008-07-21. [45] "An Anime Explosion" (http:/ /www.utexas.edu/features/archive/2004/anime.html). University of Texas-Austin. 2008-10-09. . Retrieved 2011-10-04. [46] "Manga Mania" (http:/ / online.wsj.com/article/SB118851157811713921.html?mod=googlenews_wsj). Bianca Bosker (Wall Street Journal). 2007-08-31. . Retrieved 2007-08-31. [47] "Pokemon Case Study" (http:/ / w3.salemstate.edu/~poehlkers/Emerson/Pokemon.html). W3.salemstate.edu. . Retrieved 2010-11-01. [48] "100 Questions About Anime & Manga Overseas" (http:/ / comipress.com/article/2006/07/20/489). Comipress. 2006-07-20. . Retrieved 2007-08-23. [49] "Free Anime: Providers Bear Losses to Build Business" (http:// en.j-cast.com/2005/12/21000171.html). J-Cast Business News. 2005-12-21. . Retrieved 2007-08-27. [50] "Anxious times in the cartoon underground" (http://news.cnet.com/Anxious-times-in-the-cartoon-underground/2100-1026_3-5557177. html). CNet. 2005-02-01. . Retrieved 2007-09-06. [51] "Adventures of the ASOS Brigade Episode 00: Made by Fans for Fans" (http:// asosbrigade.com/). . Retrieved 2006-12-23. [52] "Progress Against the Law: Fan Distribution, Copyright, and the Explosive Growth of Japanese Animation" (http:/ / groups.csail.mit.edu/ mac/classes/6.805/student-papers/fall03-papers/Progress_Against_the_Law.html). . Retrieved 2006-05-01. [53] "Pokemon Franchise Approaches 150 Million Games Sold" (http:// www2.prnewswire.com/cgi-bin/stories.pl?ACCT=104&STORY=/ www/story/10-04-2005/0004159206&EDATE=). PR Newswire. Nintendo. 4 October 2005. . [54] Faiola, Anthony (2003-12-27). "Japan's Empire of Cool" (http:// www.washingtonpost.com/ac2/wp-dyn/ A33261-2003Dec26?language=printer).The Washington Post (Washington Post Company): p. A1. . Retrieved 2007-08-17. [55] "Introduction" (http:/ / www.jlpt.jp/e/ about/index.html). The Japan Foundation. . Retrieved 2009-05-01. [56] "What is anime?" (http:/ /www.animenewsnetwork.com/editorial/2002-07-26). ANN. 2002-07-26. . Retrieved 2007-08-18. [57] "SciFi Channel Anime Review" (http:/ / web.archive.org/web/20080117145951/http://www.scifi.com/sfw/anime/sfw12366.html). SciFi. Archived from the srcinal (http:/ / www.scifi.com/sfw/anime/sfw12366.html) on 2008-01-17. . Retrieved 2006-10-16. [58] "Aaron McGruder - The Boondocks Interview" (http:/ /www.ugo.com/ugo/html/article/ ?id=17924). Troy Rogers. UnderGroundOnline. . Retrieved 2007-10-14. [59] "Ten Minutes with "Megas XLR"" (http:/ / www.g4tv.com/screensavers/features/49962/Ten_Minutes_with_Megas_XLR.html). 2004-10-13. . [60] "STW company background summary" (http:/ / www.savtheworld.com/eng/company.php). . [61] "How should the word Anime be defined?" (http:// www.animenation.net/blog/2006/05/15/ ask-john-how-should-the-word-anime-be-defined/). AnimeNation. 2006-05-15. . Retrieved 2008-09-26. [62] "Convention Schedule" (http:/ /www.animecons.com/events/). AnimeCons. . Retrieved 2007-09-06. [63] "Anime achieves growing popularity among Stanford students" (http://web.archive.org/web/20071021222201/http:// daily.stanford. edu/article/2002/5/21/animeAchievesGrowingPopularityAmongStanfordStudents). Archived from the srcinal (http:/ / daily.stanford.edu/ article/ 2002/5/21/animeAchievesGrowingPopularityAmongStanfordStudents) on 2007-10-21. .

External links • Anime (http:/ /www.dmoz.org/Arts/Animation/Anime/) at the Open Directory Project

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Fandub

Fandub A fandub (not to be confused with a fansub) is a fan-made dub or redub of a production, typically completely altering dialogues, story plots and personalities of protagonists in a funny way (frequently referred to as ‚fundubƒ or "Abridged Series"). Fans use copyrighted material and heavily modify the srcinal content to create a new version of material, though fandubs sometimes make attempt at actually making a legit full series dub of a series or movie (usually for a series that has not received an official dub, or has had a poorly received dub). These projects are rarely completed past a few episodes. Fandubbing, except redubbing, is most commonly done with Japanese animation. Copyright implications for fandubs are very similar to fansubs except the difference of scale (see Fansub for a detailed explanation of the legal and ethical issues with this type of distribution). There have been cases when popular fandubs, such as Yu-Gi-Oh! Abridged, Dragon Ball Z Abridged, and Sailor Moon Abridged are tagged by the Japanese production company for copyright use of their material. These productions are usually later re-uploaded to a new channel, and are sometimes tagged again. Despite this, parody dubs are often popular among the fan community of a particular series.

History Amateur voice acting began simultaneously and independently from each other in a small number of developed countries. One of the first recorded projects, dating from 1994[1] , is "Sinnlos im Weltraum" ("Senseless in Space"), a German redub of Star Trek: The Next Generation . The recordings were distributed on VHS, and copies were circulating only among a smaller group of people due to the technical limitations of the media. With digitalisation, starting in 1998, the fandub gained enormous popularity among the German audience [2] . However, the first commonly noticed fandub can be regarded as Mark Sprague's Sailor Moon S 1997 video fandub, receiving international publicity on the Sailor Moon News Group. Mark's fandub prompted many others to produce similar productions of their favorite shows. While fansubbing is a highly-popular means by which various Internet-downloaded visual media can be understood by other language markets, fandubbing as a practice has not gained similar momentum as a means of translation by lay Internet users. The majority of fandub projects are arranged for short-form video clips and are often posted to video hosting services such as YouTube.

References [1] "SiW - history (in German)" (http:/ / www.sinnlosimweltraum.de/include.php?path=content/content.php&contentid=1). . [2] "web site on SiW" (http:/ / www.sinnlos-im-weltraum.de/). .

Polish Fandub Communities • Fandub community (http:/ /insomniadub.com) • Fandub community (http:/ /nanokarrin.com)

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Fansub

Fansub A fansub (short for fan-subtitled) is a version of a foreign film or foreign television program which has been translated by fans and subtitled into a language other than that of the srcinal.

History Fansubs srcinated during the explosion of anime production during the 1980s in Japan. Relatively few titles were licensed for distribution outside of Japan. A mocked-up fansub image, intended to be from an opening song. Note the use of katakana, romaji and English, and the different This made it difficult for anime fans to obtain new colours used. Similar to karaoke, the lyrics that are currently being titles. Some fans, generally those with some Japanese sung are bolded in each of the respective languages. language experience, began producing amateur subtitled copies of new anime programs so that they could share them with their fellow fans who did not understand Japanese. The first distribution media of fansubbed material was VHS and Betamax tapes. Such copies were notoriously low quality, time consuming to make, expensive to produce (over US$4000 in 1986) [1] and difficult to find. A limited number of copies were made and then mailed out or distributed at local anime clubs. Fans could purchase fansubs at a modest cost or could contact clubs who would record the material on their own blank video cassettes. However, with the advent of widespread high-speed Internet access, desktop video editing, DVD and Blu-ray Disc ripping, and TV capturing, the srcinal process has largely been abandoned in favor of digital fansubbing (digisubbing) and electronic distribution of the resulting digisubs. This has allowed fansubbing to transform from a slow and tedious task that generates a low quality preview of an attractive show to a cheap, easy, and quick way to create a high quality and high availability alternative to official DVD or Blu-ray releases. Due to the relatively low quality of television broadcasts (when compared with a DVD or Blu-ray release of the same show), fansubs done from television video sources do not have the high quality video of official releases. There are certain "standards" that many fansub groups adhere to, resulting in certain codecs being used and certain target filesizes for encoded fansubs. This results in most fansubs having similar file sizes: 175 MB, 233 MB, and 350 MB are generally treated as the "standard" sizes for a fansub file because they divide evenly into 700 MB, the size of a typical CD-R. As the price of Hard disk drives have decreased while their storage capacity has increased, modeling fansub filesizes after optical media constraints has become largely unimportant. Fansubs using HDTV broadcast video sources require a higher bit rate to maintain quality, and in combination with varying amounts of motion between episodes (large amounts of motion require high bit rates to maintain quality), file sizes for HD fansub encodes can range from 200MB to 800MB even using the latest H264 codecs. For episodes sourced from Blu-ray discs, filesizes can be several gigabytes. Some anime series which are broadcast in high definition do not go on to be released on Blu-ray. Thus it is often the case that downloading a fansub sourced from HDTV will offer much higher video quality than purchasing an official DVD, due to the difference in resolution. These advancements in fansubbing quality mean that fansubs are now of such quality and free accessibility that the incentive to upgrade (or in some cases downgrade, as from an HD fansub to an SD DVD) to a legitimate copy once a title is domestically licensed may be severely diminished. However, recent research by the Yale Economic Review has shown that people who download movies are no less likely to buy movies than those who do not, calling this conclusion into serious question.[2] Economic instabilities in both the US and Japan have made it hard to gauge the precise consequences of digisubs on the commercial industry, as well, [3] though several Japanese and North American anime studios and distribution companies have pointed to fansubbing as drawing a large amount of profit

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Fansub away from them. In April, 2008, two Gonzo titles began free, subtitled releases simultaneously with their Japanese TV-airing counterparts on streaming websites YouTube, Crunchyroll, and BOST.[4] In addition to the streaming video, viewers may pay any price they wish (greater than zero) to download a higher-quality version of the shows. As of October, 2009, a large number of new anime are being distributed using this same model through Crunchyroll. The general reaction from the fansub community has been to not subtitle these shows, though in some cases the streaming video is released days after the Japanese airing and in very low quality, leading fansubs to still be done of such shows. Several "fansub groups" have taken to ripping the subtitles from these Crunchyroll releases, syncing them to HDTV video sources, and then releasing them for free. That said, the apparent increase in support from Japanese animation studios for this new distribution model would suggest that it is working quite well, and the number of fansubbing groups has decreased as many people do not feel a need for fansubs when they can stream these shows legally and for free.

Early fansubs Early or "traditional" fansubs were produced using analog video editing equipment. First, a copy of the srcinal source material, called a raw was obtained. The most common raw source was a commercial laserdisc. However, a commercial VHS tape or even a homemade recording could be used as well, though that would entail a lower quality finished product. A translated script was then made to match the dialog of the raw video. The video script was then timed. Timing is the process of assigning a "start time" (Synch-Point) and "end time" for each line of subtitling; this determines how long a given subtitle would remain on the screen. Timing a script was usually done in conjunction with computer software designed specifically for that purpose. The person performing the timing would watch the source video and would assign the appearance, changing, and removal of the subtitle text using a computer. The two most popular programs used in this process were JACOsub (on the Commodore Amiga) and Substation Alpha (on MS Windows). Once the script was prepared and timed, the next step was to produce one or more masters. A master was a high quality copy of the finished fansub from which many distribution copies could be made. The fansubber would play back the raw video through a computer equipped with a genlock in order to generate the subtitles and then overlay them on the raw signal. The hardware of choice was an Amiga PC as most professional genlocks were extraordinarily expensive. The final output of this arrangement was then recorded. The master was most often recorded onto S-VHS tape in an attempt to maximize quality, though some fansubbers were forced to use inferior but less expensive VHS or Beta. Once completed, the master copy was then sent to a distributor. Fansub distributors (who delivered videos to fans) were usually separate from fansubbers, who did translations and produced masters. Since most members of the fansub community did not want to profit from their activities, fansubs were usually not "sold". Typically, a fan who wanted copies of a given program would mail blank VHS or Betamax tapes to a fansub distributor, along with a modest payment for shipping expenses. The distributor would then record copies onto the A VHS tape from an internet fansub distributor "customer's" blank cassettes, and ship them back. Alternatively, a fansub distributor might sell copied tapes outright, but at a low price which was intended to be exactly enough to cover the cost of blank cassettes and shipping. This style of fansubbing was quite cost-intensive for the fansubber and the distributor. The raw usually was purchased at a high price; nearly all Anime Laserdiscs (or tapes) cost more than $50, and many cost more than $100. It would not be uncommon for a $50 Laserdisc to contain just 30 minutes of video. Obtaining quality raws for a

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Fansub series of moderate length could cost over $1000. As well, many fansubbing groups paid professional translators in order to generate the script. Then, expensive video equipment was required: Laserdisc player, PC, genlock, and recording deck for producing the master; subsequently two or more video decks were then needed for producing distribution copies. Professional grade video hardware such as players, recorders, and editing decks was extremely expensive; easily into the thousands of dollars. Various factors made it difficult for fansubbing groups to make releases with good video quality. The high cost of equipment forced most fansubbing groups to use less expensive but inferior quality consumer grade electronics. Even when a high quality LD source and professional grade hardware could be used, the final fansub was at best a third-generation copy. In reality, most fansubs in circulation were fourth or fifth generation copies, and were not made on professional equipment. Thus, in practice quality was usually very poor, though the actual localization and translation were closer to a professional level than those found in modern fansubs.

Modern fansub techniques Modern fansubs are produced entirely on computers. A raw is still required, but unlike the fansubbers who relied on laser discs, most raw sources comes directly from recordings off Japanese TV, which are widely available via Japanese peer-to-peer programs such as Winny, Share, or Perfect Dark. Some larger fansubbing groups have cappers in Japan that supply them with an MPEG transport stream. While TV recordings are now the primary type of raw used today, rips of region 2 DVDs are also used. For older shows not available on DVD, some modern fansubbers use computers equipped with video capture hardware to get digital copies of older analog media (laserdisc or tape) to work with. Once the video is in the computer it can be edited and subtitles applied with minimal or no loss of quality, compared to the playback-recording cycle required in traditional fansubbing. However, a majority of the encoding formats used generally cause some loss of quality versus the srcinal broadcast or DVD. A relatively inexpensive PC can perform all of the manipulation necessary, without the need for expensive and complex devices such as editing decks and a genlock. Translation is usually done solely by listening to the recording. Mostly, translators are not experienced with fansub technology and only provide a translation.[5] While commercial releases will often have access to the scripts, fansubbers have to translate by ear. This can sometimes lead to mistakes or unclear spellings of names. The latter is most common with shows that use Western names. Because of ambiguities resulting from Japanese pronunciation and transcription of English names, names like Alice can sound or be spelled like "Arisu" - which can be misheard as any number of Alice alternatives. This can lead to different fansubbing groups using different spellings. A famous example is Winry Rockbell from Fullmetal Alchemist, who was variously spelled as Winry, Winly and Rinry by different groups due to the equivalence of the alveolar approximant and alveolar lateral approximant in Japanese. Many groups have translation checkers to reduce the chances of letting translation errors slip through, and/or to give an alternative wording/meaning of a certain line to aid in editing an ambiguous translation. Translations for most shows are between 200 and 300 lines, though some dialogue-heavy shows may reach over 500 lines. One alternative to using the raw Japanese file for audio translation is the use of video that has been subtitled in Chinese. China, Hong Kong and Taiwan have their own fansub groups that also release to the Internet. Several fansubbers are known to translate into English from the Chinese translations of the srcinal Japanese, although this inherently reduces the accuracy of the translation because of the fact it has gone through two translations. To account for this, fansub groups using Chinese subs often have one or more Japanese translation checkers to minimize the loss of srcinal meaning. A recent example of a show that was fansubbed entirely using Chinese subs is My-Otome; Doremi, one of the groups that worked on the show, used two native Chinese speakers for the project, although several translation checkers were on hand to verify against the srcinal Japanese. In a similar way, English-subbed series can be retranslated into other languages, notably Russian. [5]

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Fansub Another, more recent, alternative with the growing availability and usage of .ts raws is translation from Japanese closed captions. The closed captions can be exported from the .ts raw into various formats, and most fansub groups use a program called C-Cats [6] to accomplish it. This method often results in a fast, yet still fairly accurate translation due to greater ease of translating text to text, rather than audio to text. This method, however, is not as widespread, as it is still not commonplace to have a .ts raw for a show. In addition, not all .ts raws have the closed captions in them, as some raw providers remove the captions, and some Japanese broadcasting stations do not broadcast with closed captions. Groups that use closed captions from a .ts raw use the audio to verify the closed caption translation, as it cannot be guaranteed that the closed captions are flawless. Timing can take place before or after translation, and currently Aegisub is the most popular program for this process. Many groups will "pre-time" before the translation is done, then upon completion of the translation, apply the translation to the timed lines, while at the same time doing what is called "fine timing." Fine timing often involves applying "scene timing," which is a process whereby a line's start or end point is made to correspond with a nearby scene change. This prevents "scene bleeds," which occur when every line has the same lead-in or lead-out time, resulting in some lines starting before or after a scene change. The next process is to typeset both the text or other parts of the video which have been translated (signs, cellphone screens, etc.). Many groups make viewing easier and more organized by utilizing different colors and/or styles for different conditions that the current line is under. In this way, viewers can differentiate between, for example, speech by an on-screen character, speech by an off-screen character, thoughts, announcements (e.g. train boarding notices), or any other conditions which may require differentiation. Many groups use AFX, which is the process of typesetting signs or other on-screen text onto the video such that they blend in seamlessly with or on top of the srcinal Japanese ones. Due to the limitations of softsubs, AFX is usually encoded directly into the video. Many groups who either do not have skilled typesetters or are attempting to release as fast as possible will often just put up another subtitle line (usually at the top of the screen) with the translation of the on-screen text (e.g. "Sign: John's Pub"). Editing takes place any time after the translation has been completed. Most translators are more proficient in Japanese than they are in English, and as such their translations are often ambiguous or grammatically incorrect. It is the editor's job to make the subtitles as easily understandable to a native English speaker as the Japanese audio would be to a native Japanese speaker, while still retaining as much of the srcinal meaning as possible. Different groups have different guidelines for editing. Some insist upon keeping as literal subtitles as possible, thus the editor would merely fix spelling and grammar mistakes, while other groups are more liberal with their editing, in which case the editor often rewrites/rewords lines in their entirety. Many groups have the translator or translation checker view the episode with the edited subtitles to ensure that the editor has not accidentally changed the meaning of a line. Fansub editors on the whole do not require high-level English education, as the dialogue lines are of course not extremely complex. Quality control, or QC,[7] is one of the final stages of fansubbing. Many groups do what is called a "soft QC", then encode the episode, then do what is called a "hard QC." The goal of quality checking an episode is to catch any typesetting, timing, editing, and, in the case of hard QC, encoding errors. Most groups have multiple QCers, each of whom compiles a report of errors in the episode and submits it, and any errors are then fixed. Quality checkers often are capable of doing other fansub jobs, or have some overall knowledge of the fansubbing process, as well as an eye for spotting various errors. The subtitles are then encoded using VirtualDub or a similar program. [5] There are several methods of subbing currently used. "Hard" subtitles, or hard subs, are encoded into the footage, and thus become hard to remove from the video without losing video quality (this can be done with a VirtualDub Filter). "Soft" subtitles, or soft subs, are subtitles applied at playback time from a subtitle datafile, either muxed directly into the video file (.mkv, .ogm, etc.), or in a separate file (.ssa, .srt, etc.). With the correct media player or an auxiliary program, softsubs are superimposed on the footage and appear indistinguishable from hardsubs. Soft subs can also be rendered at higher resolutions, which can make for easier reading if the viewer is upscaling the file. Hard subs have traditionally been more popular

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Fansub than softsubs, due to a lack of player support and worries over plagiarism, but most fansub groups now release a softsub version of their releases. Since modern video media can contain multiple softsubs, some groups release fansubs with several translations into different languages, or differently styled subtitles to fit different preferences. Some groups have begun to release the opening and ending animations as separate files in order to reduce the size of each individual episode, though this introduces conflicts with player support, thus this method is not yet widespread. In the case of hard subtitles a video editor (commonly VirtualDub) uses an AVISynth script to load the raw video file and the subtitle file (created by the translators) then the video software applies the subtitles on the video and captures video with the subtitles "burned" in. The resulting fansub is a computer video file. In the case of soft subs, the companion sub data can be supplied as a separate file; however the complete package often now comes in a suitable media container such as Matroska. It can be copied to CD or DVD media for physical distribution, but is most often distributed using online file-sharing protocols such as viral video, DDL, BitTorrent and by file-sharing bots on IRC. [5] This distribution is usually handled by a distribution team, or "distro" team, composed of one or more individuals with a server or very high upload speed. This allows modern anime fans to download the finished product at little or no cost to themselves or to distributors, as the distro team usually uses servers that are not dedicated to fansub releases, or that are paid for through donations to their respective fansub group. The internet allows for highly collaborative fansubbing, and each member of a fansub team may only complete one task.[5] Online fansubbing communities are able to release a fully subtitled episode (including elaborate karaoke [5] with translation, kana, and kanji for songs, as well as additional remarks and translations of signs) [8] within 24 hours of an episode's debut in Japan. While this kind of speed is possible, the groups that favor speed in determent of quality are known as "speedsub" groups and tend to release low-quality fansubs (in terms of subtitle accuracy, video quality, and other aspects). "Quality" groups often take several days, weeks, or even months to release each episode after its initial airing. However, with the advent of new techniques and technology, such as softsubs and modern hardware capable of encoding high quality video quickly, combined with larger fansub groups tending to have a large staff capable of performing tasks in parallel, the line between speedsubs and quality subs is gradually becoming blurred.

Distribution and playback In the late 1990s and early 2000s, fansubs in electronic form were primarily distributed like VHS and Beta tapes: via mailed CD-Rs. Many fans did not have high speed Internet and were unable to download large files. Many of the early electronic fansubs were made from regular tape subs. In the mid-2000s, most fansubs were distributed through IRC channels, file hosting services and BitTorrent. In recent years most groups have shifted from using IRC to being primarily BitTorrent. BitTorrent trackers dedicated to anime fansub releases allow fans to easily find the latest releases, and individual fansub groups often use their own websites to inform fans of new releases. Because of an almost complete de-emphasis on CD-R and DVD-R distribution, file size standards are less frequently followed. An appropriate video and audio playback codec needs to be installed on the computer for proper playback. In addition, many of the video files use alternate multimedia container formats such as OGM and Matroska. Special decoders need to be acquired for these formats as well. One main benefit of using Ogg or Matroska multimedia containers is the ability to create a single file that has DVD-like features such as chapter support and multiple audio and/or subtitle tracks, as well as support for separate opening/ending animation files. At the same time, these multimedia containers can be easily demuxed into their individual files, the individual files can be altered (for example, fixing a misspelling in the subtitles), and then remuxed back together. Many fansub groups recommend using a codec pack, such as CCCP, to allow for relatively simple playback of these formats.

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Legal and ethical issues In countries subscribing to the Berne Convention, fansubbing is illegal as it constitutes copyright infringement. However, fansubbers have traditionally held themselves to a common code of ethics and do not commonly see themselves as pirates.[9] Many fansubs contain subtitle text that reads "This is a free fansub: not for sale, rent, or auction" that pops up during eyecatches.[8] Marketing concerns for distribution companies create a gray operating zone for fansubbers. While on the one hand it is true that products like Fist of the North Star are released and licensed in America, only part of the series is available. A fan willing to buy the whole series would find it impossible. However, the lack of support of these products, which fansubs can play a part in, is often a factor in the decision to not continue releasing a series. The costs of licensing more of the series might not be possible without a successful release of the initial offering. Supporters of fansubbing point[10] to an alleged positive impact it has had on the anime industry through its function as publicity. There have been several shows that were at first overlooked for US distribution, only to be picked up later when fansubs helped create a buzz about the franchise. The role fansubs have played in popularizing anime titles received official recognition by at least two major distributors. In the promotional video announcing the American license of The Melancholy of Haruhi Suzumiya, Kadokawa Pictures USA and Bandai Entertainment specifically thanked fansub watchers and asked them to purchase the official release. A company can successfully dub over 100 episodes in as little as a two year period, a length of time that has confused some fan groups due to the speed that fansubs can provide the same material (considering that the fanbase desires the unaltered Japanese show, simply with their native language subtitles). But companies are starting to address this issue, for example, Funimation is working to release their uncut, unedited episodes of One Piece in multiple formats,[11] releasing earlier season sections alongside boxsets more recent episodes in attempt to meet fan demand. VIZ's boxset format releases for Naruto and Prince of Tennis also attempt to deliver larger chunks of a series to fans in a quick and efficient manner. Due to 4Kids' heavy editing of their properties and refusal to release untouched versions on DVD, some fansubbing groups continue to subtitle and release popular shows owned by the company such as Tokyo Mew Mew, One Piece, and Yu-Gi-Oh!. 4Kids attempted an uncut bilingual release of Shaman King and Yu-Gi-Oh in the mid 2000s, releasing a handful of volumes of each title in the format, but in an interview with ANN Alfred Kahn stated that "The market for them just isn't as large as the one for the cut version," pointing out that their sales might not have met 4Kids' needs or expectations to continue them. [12] Past market reactions have shown that time might be better spent petitioning 4Kids for a bilingual release, and supporting the uncut release of former 4Kids licenses like One Piece, to show them there is a market for such titles. An older example is Sailor Moon, which was initially licensed by DiC. After fan demand showed there was a market for the title, uncut, unedited versions of the show, and Pioneer successfully release the Sailor Moon Movies in a subtitled VHS format in 1999, followed by dubbed versions and bilingual DVDs. This was quickly followed by the release of Sailor Moon S and Sailor Moon Supers, which both received complete unedited releases on VHS and DVD from Geneon. In 2003, the commercial subtitles of the first two seasons appeared, released by ADV Films under license by DIC, completing the uncut release that many fans never believed would be possible.

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Dynamics of fansubbing Although executives of domestic anime distributors have been vocal about their objection to fansubs, most do not want to gain an image as being hostile to their fans. Of special note, many in the anime industry started as VHS fansubbers themselves, although fansubbing as they knew it then has become profoundly different from fansubbing as it is known today. This is due to the shift from traditional fansubbing using VHS tape to modern digisubs that are circulated on the internet. During the early days of the Internet, it was difficult for fansubbing groups to get the attention of their target audience. Even during the early to mid 1990s, groups still had to charge a nominal fee (usually $5 to $10 at most) for a VHS and shipping charges to get the anime to its destination. Many people in the general public were not willing to trust relatively unknown internet businesses, especially during the primitive days of internet security. Most of the American and UK anime distribution companies were formed during the early 1990s, and had little competition from such amateur groups. Some companies even formed out of fansubbing circles. However, as the internet grew in availability and speed, fansub groups were able to host and distribute fansubs online easily. The advent of BitTorrent as opposed to IRC has been pointed to as a key ingredient in the current fansubbing scene. [13] It has been argued that this prompted fans to ignore official releases altogether, and some websites started charging for easier downloading rates. The development of new software and its newfound availability made it very simple to copy, subtitle, distribute, and play back fansubs, cutting into what DVDs offer, and their sales. Many anime shows make their debut outside of Japan's shores in electronic format, and it is rare that a popular anime will go without fansubs.[13] Recently, this has also applied to the tokusatsu fandom due to the fact fansubs are actually being done for Super Sentai, Kamen Rider, Ultraman, and various Daikaiju Movies which most fans didn't appreciate the dubbing. In addition, J-Horror and J-Drama, as well as other Asian Shows have been fansubbed as many people are becoming more and more curious about Asian Cinema and breaking away from the Kung Fu, Samurai, Giant Monsters films that so many people were familiar with prior to fansubbing.

Recent legal action There is a belief among some fans that an "unspoken agreement" exists between the fansubbers and Japanese copyright holders that fansubs help promote a product. Steve Kleckner of Tokyopop noted: Frankly, I find it kind of flattering, not threatening[...] To be honest, I believe that if the music industry had used downloading and file sharing properly, it would have increased their business, not eaten into it. And, hey, if you get 2,000 fans saying they want a book you've never heard of, well, you gotta go out and get it. "[14] This belief was challenged when in December 2004 Media Factory (MFI), a Japanese copyright holder, directly requested that their works be removed from download sites, and since then numerous other companies such as Nippon TV have followed suit in the wake of the appearance of fansubs on YouTube. On December 7, 2004, a Tokyo law firm representing Media Factory sent letters and e-mails to the anime BitTorrent directory AnimeSuki and fansub groups Lunar Anime and Wannabe Fansubs requesting that they halt the fansubbing and hosting of all current and future fansubbing productions. [9] AnimeSuki and Lunar Anime complied, and shortly after, other fansub groups such as Solar and Shining Fansubs followed suit. Despite the request, Wannabe Fansubs and a handful of other fansubbing groups continued to produce fansubs of MFI anime series. [15] To date, this has been one of the few legal actions taken by a Japanese anime company against fansubbing. After MFI's request was made public, only Genshiken, whose fansubs had been completed before the notifications, and Kimi ga Nozomu Eien were licensed in the US. MFI's other major projects, including Pugyuru and Akane Maniax, were not picked up by American distributors. The lack of buzz that surrounded these titles has been linked by fansub supporters to MFI's suppression of fan distribution. They argue that by cutting off this means of "free advertisement," MFI has alienated fans who would normally buy their products after they were licensed and kept the

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shows from being as widely exposed as they might otherwise be. The end result, say fansub supporters, is a reduced interest from American anime companies and a loss of revenue for the studio. However, in August, 2006, School Rumble was finally licensed by Funimation thanks to popularity of the series garnered from its manga release by Del Rey. It took the series over 2 years to be licensed, which is normal for anime licenses around 2002. Since MFI's legal action against fansubbers, their number of licenses secured is below the industry average. MFI's actions are sometimes used as an example in the fansub debate as a reason why other Japanese companies should not pursue similar injunctions. However, their titles are still being licensed. The anime series based on Emma and Aria were both licensed in 2008, and Area 88, Gankutsuou, Kurau Phantom Memory, Noein, Shura no Toki, and UFO Ultramaiden Valkyrie were all licensed after the legal action in 2004. Recently, a few titles such as Street Fighter Generations were prelicensed, meaning that they were released simultaneously in Japan and North America, in an effort to negate the need for fansubs. However, some fansubbing of such titles still occurs, as some people prefer fansubs over commercial releases. Fansub opposers claim that Japanese licensers have reportedly grown discontent with fansubbers because the ease of access with which their works are obtained has begun to affect foreign licensers' willingness to license a series, as evidenced by the Western market's sharp drop in new acquisitions in 2005. They also suggest that anime fans in Japan have reportedly begun to turn to English fansubs which often appear days after a show's release, affecting sales in their home market. Indeed, Japanese companies have banded together to form JASRAC, a copyright holders rights company, which has frequently taken YouTube to task for providing content which domestic Japanese viewers often use, which includes fansubs, as seen on their official site. [16] A growing anti-fansub stance has been taken by US distributors, as seen in Geneon and ADV's comments at the State of the Industry Panel at Anime Boston, [17] as well as recent comments by Matt Greenfield of ADV Films at Anime Central: "Answering a fan question on how ADV perceives the threat and challenge presented by fansubbers, Matt answered that while fan subtitling is hurting the industry both in the US and in Japan, 'the industry has to learn and adapt to new technology, and has to find ways to work around it.'" [18] In Singapore, anime distributor Odex has been actively tracking down and sending legal threats against internet users in Singapore since 2007. These users have allegedly downloaded fansubbed anime via the BitTorrent protocol. Court orders on ISPs to reveal subscribers' personal information have been ruled in Odex's favour, leading to several downloaders receiving letters of legal threat from Odex and subsequently pursuing out-of-court settlements for at least S$3,000 (US$2,000) per person, the youngest person being only 9 years old. [19] [20] These actions were considered controversial by the local anime community and have attracted criticisms towards the company, as they are seen by fans as heavy-handed.[21]

References [1] Leonard, Sean. Progress against the law: Anime and fandom, with the key to the globalization of culture (http:// ics.sagepub.com/cgi/ content/abstract/8/3/281) International Journal of Cultural Studies, 9 2005; vol. 8: pp. 281 €305. [2] Zhou, Jie. "The Economics of Movie Downloads in the Film Industry" (http://web.archive.org/web/20071011231757/http:// yaleeconomicreview.com/issues/fall2005/downloads.php). Yale Economic Review. Archived from the srcinal (http:/ / yaleeconomicreview.com/issues/fall2005/downloads.php) on 2007-10-11. . Retrieved May 7, 2006. [3] "Tokyo Anime Center Posts "Stop! Fan-Subtitle" Notice" (http:/ / www.animenewsnetwork.com/news/2008-03-29/ tokyo-anime-center-posts-stop-fan-subtitle-notice). Anime News Network. March 29, 2008. . Retrieved September 24, 2009. [4] "Gonzo Works to be Streamed Simultaneously with Airing" (http:// www.animenewsnetwork.com/news/2008-03-21/ gonzo-works-to-be-streamed-simultaneously-with-airing). Anime News Network. March 21, 2008. . Retrieved September 24, 2009. [5] Cintas, Jorge DÇaz; Pablo MuÈoz SÉnchez. "Fansubs: Audiovisual Translation in an Amateur Environment" (http:// www.jostrans.org/ issue06/art_diaz_munoz.pdf) (PDF). . Retrieved September 24, 2009. [6] http:// www29.atwiki.jp/ccats/pages/13.html [7] "Of Otakus and Fansubs" (http:/ /web.archive.org/web/20080217024839/http:// www.law.ed.ac.uk/ahrc/SCRIPT-ed/vol2-4/hatcher. asp#Quality). Law.ed.ac.uk. Archived from the srcinal (http:/ /www.law.ed.ac.uk/ahrc/SCRIPT-ed/vol2-4/hatcher.asp#Quality) on February 17, 2008. . Retrieved September 24, 2009.

Fansub [8] Hatcher, Jordan S.. "Of Otaku and Fansubs. Appendix - Fansub Samples" (http:// www.law.ed.ac.uk/ahrc/script-ed/vol2-4/ otaku_appendix.pdf) (PDF). Script-ed. Vol. 2, No. 4, 2005.. . Retrieved September 24, 2009. [9] Solomon, Charles (August 21, 2005). "File Share and Share Alike" (http:// www.nytimes.com/2005/08/21/arts/21solo. html?ex=1282276800&en=91a6bf6f3813c78f&ei=5090&partner=geartest&emc=rss). New York Times. . Retrieved September 24, 2009. [10] Jenkins, Henry (December 2006). "When Piracy becomes Promotion" (http:// www.reason.com/news/show/116788.html). Reason Magazine. . Retrieved September 24, 2009. [11] "One Piece Release Polls" (http:/ / www.animeondvd.com/forum/showtopic.php?tid/19349/tp/4/). AnimeOnDVD.com. . [12] "Alfred R. Kahn" (http:/ / www.animenewsnetwork.com/interview/2005-04-24/alfred-r-kahn). Anime News Network. April 24, 2005. . Retrieved September 24, 2009. [13] "Interview With The Fansubber" (http:/ / www.animenewsnetwork.com/feature/2008-03-11). Anime News Network. March 11, 2008. . Retrieved September 24, 2009. [14] Hatcher, Jordan. "Of Otakus and Fan subs" (http:/ / www.law.ed.ac.uk/ahrc/script-ed/vol2-4/hatcher.asp#sdendnote175anc). University of Edinburgh. . Retrieved September 24, 2009. [15] "Removal of Media Factory Inc. Works" (http:/ / www.animesuki.com/doc.php/legal/mediafactory.html). AnimeSuki. . Retrieved April 24, 2006. [16] "Press release" (http:/ / www.jasrac.or.jp/release/06/12_2.html). Jasrac.or.jp. . Retrieved July 19, 2007. [17] "Why do R1 companies suddenly hate us?" (http:// web.archive.org/web/20070927200506/http:// animeondvd.com/forum/showtopic. php?tid/19708/tp/12/). AnimeonDVD.com. Archived from the srcinal (http:/ / animeondvd.com/forum/showtopic.php?tid/19708/tp/12/ ) on 2007-09-27. . Retrieved July 19, 2007. [18] Koulikov, Mikhail (May 12, 2007). "Anime Central 2007 - ADV Films" (http:// www.animenewsnetwork.com/convention/2007/ anime-central/advfilms). Anime News Network. . Retrieved July 19, 2007. [19] Hanqing, Liew (August 2, 2007). "Parents get shock letter" (http:// web.archive.org/web/20070930224936/http:// newpaper.asia1.com. sg/printfriendly/0,4139,137645,00.html). The New Paper. Archived from the srcinal (http:/ / newpaper.asia1.com.sg/printfriendly/ 0,4139,137645,00.html) on 2007-09-30. . [20] Tan, Michael (August 16, 2007). "Kicking kids for profit?" (http:// asia.cnet.com/blogs/rehashplus/post.htm?id=63000177). CNet Asia. . Retrieved 2009-09-24. [21] Hou, Chua Hian (August 16, 2007). "Anime firm boss gets online death threats" (http:// www.asiamedia.ucla.edu/article-southeastasia. asp?parentid=76054). The Straits Times. p. 4. . Retrieved 2009-09-24.

Further reading • . doi:10.1353/mec.2010.0002. • Leonard, Sean. "Celebrating Two Decades of Unlawfu l Progress: Fan Distri bution, Proselytization Commons, and the Explosive Growth of Japanese Animation" (http:/ /papers.ssrn.com/sol3/papers. cfm?abstract_id=696402). UCLA Entertainment Law Review, Spring 2005.

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History of anime

History of anime The history of anime began at the start of the 20th century, when Japanese filmmakers experimented with the animation techniques that were being explored in the West. During the 1970s, anime developed further, separating itself from its Western roots, and developing distinct genres such as mecha and its Super Robot sub-genre. Typical shows from this period include Lupin III and Mazinger Z. During this period several filmmakers became famous, especially Hayao Miyazaki and Mamoru Oshii. In the 1980s, anime was accepted in the mainstream in Japan, and experienced a boom in production. The rise of Gundam, Macross, Real Robot, Dragon Ball, and Space Opera set a boom as well. The film Akira set records in 1988 for the production costs of an anime film and went on to become a success worldwide. Later, in 2004, the same creators produced Steamboy, and later took over as the most expensive anime film. The Super Dimension Fortress Macross also became a worldwide success after being adapted as part of Robotech, and Megazone 23 also gained recognition in the West after it was adapted as Robotech: The Movie. I internet also led to the rise of fansub anime. Spirited Away shared the first prize at the 2002 Berlin Film Festival and won the 2003 Academy Award for Best Animated Feature, while Innocence: Ghost in the Shell was featured at the 2004 Cannes Film Festival.

First generation of Japanese animators Few complete animations made during the beginnings of Japanese animation have survived. The reasons vary, but many are of commercial nature. After the clips had their run, reels (being property of the cinemas) were sold to smaller cinemas in the country and then disassembled and sold as strips or single frames. Šten Shimokawa was a political caricaturist and cartoonist who worked for the magazine Tokyo Puck. He was hired by Tenkatsu to do an animation for them. Due to medical reasons, he was only able to do five movies, including Imokawa Mukuzo Genkanban no Maki (1917), before he returned to his previous work as a cartoonist. Another prominent animator in this period was Jun'ichi K€uchi. He was a caricaturist and painter, who also had studied watercolor painting. In 1912 he also entered the cartoonist sector and was hired for an animation by Kobayashi Shokai later in 1916. He is viewed as the most technically advanced Japanese animator of the 1910s. His works include around 15 movies. Seitaro Kitayama was an early animator who made animations on his own, not hired by larger corporations. He even founded his own animation studio, the Kitayama Eiga Seisakujo, which was later closed due to lack of commercial success. He utilized the chalkboard technique, and later paper animation, with and without pre-printed backgrounds. The works of these two pioneers include Namakura Gatana (An Obtuse Sword, 1917) and a 1918 film Urashima Tar€ which were discovered together at an antique market in 2007.[1] In July 2005, an old animation film was found in Kyoto. This undated 3 seconds film, plainly titled Moving Picture (œžŸ, Katsud€ Shashin?), consists of fifty frames drawn directly onto a strip of celluloid. [2] It depicts a young boy in a sailor suit writing the kanji " œžŸ" ( katsud€ shashin, for "moving pictures") on a board, then turning towards thefor viewer, removing hat, andasoffering a salute. The creator's is unknown, but itdiscoverer, is thought Naoki that it was made private viewing,hisperhaps experimentation, rather than identity for public release. The Matsumoto, has speculated that it could be "up to 10 years older" than the previously first known Japanese animation, Imokawa Mukuzo Genkanban no Maki, released in 1917. However, while a date of circa 1915 is possible, there is no actual basis for this extreme speculation.

119

History of anime

Second generation of Japanese animators Yasuji Murata, Hakuzan Kimura, Sanae Yamamoto and Nobur€ Šfuji were students of Kitayama Seitaro and worked at his film studio. Kenz€ Masaoka, another important animator, worked at a smaller animation studio. In 1923, the Great Kant€ earthquake destroyed most of the Kitayama studio and the residing animators spread out and founded studios of their own. Prewar animators faced several difficulties. First, they had a hard time competing with foreign producers such as Disney, which were influential on both audiences and producers. Since foreign films had already made a profit abroad, they could be sold for even less than the price domestic producers need to charge in order to break even.[3] Japanese animators thus had to work cheaply, in small companies with only a handful of employees, but that could make matters worse: given costs, it was then hard to compete in terms of quality with foreign product that was in color, with sound, and made by much bigger companies. Japanese animation until the mid-1930s, for instance, generally used cutout animation instead of cel animation because the celluloid was too expensive. [4] This resulted in animation that could seem derivative, flat (since motion forward and backward was difficult) and without detail. [5] But just as postwar Japanese animators were able to turn limited animation into a plus, so masters such as Yasuji Murata and Nobur€ Šfuji were able to do wonders in cutout animation. Animators such as Kenz€ Masaoka and Mitsuyo Seo, however, did attempt to bring Japanese animation up to the level of foreign work by introducing cel animation, sound, and technology such as the multiplane camera. Masaoka created the first talkie anime, Chikara to Onna no Yo no Naka , released in 1933,[6] [7] and the first anime made entirely using cel animation, The Dance of the Chagamas (1934).[8] Seo was the first to use the multiplane camera in Ari-chan in 1941. Such innovations, however, were hard to support purely commercially, so prewar animation depended considerably on sponsorship, as animators often concentrated on making PR films for companies, educational films for the government, and eventually works of propaganda for the military. [9] During this time, censorship and school regulations discouraged film-viewing by children, so anime that offered educational value were supported and encouraged by the Monbusho (the Ministry of Education). This proved important for producers that had experienced a hard time releasing their work in regular theaters. Animation had found a place in scholastic, political and industrial use.

During the Second World War In the 1930s the Japanese government began enforcing cultural nationalism. This also lead to a strict censorship and control of published media. Many animators were urged to produce animations which enforced the Japanese spirit and national affiliation. Some movies were shown in newsreel theaters, especially after the Film Law of 1939 promoted documentary and other educational films. Such support helped boost the industry, as bigger companies formed through mergers, and prompted major live-action studios such as Shochiku to begin producing animation.[10] It was at Shochiku that such masterworks as Kenz€ Masaoka's Kumo to Ch…rippu were produced. Wartime reorganization of the industry, however, merged the feature film studios into just three big companies. More animated films were commissioned by the military,[11] showing the sly, quick Japanese people winning against enemy forces. In 1943, Geijutsu Eigasha produced Mitsuyo Seo's Momotaro's Sea Eagles with help from the Navy. Shochiku then made Japan's first real feature length animated film, Seo's Momotaro's Divine Sea Warriors in 1945, again with the help of the Navy. In 1941 Princess Iron Fan had become the first Asian animation of notable length ever made in China. Due to economic factors, it would be Japan which later emerged long after the war with the most readily available resources to continue expanding the industry.

120

History of anime

121

Toei Animation and Mushi Productions In 1948, Toei Animation was founded and produced the first color anime feature film in 1958, Hakujaden (The Tale of the White Serpent, 1958). This film was more Disney in tone than modern anime with musical numbers and animal sidekicks. However, it is widely considered to be the first "anime" ever, in the modern sense. It was released in the US in 1961 as Panda and the Magic Serpent. From 1958 to the mid-1960s, Toei continued to release these Disney-like films and eventually also produced two of the most well known anime series, Dragon Ball in 1986 and Sailor Moon in 1992. Toei's style was also characterized by an emphasis on each animator bringing his own ideas to the production. The most extreme example of this is Isao Takahata's film Hols: Prince of the Sun (1968). Hols is often seen as the first major break from the normal anime style and the beginning of a later movement of "auteuristic" or "progressive anime" which would eventually involve directors such as Hayao Miyazaki (creator of Spirited Away) and Mamoru Oshii.

Japanese movie poster for the first color anime feature film The Tale of the White Serpent (1958)

A major contribution of Toei's style to modern anime was the development of the "money shot". This cost-cutting method of animation allows for emphasis to be placed on important shots by animating them with more detail than the rest of the work (which would often be limited animation). Toei animator Yasuo Štsuka began to experiment with this style and developed it further as he went into television. in the 1980s Toei would later lend it's talent to companies like Sunbow Productions, Marvel Productions, DiC Entertainment, Murakami-Wolf-Swenson, Ruby Spears and Hanna Barbera with producing several animated cartoons for America during this period. Other studios like TMS Entertainment, were also being used in the 80's, which lead to Asian studios being used more often to animate foreign productions, but the companies involved still produced anime for their native Japan. First

First anime series

Native language name おとêÝ ÙÛ À Ý H„

English name

Released

Otogi Manga Calendar May1,1961

First super robot anime series 鉄• 28¡

Tetsujin 28-go

First anime space opera series ¢£¤‘ê´

Space Battleship Yamato October 6, 1974

First real robot anime series

¥<ÙÝ H,

Mobile Suit Gundam

April 7, 1979

First OVA

H ³

Dallos

December 12, 1983 OVA no

First adult (hentai) anime

 ² „ タ³Õメ

Lolita Anime

February 21, 1984

1970s

October 20, 1963

Type

Broadcast

series yes series yes series yes series yes

OVA yes

During the 1970s, the Japanese film market shrunk due to competition from television. This increased competition from television reduced Toei animation's staff and many animators went to studios such as A Pro and Telecom animation. Mushi Productions went bankrupt (only to be revived 4 years later), its former employees founding studios such as Madhouse Production and Sunrise. As a result, many young animators were thrust into the position of director before they would have been promoted to it. This injection of young talent allowed for a wide variety of experimentation. One of the earliest successful television productions in the early 1970s was Tomorrow's Joe (1970), a boxing anime which has become iconic in Japan.

History of anime

122

Another example of this experimentation is with Isao Takahata's 1974 television series Heidi, Girl of the Alps. This show was srcinally a hard sell because it was a simple realistic drama aimed at children. Most TV networks thought the TV show wouldn't be successful because children needed something more fantastic to draw them in. Heidi wound up being an international success being picked up in many European countries and becoming popular there. In Japan it was so successful that it allowed for Hayao Miyazaki and Takahata to start up a series of literary based anime (World Masterpiece Theater). Miyazaki and Takahata left Nippon Animation in the late 1970s. Two of Miyazaki's critically acclaimed productions during the 1970s were Future Boy Conan (1978) and Lupin III: The Castle of Cagliostro (1979). Another genre known as Mecha came into being at this time. Some early works include Mazinger Z (1972€74), Science Ninja Team Gatchaman (1972€74), Space Battleship Yamato (1974€75) and Mobile Suit Gundam (1979€80). These titles showed a progression in the science fiction genre in anime, as shows shifted from more superhero-oriented, fantastical plots found, as seen in the Super Robot genre, to somewhat more realistic space operas with increasingly complex plots and fuzzier definitions of right and wrong, as seen in the Real Robot genre.

1980s This shift towards space operas became more pronounced with the commercial success of Star Wars (1977). This allowed for the space opera Space Battleship Yamato (1974) to be revived as a theatrical film. Mobile Suit Gundam (1979), the first Real Robot anime, was also initially unsuccessful but was revived as a theatrical film in 1982. The success of the theatrical versions of Yamato and Gundam are seen as the beginning of the anime boom of the 1980s, which many consider the beginning of the "golden age of anime". This anime boom also marked the beginning of "Japanese Cinema's Second Golden Age", which would last until around the beginning of the 2000s. [12] While the Mecha genre shifted from superhero giant robots (the Super Robot genre of the 1970s) to elaborate space operas (the Real Robot genre of the 1980s), two other events happened at this time. A subculture in Japan, who later called themselves began to to develop around animation magazines such asaround Animage or later . These magazines poppedotaku, up in response the overwhelming fandom that developed shows suchNewtype as Yamato and Gundam in the late 1970s and early 1980s.

Yamato animator Yoshinori Kanada allowed individual key animators working under him to put their own style of movement as a means to save money. In many more "auteuristic" anime this formed the basis of an individualist animation style unique to Japanese commercial animation. In addition, Kanada's animation was inspiration for Takashi Murakami and his Superflat art movement. In the United States the already mentioned popularity of Star Wars had a similar, but much smaller, effect on the development of anime. Gatchaman was reworked and edited into Battle of the Planets in 1978 and again as G-Force in 1986. Space Battleship Yamato was reworked and edited into Star Blazers in 1979. The Macross series began with The Super Dimension Fortress Macross (1982), which was adapted into English as the first arc of Robotech (1985), which was created from three separate anime titles: The Super Dimension Fortress Macross, Super Dimension Cavalry Southern Cross and Genesis Climber Mospeada. The sequel to Mobile Suit Gundam, Mobile Suit Zeta Gundam (1985), became the most successful Real Robot space opera in Japan, where it managed an average [13]

television rating of 6.6% and a peak of 11.7%. The otaku culture became more pronounced with Mamoru Oshii's adaptation of Rumiko Takahashi's popular manga Urusei Yatsura (1981). Yatsura made Takahashi a household name and Oshii would break away from fan culture and take a more auteuristic approach with his 1984 film Urusei Yatsura 2: Beautiful Dreamer. This break with the otaku culture would allow Oshii to experiment further. The otaku subculture had some effect on people who were entering the industry around this time. The most famous of these people were the amateur production group Daicon Films which would become Gainax. Gainax began by making films for the Daicon science fiction conventions and were so popular in the otaku community that they were given a chance to helm the biggest budgeted (to that point) anime film, Royal Space Force: The Wings of

History of anime

Honneamise (1987). One of the most influential anime of all time, Nausica‹ of the Valley of the Wind (1984), was made during this time period. The film gave extra prestige to anime allowing for many experimental and ambitious projects to be funded shortly after its release. It also allowed director Hayao Miyazaki and his long time colleague Isao Takahata to set up their own studio under the supervision of former Animage editor Toshio Suzuki. This studio would become known as Studio Ghibli and its first film was Laputa: Castle in the Sky (1986), one of Miyazaki's most ambitious films. The success of Dragon Ball (1984) introduced the martial arts genre and became incredibly influential in the Japanese Animation industry. It influenced many more martial arts anime and manga series' including Yu Yu Hakusho (1990), One Piece (1997), and Naruto (1999). The brought anime to Base the home video market in the form was of Original Animation (OVA). OVA was 1980s Mamoru Oshii's (1983 €1984). a flop, Video but 1985's was first a success. Moon Dallos Dallos Megazone 23 The Shows such as Patlabor had their beginnings in this market and it proved to be a way to test less marketable animation against audiences. The OVA allowed for the release of pornographic anime such as Cream Lemon (1984). The first hentai OVA was actually the little-known Wonder Kids Lolita Anime, also released in 1984. Sports anime as now known made its debut in 1983 with an anime adaptation Yoichi Takahashi's soccer manga Captain Tsubasa, which became the first worldwide successful sports anime leading its way to create themes and stories that would create the formula that would later then be used in many sports series that soon followed such as Slam Dunk, Prince of Tennis and Eyeshield 21. The late 1980s, following the release of Nausica‹, saw an increasing number of high budget and/or experimental films. In 1985 Toshio Suzuki helped put together funding for Oshii's experimental film Angel's Egg (1985). The OVA market allowed for short experimental pieces such as Take the X Train, Neo Tokyo, and Robot Carnival (all three 1987). Theatrical releases became more ambitious, each film trying to outclass or outspend the other film, all taking cues from Nausica‹'s popular and critical success. Night on the Galactic Railroad (1985), Tale of Genji (1986), and Grave of the Fireflies (1988) were all ambitious films based on important literary works in Japan. Films such as Char's Counterattack (1988) and Arion (1986) were lavishly budgeted spectacles. This period of lavish budgeting and experimentation would reach its zenith with two of the most expensive anime film productions ever: Royal Space Force: The Wings of Honneamise (1987) and Akira (1988). Most of these films did not make back the costs to produce them. Neither Akira nor Royal Space Force: The Wings of Honneamise were box office successes in Japan. As a result, large numbers of anime studios closed down, and many experimental productions began to be favored less over "tried and true" formulas. Only Studio Ghibli was to survive a winner of the many ambitious productions of the late 1980s with its film Kiki's Delivery Service (1989) being the top grossing film for that year earning over $40 million at the box office. Despite the failure of Akira in Japan, it brought with it a much larger international fan base for anime. When shown overseas, the film became a cult hit and, eventually, a symbol of the medium for the West. The domestic failure and international success of Akira, combined with the bursting of the bubble economy and Osamu Tezuka's death in 1989, brought a close to the 1980s era of anime.

1990s In 1995, Hideaki Anno wrote and directed the controversial anime, Neon Genesis Evangelion. This show became popular in Japan among anime fans and became known to the general public through mainstream media attention. It is believed that Anno srcinally wanted the show to be the ultimate otaku anime designed to revive the declining anime industry, but midway through production he also made it into a heavy critique of the culture eventually culminating in the controversial, but quite successful film The End of Evangelion (1997) which grossed over $10 million. Anno would eventually go on to produce live action films. Many scenes in the Evangelion TV show were so

123

History of anime controversial that it forced TV Tokyo to clamp down with censorship of violence and sexuality in anime. As a result when Cowboy Bebop (1998) was first broadcast it was shown heavily edited and only half the episodes were aired. The censorship crackdown has relaxed a bit, but Evangelion had a major effect on the television anime industry as a whole. In addition, Evangelion started up a series of so-called "post-Evangelion" shows. Most of these were giant robot shows with some kind of religious or difficult plot. These include RahXephon, Brain Powerd, and Gasaraki. Another series of these are late night experimental TV shows. Starting with Serial Experiments Lain (1998) late night Japanese television became a forum for experimental anime with other shows following it such as Boogiepop Phantom (2000), Texhnolyze (2003) and Paranoia Agent (2004). Experimental anime films were also released in the 1990s, most notably Ghost in the Shell (1995), which alongside Megazone 23 (1985),[14] had a strong influence on The Matrix.[15] [16] [17] The late 1990s also saw a brief revival of the Super Robot genre that was once popular in the 1960s and 1970s but had become rare due to the popularity of Real Robot shows such as the Gundam and Macross series in the 1980s and psychological Mecha shows such as Neon Genesis Evangelion in the 1990s. The revival of the Super Robot genre began with GaoGaiGar in 1997 in response to "post-Evangelion" trends, but there were very few popular Super Robot shows produced after this, until Tengen Toppa Gurren Lagann in 2007. Alongside its Super Robot counterpart, the Real Robot genre was also declining during the 1990s. Though several Gundam shows were produced during this decade, very few of them were successful. The only Gundam shows in the 1990s which managed an average television rating over 4% in Japan were Mobile Fighter G Gundam (1994) and New Mobile Report Gundam Wing (1995). It wasn't until Mobile Suit Gundam SEED in 2002 that the Real Robot genre regained its popularity.[13] The 1990s also saw the popular video game series, Pok‚mon, spawn an anime television show which is still running, several anime movies, a trading card game, toys, and much more. Other 1990s anime series which gained international success were Dragon Ball Z, Sailor Moon, and Digimon; the success of these shows marked the beginning of the martial arts superhero, the magical girl genre, and the action adventure genre respectively. In particular, Dragon Ball Z was dubbed into more than a dozen languages worldwide. In 1997, Hayao Miyazaki's Princess Mononoke became the most expensive animated film up until that time, costing $20 million to produce. Miyazaki personally checked each of the 144,000 cels in the film, [18] and is estimated to have redrawn parts of 80,000 of them. [19] The late 1990s also saw anime crossing the borders into live action, starting with Gokusen, Great Teacher Onizuka (1999). It continued well into the 2000s, with Hana Yori Dango (2005), Jigoku Sh€jo (2006) and Nodame Cantabile among them.

2000s An art movement started by Takashi Murakami that combined Japanese pop-culture with postmodern art called Superflat began around this time. Murakami asserts that the movement is an analysis of post-war Japanese culture through the eyes of the otaku subculture. His desire is also to get rid of the categories of 'high' and 'low' art making a flat continuum, hence the term 'superflat'. His art exhibitions are very popular and have an influence on some anime creators particularly those from Studio 4ÊC. The "Evangelion-era" trend continued into the 2000s with Evangelion-inspired mecha anime such as RahXephon (2002) and Zegapain (2006) - RahXephon was also intended to help revive 1970s-style mecha designs. The experimental late night anime trend popularized by Serial Experiments Lain also continued into the 2000s with experimental anime such as Boogiepop Phantom (2000), Texhnolyze (2003), Paranoia Agent (2004) and Gantz (2004). Manga Author Mia Ikumi made the Tokyo Mew Mew and Only One Wish books along with the Magical Girl genre.

124

History of anime The Real Robot genre (including the Gundam and Macross franchises), which had declined during the 1990s, was revived in 2002 with the success of shows such as Mobile Suit Gundam SEED (2002), Eureka Seven (2005), Code Geass: Lelouch of the Rebellion (2006), Mobile Suit Gundam 00 (2007), Macross Frontier (2008) and Code Geass: Lelouch of the Rebellion R2 (2008). The resurgence of Real Robot anime can be seen in a top 20 anime poll published in the April 2008 issue of Newtype magazine, where Japanese readers voted for Gundam 00 as the #1 top anime, alongside Code Geass at #2 and Gundam SEED at #9.[20] The 1970s-style Super Robot genre revival started by GaoGaiGar (1997), continued into the 2000s, with several remakes of classic series such as Getter Robo and Dancougar as well as srcinal properties created in the Super Robot mold like Godannar and Gurren Lagann. In particular, Gurren Lagann combined the genre with elements from 1980s Real Robot shows as well as 1990s "post-Evangelion" shows. Gurren Lagann received both the "best television production" and "best character design" awards from the Tokyo International Anime Fair in 2008.[21] This eventually culminated in the release of Shin Mazinger in 2009, a full-length revival of the first Super Robot series, Mazinger Z. In addition to these experimental trends, the 2000s has also been characterized by the increase of the moe-style art and the bish€jo and bish€nen character design. The presence and popularity of genres such as romance, harem and slice of life story has risen. Anime based on eroge and visual novels increased in popularity in the 2000s, building on a trend started in the late 90s by such works as Sentimental Journey (1998) and To Heart (1999). Examples of such works include Green Green (2003), SHUFFLE! (2006), Kanon (2002 and 2006), Fate/Stay Night (2006), Higurashi no Naku Koro ni (2006), Ef: A Tale of Memories (2007), True Tears (2008), and Clannad (2008 and 2009). Many shows are being adapted from manga and light novels as well including popular titles such as Fullmetal Alchemist (2005), Rozen Maiden 2005, Aria the Animation (2005), Shakugan no Shana (2005), Pani Poni Dash! (2005), Death Note (2006), Mushishi (2006), Sola (2007), The Melancholy of Haruhi Suzumiya (2006), Lucky Star (2007), Toradora! (2008€09), K-On! (2009) and Bakemonogatari (2009). Nevertheless, srcinal anime titles are still being created which reach success. The 2000s also mark a trend of emphasis of the otaku subculture. A notable critique of this otaku subculture is found in the 2006 anime Welcome to the N.H.K., which features a hikikomori protagonist and explores the effects and consequences of various Japanese sub-cultures, such as otaku, lolicon, internet suicide, massively multiplayer online games and multi-level marketing. In contrast to the above mentioned phenomenon, there have been more productions of late night anime for a non-otaku audience as well. The first concentrated effort came from Fuji TV's Noitamina block. The 30 minute late Thursday timeframe was created to showcase productions for young women of college age, a demographic that watches very little anime. The first production 'Honey and Clover' was a particular success, peaking at a 5% TV rating in Kantou, very strong for late night anime. The block has been running uninterrupted since April 2005 and has yielded many successful productions unique in the modern anime market. There have been revivals of American cartoons such as Transformers which spawned four new series, Transformers: Car Robots in 2000, Transformers: Micron Legend in 2003, Transformers: Superlink in 2004, and Transformers: Galaxy Force in 2005. In addition, an anime adaptation of the G.I Joe series was produced titled 'G.I. Joe: Sigma 6'. The 2000's also saw the revival of earlier series in the forms of Fist of the North Star: The Legends of the True Savior (2006) and Dragon Ball Z Kai (2009). The 2000s also saw the revival of high-budget feature-length anime films, such as Millennium Actress (2001), Appleseed (2001), Paprika (2006), and the most expensive of all being Steamboy (2004) which cost $26 million to produce. In 2008, the Japanese government created the position of Anime Ambassador and appointed Doraemon as the first Anime Ambassador to promote anime worldwide in diplomacy.[22]

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History of anime

2010s The romance and comedy genres have continued into the 2010s.

References [1] Earliest Anime found (http:/ /www.cartoonbrew.com/anime/earliest-anime-found) [2] "China People's Daily Online (Japanese Edition): 日„a¦§ˆ ¨j)é ³ÕメフÂ † ,[H“ ©ª" (http:/ /j.peopledaily.com.cn/ 2005/08/01/jp20050801_52250.html). . Retrieved 2007-03-05. [3] Yamaguchi, Katsunori; Yasushi Watan abe (1977). Nihon anim„shon eigashi. Y‚bunsha. pp. 26€27. [4] Sharp, Jasper (2009). "The First Frames of Anime." The Roots of Japanese Anime, official booklet, DVD. [5] Yamaguchi, Katsunori; Yasushi Watan abe (1977). Nihon anim„shon eigashi. Y‚bunsha. pp. 20€21. [6] Baricordi, Andrea; de Giovanni, Massimiliano; Pietroni, Andrea; Rossi, Barbara; Tunesi, Sabrina (December 2000). Anime: A Guide to Japanese Animation (1958-1988). Montreal, Quebec, Canada: Protoculture Inc.. p. 12. ISBN 2-9805759-0-9. [7] Japan: An Illustrated Encyclopedia. Tokyo, Japan: Kodansha. 1993. ISBN 9784062064897. [8] Sharp, Jasper (September 23, 2004). "Pioneers of Japanese Animation (Part 1)" (http://www.midnighteye.com/features/pioneers-of-anime. shtml). Midnight Eye. . Retrieved 10 December 2009. [9] The Roots of Japanese Anime, official booklet, DVD. [10] Yamaguchi, Katsunori (1977). Nihon anim„shon eigashi. Y‚bunsha. pp. 34€37. [11] Yamaguchi, Katsunori (1977). Nihon anim„shon eigashi. Y‚bunsha. pp. 38€44. [12] Dave Kehr, Anime, Japanese Cinema's Second Golden Age (http:// query.nytimes.com/gst/fullpage. html?res=9507E5D71238F933A15752C0A9649C8B63),The New York Times, January 20, 2002. [13] All Gundam TV series ratings (http:/ /aeug.blogspot.com/2004_11_01_aeug_archive.html#110060731014068978) [14] "Megazone 23" (http:/ /www25.advfilms.com/titles/megazone). A.D. Vision. . Retrieved 2008-05-05. [15] Joel Silver, interviewed in "Scrolls to Screen: A Brief History of Anime" featurette on The Animatrix DVD. [16] Joel Silver, interviewed in "Making The Matrix" featurette on The Matrix DVD. [17] Mitsuhisa Ishikawa, interviewed in The South Bank Show, episode broadcast 19 February 2006 (http:// www.itv.com/page. asp?partid=2701) [18] "Transcript on Miyazaki interview" (http:/ /www.princess-mononoke.com/html/chats/dp_991104_transcript.html). Official film site. . [19] "Mononoke DVD Website" (http:/ / disney.go.com/disneyvideos/animatedfilms/studioghibli/princessnews.html). Disney. . [20] Newtype April 2008 Issue Poll (http:/ / reira.zuiken.net/?p=220) [21] "Eva 1.0 Wins Tokyo Anime Fair's Animation of the Year" (http:/ / www.animenewsnetwork.com/news/2008-02-26/eva-1. 0-wins-tokyo-anime-fair-animation-of-the-year). Anime News Network. February 26, 2008. . Retrieved 2008-02-26. [22] Doraemon sworn in as anime ambass ador (http:/ /www.yomiuri.co.jp/dy/features/culture/20080321TDY02306.htm), Daily Yomiuri, March 21, 2008.

Works cited • Clements, Jonathan and Helen McCarthy (2001). The anime Encyclopedia: A Guide to Japanese Animation Since 1917. Stone Bridge Press. ISBN 1-880656-64-7. • Drazen, Patrick (2003). Anime Explosion!: The What? Why? & Wow! of Japanese Animation. Stone Bridge Press. ISBN 1-880656-72-8. • Ettinger, Benjamin "Karisuma Animators" (http:/ /www.pelleas.net/ animators/) • Ettinger Benjamin "Toei Doga" (http:/ /www.pelleas.net/aniTOP/index.php?p=66&more=1&c=1&tb=1& pb=1#comments) ( Part 2 (http:/ /www.pelleas.net/ aniTOP/index.php?p=67&more=1&c=1&tb=1& pb=1#comments)) Anipages Daily. 7/25/2004 and 7/26/2004. • Miyazaki, Hayao trans. Ryoko Toyama "About Japanese Animation" (http:/ /www.nausicaa.net/miyazaki/ interviews/aboutanime.html) • Murakami, Takashi (2003). Super Flat. Last Gasp. ISBN 4-944079-20-6. • Okada, Toshio et al. (2005), "Otaku Talk". Little Boy: The Arts of Japan's Exploding Subculture. Ed. Takashi Murakami. Japan Society and Yale University Press. ISBN 0-913304-57-3. • Sharp, Jasper "Pioneers of Japanese Animation at PIFan" Midnight Eye 9/25/2004 (http://www.midnighteye. com/features/pioneers-of-anime.shtml/) • Richie, Donald (2005). A Hundred Years of Japanese Film: A Concise History, with a Selective Guide to DVDs and Videos. Kodansha America. ISBN 4-7700-2995-0.

126

History of anime • Kime, Chad. "American Anime: Blend or Bastardization?" EX Online Anime Magazine (http:/ /www.ex.org/3. 3/14-column_riap.html)

External links • HISTORY OF ANIME: Osamu Tezuka (http:/ /www.tapanime.com/General-Info/historyanime.php) • A Capsule History of Anime (http:/ /www.awn.com/mag/issue1. 5/articles/patten1.5.html)

List of anime companies This is a list of anime industry companies involved in the production or distribution of anime.

Japan-based companies Animation studios • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

A-1 Pictures AIC (Anime International Company) Artland Ashi Productions A.P.P.P. (Another Push Pin Planning Company) Bee Train Bones Daiei Co., Ltd. Daume David Production Dogakobo Eiken Gainax Gonzo Group TAC Hal Film Maker Imagin (studio) Japan Vistec J.C.Staff Kyoto Animation Madhouse Magic Bus Manglobe Mushi Productions Nippon Animation Ordet Oriental Light and Magic (OLM) P.A. Works Polygon Pictures Production I.G Radix

127

List of anime companies • • • • • • • • • •

Satelight Seven Arcs Shaft Studio 4ÊC Studio Comet Studio Deen Studio Donguri Studio Dub Studio Egg Studio Fantasia

• • • • • • • • • • • • • •

Studio Gallop Studio Ghibli Studio Hibari Studio Junio Studio Mook Studio Nue Studio Orphee Studio Pierrot Studio Wombat Sunrise SynergySP Tatsunoko Production Telecom Animation Film Tezuka Productions

•• • • • • • • •

TNK (studio) Toei Animation Tokyo Movie Shinsha - also known as TMS Entertainment Topcraft Triangle Staff Ufotable White Fox XEBEC Zexcs

Producers • • • • • • • • • • • •

Animax Aniplex (Sony's anime distribution unit) Avex Bandai Visual BROCCOLI Dentsu Geneon Universal Entertainment (Formerly Pioneer LDC) Genco Hakuhodo DY Media Partners Japan Home Video (JHV) KSS Nihon Ad Systems

128

List of anime companies • • • • • •

Pony Canyon Soft On Demand (SOD) Toho VAP Victor Entertainment Viz Media

Non-Japanese companies Distributors North America & other regions

• AnimEigo (U.S.) • Bandai Entertainment (U.S., owned by Namco Bandai [1] ) • Bandai Visual USA (U.S., previously a subsidiary of Bandai Visual Japan and not affiliated with Bandai Entertainment, now folded into Bandai Entertainment[2] ) • Crunchyroll (U.S.) • Disney (U.S.) • • • • •

• Miramax Films (U.S., owned by Disney) Funimation Entertainment (U.S.) 4Kids Entertainment (U.S.) Manga Entertainment (UK, U.S.: bought by Anchor Bay Entertainment in 2005) Media Blasters (U.S.) NIS America (U.S., American subsidiary of Nippon Ichi Software software company)

• Section 23 (U.S.) (the succ essor company to ADV films, wh ich split into sev eral companies in 2009. "Section 23" handles distribution, "Sentai Filmworks" handles license acquisition, "Aesir Holdings" inherited ADV's old library of titles, "Seraphim Studios" handles new English dubs, and "Valkyrie Media Productions" handles The Anime Network). • The Right Stuf Int ernational (U.S., main distribution subdivision rebranded "Nozomi Entertainment" in 2007) • Viz Media (U.S., owned jointly by Shogakukan and Shueisha, of Japan, but it is run indep endently) Europe exclusive

• • • •

Manga Entertainment UK (the main branch of "Manga Entertainment") Beez Entertainment (EU, owned by Bandai) MVM Films (UK) Optimum Releasing (UK)

Australia

Australia is not of the normal global anime release system. Major worldwide such as for example ADV or part FUNimation, usually hold the release rights to everywhere except foranime Japandistributors, itself, and Australia • AkaHana (Australia) • Madman Entertainment (Australia: Madman overwhelmingly dominates the Australian anime market, for many years through the 2000s controlling approximately 90% of all sales) • Siren Visual (Australia)

129

List of anime companies Defunct

• ADV Films (U.S., U.K.) (shut down in 2009, selling off its assets and intellectual properties to four other Houston-based companies, such as Section 23 (see above)). • Central Park Media ( de facto defunct since mid-2007 when new DVD releases ceased, even though they continued to license their titles for TV and VOD, they entered a state of limbo. [3] Officially declared bankruptcy and assets liquidated in mid-2009. [4] Several of their titles have been acquired by other anime distributing companies prior to and following Central Park Media's bankruptcy and liquidation, such as ADV Films, Bandai Entertainment, Funimation Entertainment, Media Blasters, Nozomi Entertainment, etc.) • US Manga Corps (U.S., part of Central Park Media) • Family Home Entertainment (U.S., renamed Artisan Entertainment) in the 1990s, then acq uired by Lions Gate Entertainment in 2003). • Geneon Entertainment (U.S. branch "Geneon USA" (formerly "Pioneer Entertainment") defunct September 2007. Parent Japanese company ceased in-house distribution of its own titles, many of which have been re-licensed by Funimation[5] [6] and Sentai Filmworks. Parent company "Geneon Entertainment" then sold off its own ownership to NBC Universal subsidiary UPI, which then merged Geneon with its own "Universal Pictures Japan" division on February 1, 2009, renaming the new company "Geneon Universal Entertainment Japan"). [7] [8] • Streamline Pictures (U.S., Canada: stopped producing new anime releases in 1996, foldin g into Orion Pictures, which in turn folded into Metro-Goldwyn-Mayer one year later, in 1997. The Streamline brand name officially went defunct in 2002). • Synch-Point (U.S., A subsidiary of Broccoli (company), defunct when parent company Broccoli International USA shut down their operations in 2007) • U.S. Renditions (U.S., A subsidiary of Books Nippan, defunct mid-1990s) • Tokyopop (U.S.)

Producers • Sav! The World Productions (Fr, producer of Oban Star-Racers with Bandai Visual and HAL Film Maker) • Harmony Gold USA (U.S., produced the seminal Robotech series in 1985; stopped releasing new anime in the late 1980s and virtually dormant in the 1990s, the company technically still exists and issues re-releases)

References [1] http:// www.namcobandai.com/ [2] "Bandai Visual USA to be Liquidated by September" (http:// www.animenewsnetwork.com/news/2008-05-23/ bandai-visual-usa-to-be-liquidated-by-september). Anime News Network. May 23, 2008. . Retrieved May 22, 2009. [3] Musicland files for bankruptcy (http:/ / www.animenewsnetwork.com/press-release/2006-01-12/musicland-files-for-bankruptcy) [4] "Central Park Media Files for Chapter 7 Bankruptcy (Update 2)" (http:// www.animenewsnetwork.com/news/2009-04-28/ central-park-media-files-for-chapter-7-bankruptcy). Anime News Network. April 28, 2009. . Retrieved May 22, 2009. [5] "Funimation Agrees to Distribute Select Geneon Titles" (http:/ /www.animenewsnetwork.com/news/2008-07-03/ funimation-agrees-to-distribute-select-geneon-titles). Anime News Network. July 3, 2008accessdate=May 22, 2009. . [6] "Funimation to Distribute Gungrave Anime for Geneon" (http:// www.animenewsnetwork.com/news/2008-12-30/ funimation-to-distribute-gungrave-anime-for-geneon). Anime News Network. December 30, 2008. . Retrieved May 22, 2009. [7] "Geneon to Merge with Universal Pictures Japan" (http://www.animenewsnetwork.com/news/2008-11-12/ geneon-to-merge-with-universal-pictures-japan). Anime News Network. November 12, 2008. . Retrieved November 13, 2008. [8] "Geneon Universal Entertainment Japan Official Website" (http://www.geneonuniversal.jp/) (in Japanese). . Retrieved 2009-02-22.

130

List of anime series by episode count

131

List of anime series by episode count This is a list of anime series by episode count. Minimum count for each section is listed above each table.

Television This is a list of television anime series by episode count for series with a minimum of 150 episodes. Note that anime franchises with multiple television series (e.g. Sailor Moon, Pokƒmon) will not be listed on this page. No

# Episodes

1

[1] [2] [3] 6429+

2

2189

3

[4] [5] 1483

4

[6] 1428

Episode length (approx.) (in minutes)

6 6at1979,then8~25at2005

Series title

In Current production?

Sazae-san (ƒ p” ¸ º )

Yes

Doraemon (Ú ö ãgº )

Yes

Nintama Rantar€ (Ð.まÒ(Ó)

Yes

5

Hoka Hoka Kazoku («ý «ý 家¬)

No

5

1068

30

Soreike! Anpanman (n¹ š ®³Ý â Ý êÝ )

Yes

6

1066

10

Prince Mackaroo

Yes

7

[1] 793

25

Chibi Maruko-chan (Í Nまþ XÍ ゃº )

Yes

8

726

25

Shima Shima Tora no Shimajir€(î まî まとÎ é î まÈ ¾· )

No

9

[1] 815

7

Crayon Shin-chan

Yes

10

694

Ninja Hattori-kun

No

11

635[1]

25

Case Closed/Detective Conan

Yes

12

638

15-30

Perman

No

13

525

25

One Piece

Yes

14

524

20

Kochira Katsushika-ku Kameari K€en-mae Hashutsujo

No

15

358

25

Sgt. Frog

No

16

[1] 350

25

Bleach

Yes

17

349

25

Kiteretsu Daihyakka

No

18

330

25

Atashin'chi

No

19

312

3

Otogi Manga Calendar

No

20

300

3

Hyppo and Thomas

No

21

296

25

Hamtaro

No

22

296

30

Ikky…-san

No

23

291

25

Dragon Ball Z

No

24

276

25

Pok‚mon (srcinal series)

No

25

243

25

Dr. Slump Arale-chan

No

26

236

25

Naruto: Shippuden

Yes

27

231

25

Gin Tama

Yes

28

224

25

Yu-Gi-Oh! Duel Monsters

No

29

220

25

Naruto

No


132

30

203

25

Reborn!

No

31

200

10

Holly the Ghost

No

32

200

25

Parasol Henbee

No

33

195

5

Tamagon the Counselor

No

34

195

25

Urusei Yatsura

No

35

193

25

Astro Boy (1963 Series)

No

36

192

25

Pok‚mon: Advanced Generation

No

37

[7] 191

25

Pok‚mon: Diamond and Pearl

No

38

188

25

Kaibutsu-kun

No

39

[8] 182

20

Star of the Giants

No

40

180

25

Yu-Gi-Oh! Duel Monsters GX

No

41

178

25

The Prince of Tennis

Yes

42

172

25

Mirmo!

No

43

170

10

Yadamon

No

44

167

25

InuYasha

No

45

[9] 165

Dr. Slump

No

46

163

Dokaben

No

47

161

25

Ranma Œ

No

48

155

25

Lupin III Part II

No

49

7

Ch€ Tokky… Hikarian

No

50

[10] 154 [11] 154

25

Major

No

51

154

25

Yu-Gi-Oh! 5D's

No

52

153

25

Dragon Ball

No

53

151

25

Cooking Papa

No

54

150

25

Zatch Bell!

No

25

OVA and ONA This is a list of srcinal video animation (OVA) and srcinal net animation (ONA) series by episode count series with a minimum of 12 episodes.

for


# Episodes

133

Episode lengthType (approx.) (min)

Series title

In current production?

110

25

OVA

Legend of the Galactic Heroes

No

103

5

ONA

Hetalia: Axis Powers

Yes

52

25

OVA

Legend of the Galactic Heroes Side Stories

No

30

23

OVA

Hunter Š Hunter

No

26

24

ONA

Xam'd: Lost Memories

No

26

11

ONA

Starry Sky

Yes

25

5

ONA

The Melancholy of Haruhi Suzumiya-chan

No

24

3

ONA

Petit Eva: Evangelion@School

Yes

24

9-10

ONA

Psychic Academy

No

22

ONA

Magical Play

No

22

ONA

Penguin Musume Heart

No

22

25

OVA

Supernatural: The Animation

No

21

20

OVA

Case Closed

Yes

20

30

OVA

Tenchi Muyo! Ryo-Ohki

No

16

OVA

Cream Lemon

No

16

ONA

Eagle Talon

No

16

OVA

Mobile Police Patlabor P-Series

No

15

OVA

Key the Metal Idol

No

15

OVA

Cosmo Warrior Zero

No

15

OVA

Gundam Evolve

No

13

OVA

Record of Lodoss War

13

OVA Mobile Suit Gundam 0083: Stardust Memory

No

12

OVA

No

Mobile Suit Gundam: The 08th MS Team

No

References [1] "Animation World 8 g11日V9g10日" (in Japanese). Animage (Tokyo, Japan: Tokuma Shoten) 375: 157€164. 10 September 2009. [2] "¯ƒ p” ¸ º °ˆ‰ý Î ³Õメ±é ²_" (http:/ / www.fujitv.co.jp/b_hp/sazaesan/index.html) (in Japanese). Fuji TV. . Retrieved 2008-08-04. [3] Each episode of Sazae-san consists of 3 separate stories. [4] "Ð.まÒ(Ó Ì nま©é おÿ ó î " (http:/ /www3.nhk.or.jp/anime/nintama/story/series01/index.html) (in Japanese). NHK. . Retrieved 2008-11-14. [5] There are 18 "series" which are part of the overall Nintama Rantar€ series. This page lists all the episode titles. [6] "«ý «ý 家¬" (http:/ / www.eiken-anime.jp/works/works025.html) (in Japanese). Eiken. . Retrieved October 20, 2010. [7] The Pok‚mon episode list contains episodes which have not aired yet. This list, however, only counts those episodes that have been aired or otherwise officially released as of today. [8] This count consists of the srcin al 182-episode Star of the Giants series. [9] Dr. Slump consists of 243 short episodes which, when aired, are combined into 165 25-minute-long episodes. [10] "HIKARIAN Great Railroad Protector" (http:/ / www.enokifilmsusa.com/library/hikarian.htm). Enoki Films. . Retrieved 2011-07-17. メï ャ„ MAJOR" (http:/ /www3.nhk.or.jp/anime/major/). NHK. . Retrieved 2011-07-30. [11] "NHK³Õメ£„†Ú


Notes

134

135

Demographic groups Josei manga , lit. comics for women, pronounced [dosei]) also known as "ladies" (ÀÁÂ„³ red’su) or "ladies' comics" (ÀÁÂÄÅ redikomi, lit. "LadyComi"), is a term that refers to the target demographic of manga created mostly by women for late teenage and adult female audiences. Readers range from 15-44. [1] In Japanese, the word josei means simply "woman", "female", "feminine", "womanhood" and has no manga-related connotations at all. The stories tend to be about everyday experiences of women living in Japan. Though there are some that cover high school, most cover the lives of adult women. The style also tends to be a more restrained, realistic version of sh€jo manga, keeping some of the wispy features and getting rid of the very large sparkly eyes. There are exceptions in the style described above, but what defines josei is some degree of stylistic continuity of comics within this particular demographic (the same is true with different demographics that have different stylistic tendencies). Josei manga (ÆÇ–—

Josei comics can portray realistic romance, as opposed to the mostly idealized romance of sh€jo manga, but it does not always have to be. A famous example of a josei is Honey and Clover, which was animated, which is unusual for josei comics. Josei tends to be both more sexually explicit and contain more mature storytelling, although that is not always true either. It is also not unusual for themes such as NTR and rape to occur in josei manga target specifically towards more mature audiences. Some other famously popular josei series include Yun Kouga's Loveless, Ai Yazawa's Paradise Kiss, and the award-winning works of Erica Sakurazawa.

Circulations The reported average circulations for some of the top-selling josei manga magazines in 2007 are as follows: Magazine title

Reported circulation

You

194,791

Be-Love

194,333

Kiss

167,600

Chorus

162,916

Elegance Eve

150,000

For Mrs.

150,000

Romance White Paper Pastel 150,000 Dessert

149,333

The Dessert Office You

141,664 117,916

For comparison, here are the circulations for the top-selling magazines in other categories for 2007.

Josei manga

136

Category

Magazine title

Reported circulation

Top-selling sh€nen manga magazine Weekly Sh€nen Jump

2,778,750

Top-selling seinen manga magazine Weekly Young Magazine 981,229 Top-selling sh€jo manga magazine

Ciao

982,834

Top-selling non-manga magazine

Monthly The Television

1,018,919

(Source for all circulation figures: Japan Magazine Publishers Association [2] )

History Josei manga (then called Ladies Comics, or Redikomi) began to appear in the 1980s, during a boom period in manga, when the girls who had read shoujo manga in the 1950s and 60s wanted manga for adult women. [3] The first ladies comic magazine, Be-Love, was printed in 1980. At the end of 1980 there were two ladies comics magazines, at the end of 1989 there were over fifty.[4] Early ladies comics were sexually free, and the comics became more and more sexually extreme until the early 1990s.[1] Manga branded as "Ladies' Comics" has acquired a reputation for being low-brow, and "dirty", and the term josei was created to move away from that image. [5]

Examples [6] • Angel Nest • The Aromatic Bitters [7] • Be With You • Between The Sheets

[6]

• Blue[8] • • • •

[8] Happy Mania Happy Marriage!? Honey and Clover Kuragehime

• Make Love and Peace [9] • Nodame Cantabile [7] • Object of Desire • Paradise Kiss [10] • Suppli

[7]

• Sweet Cream and Red Strawberries [9] • Tramps Like Us • Usagi Drop • Walkin' Butterfly[10] [10] • With the Light • Love in the mask

[11]

Josei manga

References [1] Ito, Kinko (2003). "The World of Japanese Ladies' Comics: from Romantic Fantasy to Lustful Perversion". The Journal of Popular Culture 36 (1): 68€85. doi:10.1111/1540-5931.00031. [2] Japan Magazine Publishers Association Magazine Data 2007 (http:/ /www.j-magazine.or.jp/data_001/index.html). The publication, which relies on information provided by publishers, categorizes the magazine Cookie (with a reported circulation of 200,000) as josei, but Shueisha's "S-MANGA.NET" site (http:/ /www.s-manga.net/) clearly categorizes that magazine as sh€jo, and it is therefore not included here. [3] Ito, Kinko 2003. "Japanese Ladies' Comics as agents of socialization: The lessons they teach." International Journal of Comic Art, 5(2):425-436. [4] http:// www.imageandnarrative.be/index.php/imagenarrative/article/viewFile/124/95 [5] Matt Thorn What Sh‰jo Manga Are and Are Not (http :/ / www.matt-thorn.com/shoujo_manga/whatisandisnt.html) [6] O'Connell, Margaret (September 8, 2008). "Comics for Grown-Up Women, Part 1" (http://www.sequentialtart.com/article.php?id=1101). Sequential Tart. . Retrieved 2009-10-15. [7] Aoki, Deb. "2008 Readers Poll: Best New Josei Manga" (http://manga.about.com/od/recommendedreading/tp/2008NewJoseiPoll.htm). About.com. . Retrieved 2009-10-13. [8] Aoki, Deb. " Josei Manga • Ladies Comics" (http:/ /manga.about.com/od/glossary/g/josei.htm). About.com. . Retrieved 2009-10-15. [9] Brenner, Robin E. Understanding manga and anime.• pp. 36. ISBN 9781591583325 [10] Aoki, Deb. "2007 Readers Poll: Best New Josei Manga" (http:// manga.about.com/od/recommendedreading/tp/2007NewJoseiPoll.htm). About.com. . Retrieved 2009-10-15. [11] Kai-Ming Cha. (April 25, 2006). "Kind of Blue: The Josei Manga of Nananan" (http:// www.publishersweekly.com/article/CA6327715. html). Publishers Weekly. . Retrieved 2009-10-13.

Further reading • Fusami Ogi, 2003: Female Subjectivity and Shoujo (Girls) Manga (Japanese Comics): Shoujo in Ladie s' Comics and Young Ladies' Comics, Volume 36, Issue 4, pages 780 €803 • Gretchen Jones, 2003: "Ladies' Comics": Japan's Not-So-Underground Market in Pornography for Women, US-Japan Women's Journal English Supplement, Volume 22, pages 3-30 • in: Deborah Shamoon, and Re bel Flowers: The Pleasures of Japanese Pornographic Comics for Women, Porn Studies, ed.Office Linda Sluts Williams, 2004 • Gretchen Jones, Bad Girls Like to Watch: Writing and Reading Ladies' Comics, in: Bad girls of Japan, ed. Laura Miller and Jan Bardsley, 2005

137

Kodomo anime and manga

Kodomo anime and manga Kodomomuke manga) and children's anime (Xo™ š ³Õメ kodomomuke Children's manga (Xo™š–— anime), are Japanese terms which literally mean "manga (or "anime", respectively) directed towards children". Children's manga are also known by the word "Kodomo", or "child". These works are noted for stories that are often very moralistic, teaching children how to behave as good and considerate people and helping them to stay on the right path in life. The episodes are generally stand alone and non-episodic in order to appeal to a child. They are very fun to read, and are directed towards a toddler audience. Doraemon by Fujiko F. Fujio is one of the most notable examples for this manga/anime genres.

Seinen manga ) is a subset of manga that is generally targeted at a 20 €30 year old male audience, but the Seinen manga (ÊË–— audience can be older with some manga aimed at businessmen well into their 40s. In Japanese, the word Seinen means "young man" or "young men" and is not suggestive of sexual matters. (The female equivalent to seinen manga is josei manga.) It has a wide variety of art styles and more variation in subject matter, ranging from the avant-garde to the pornographic. Seinen manga is distinguished from sh€nen, or boys' manga, by having a stronger emphasis on realism. Because of the emphasis on storyline and character development instead of action, some seinen series are often confused with sh€jo, or girls' manga. This is especially true of seinen comedy series such as Chobits, and Chi's Sweet Home, or seinen drama such as Twin Spica. Other examples of seinen manga include: Gantz, Battle Royale , 20th Century Boys, Monster, Blame!, Ghost in the Shell, Akira, Berserk, Battle Angel Alita , Drifters and Elfen Lied. Rumiko Takahashi's Maison Ikkoku is sometimes classified as seinen, although this is disputed by some fans. A common way to tell if a manga is seinen is by looking at whether or not furigana is used over the srcinal kanji text: if there are furigana on all kanji, the title is generally aimed at a younger audience. The title of the magazine it was published in is also an important indicator. Usually Japanese manga magazines with the word "young" in the title (Weekly Young Jump for instance) are seinen. Other popular seinen manga magazines include Ultra Jump, Afternoon, and Big Comic.

List of seinen manga Main category: Seinen manga

External links • Japanese Magazine Publishers Association [1] (Japanese)

References

[1] http:// www.j-magazine.or.jp/data_001/main_b.html#003

138

Sh€jo manga

139

Sh€jo manga The term sh€jo, shojo, or shoujo manga (~Æ – — sh€jo manga) refers to manga marketed to a female audience roughly between the ages of 10-18. The name romanizes the Japanese ~Æ (sh€jo), literally: "little female". Sh€jo manga covers many subjects in a variety of narrative and graphic styles, from historical drama to science fiction • often with a strong focus on human and romantic relationships and emotions.[1] Strictly speaking, sh€jo manga does not comprise a style or a genre per se, but rather indicates a target demographic.[2] [3] Examples include Cardcaptor Sakura, Fruits Basket, Fushigi Yuugi, Ouran High School Host Club, Pretty Cure, Princess Ai, Princess Tutu, Revolutionary Girl Utena, Romeo x Juliet, Sailor Moon, Skip Beat, Shugo Chara!, Tokyo Mew Mew, Vampire Knight and Watashi Ni XX Shinasai.

History Japanese magazines specifically for girls, known as sh€jo magazines, first appeared in 1903 with the founding of Sh€jo kai (~Æ £ ?, Girls' World) , and continued with others such as Sh€jo Sekai (~Æ ¢ £ ?, Girls' World) (1906) and the long-running Sh€jo no tomo (~Æ é ü?, Girls' Friend) (1908).[4] [5]

A simple four-panel manga from the November 1910 issue of Sh€jo (artist unknown)

Simple, single-page manga had begun to appear in these magazines by 1910, and by the 1930s more sophisticated humor-strips had become an essential feature of most girls' magazines. The most popular manga, Katsuji Matsumoto's Kurukuru Kurumi-chan (?þ ?þ…†ÅÍ ゃº ), debuted on the pages of Sh€jo no tomo (~Æ é ü) in 1938.[6] As World War II progressed, however, "comics, perhaps regarded as frivolous, began to disappear". [7] Postwar sh€jo manga, such as Shosuke Kurakane's popular Anmitsu Hime,[8] initially followed the pre-war pattern of simple humor-strips. But Osamu Tezuka's postwar revolution, introducing intense drama and serious themes to children's manga, spread quickly to sh€jo manga, particularly after the enormous success of his seminal Ribon no kishi (² DÝ é ;< Princess Knight).[7] Until the mid-1960s males vastly outnumbered the handf ul of females (for example: Toshiko Ueda, Hideko Mizuno, Masako Watanabe, and Miyako Maki) amongst the artists working on sh€jo manga. Many, such as Tetsuya Chiba, [9] functioned as rookies, waiting for an opportunity to move over to sh€nen ( ~Ë "boys'") manga. Chiba asked his wife about girls' feelings for research for his manga. At this time, conventional job-opportunities for females did not include becoming a manga artist. [10] Adapting Tezuka's dynamic style to sh€jo manga (which had always been domestic in nature) proved challenging. According to Thorn: While some chose to simply create longer humor-strips, others turned to popular girls' novels of the day as a model for melodramatic sh€jo manga. These manga featured sweet, innocent pre-teen heroines, torn from the safety of family and tossed from one perilous circumstance to another, until finally rescued (usually by a kind, handsome young man) and re-united with their families. [11] These early sh€jo manga almost invariably had pre-adolescent girls as both heroines and readers. Unless they used a fantastic setting (as in Princess Knight) or a backdrop of a distant time or place, romantic love for the heroine remained essentially taboo. But the average age of the readership rose, and its interests changed. In the mid-1960s one of the few female artists in the field, Yoshiko Nishitani, began to draw stories featuring contemporary Japanese

Sh€jo manga

140

teenagers in love. This signaled a dramatic transformation of the genre. [12] [13] Between 1950 and 1969, increasingly large audiences for manga emerged in Japan with the solidification of its two main marketing genres, sh€nen manga aimed at boys and sh€jo manga aimed at girls. [1] [14] Between roughly 1969 and 1971 a flood of young female manga artists transformed the genre again. Some, including Hagio Moto, Yumiko Oshima, and Keiko Takemiya, became known as the hana no nij… yon nen gumi (Eé 24Ë ³, Year 24 Group, so named from the approximate year of birth many of them shared:Sh€wa 24, or 1949). This loosely-defined group experimented with content and form, inventing such new sub-genres as Sh€nen-ai, and earning the long-maligned sh€jo manga unprecedented critical praise. Other female artists of the same generation, such as Riyoko Ikeda, Yukari Ichijo, and Sumika Yamamoto, garnered unprecedented popular support with such hits (respectively) as Berusaiyu no bara (Ü † ƒ E¤é mÎ , "The Rose of Versailles"), Dezainaa (Á pEè „ , "Designer"), and Eesu wo nerae! (” „ ³ d´Î ã!, "Aim for the Ace!").[1] [4] [12] [13] [14] [15] [16] Since the mid-1970s, women have created the vast majority of sh€jo manga - notable exceptions include Mineo Maya and Shinji Wada). From 1975 to 2009 sh€jo manga continued to develop stylistically while simultaneously branching out into different but overlapping subgenres.[17] Yukari Fujimoto feels that during the 1990s, shoujo manga became concerned with self-fulfillment. She feels the Gulf War influenced the development of "girls who fight to protect the destiny of a community", such as Red River, Basara, Magic Knight Rayearth, and Sailor Moon. She feels that the shoujo manga of the 1990s showed emotional bonds between women that were stronger than bonds between a man and a woman.[18] Major sub-genres include romance, science fiction, fantasy, magical girls, yaoi, and "Ladies Comics" (in Japanese, redisu ÀÁÂ„³ , redikomi ÀÁÂÄÅ , and josei Æ Ç ).[19] [20]

Meaning and spelling As sh€jo literally means "girl" in Japanese, the equivalent of the western usage will generally include the medium: ~Æ–—

~Æ ™ š ³Õメ

girls' manga ( and josei sh€jo manga or categorisation anime for girlsof( manga and anime,sh€jo-muke ). The parallel terms sh€nen, seinen, also occur in),the with similaranime qualification. Though the terminology srcinates with the Japanese publishers, cultural differences with the West mean that labelling in English tends to vary wildly, with the types often confused and mis-applied. Due to vagaries in the romanization of Japanese, publishers may transcribe ~Æ (written î¶·È¶ in hiragana) in a wide variety of ways. By far the most common form, shoujo, follows English phonology, preserves the spelling, and requires only ASCII input. The Hepburn romanization sh€jo uses a macron for the long vowel, though the prevalence of Latin-1 fonts often results in a circumflex instead, as in sh‡jo. Many English-language texts just ignore long vowels, using shojo, potentially leading to confusion with µÆ (shojo, literally: "virgin") as well as other possible meanings. Finally, transliteraters may use Nihon-shiki-type mirroring of the kana spelling: sy‡jyo, or syoujyo.

Western adoption Fans in the West have adopted a wide range of Japanese anime and manga terminology, however the str ong stylistic and thematic similarities between a sector of sh€jo works has led to regarding them as a genre or style, sometimes with an attempt to assign it by degrees. This has led to western fans classifying a wide variety of titles a s sh€jo, even though their Japanese creators would label them differently. Anything non-offensive and featuring female characters may class as sh€jo, such as the light sh€nen comedy manga and anime Azumanga Daioh.[21] Similarly, as romance has become a common element of many sh€jo works, any title with romance, such as the sh€nen Love Hina[22] or the seinen Oh My Goddess! tend to get mislabeled. In addition Westerners often declare that particularly violent, gory, or sexually explicit works "cannot possibly" be sh€jo, or disbelieve that the producers of yaoi titles target a market of girls rather than homosexual men, although both of these claims are false, and the reason for them was most likely due to uneven translation of Japanese anime terminology. It has been proven true that Boys' Love (yaoi) and "shojo

Sh€jo manga

141

smut" manga, is indeed, targeted at teenage girls. This confusion also extends beyond the fan community; articles aimed at the mainstream also widely misrepresent the terms. In an introduction to anime and manga, Jon Courtenay Grimwood writes: 'Maison Ikkoku' comes from Rumiko Takahashi, one of the best known of all 'sh‰jo' writers. Imagine a very Japanese equivalent of 'Sweet Valley High' or 'Melrose Place'. It has Takahashi's usual and highly-successful mix of teenagers and romance, with darker clouds of adolescence hovering. • Grimwood, Jon Courtenay , "Every Picture..." , Books Quarterly, (Issue 19, 2006). p. 42

Takahashi has become a famed sh€nen manga artist, but Maison Ikkoku, one of her few seinen titles and serialised in Big Comic Spirits, aimed at males in their 20s. Matt Thorn, who has made a career out of studying girls' comics, attempts to clarify the matter by explaining that "sh‰jo manga are manga published in sh‰jo magazines (as defined by their publishers)".[3] Publishers and stores have problems retailing sh€jo: unsure of the "right" way to spell the word. Licensees such as Dark Horse Comics have misidentified several of the seinen titles, and in particular manga and anime aimed at a younger audience in Japan is often considered "inappropriate" for minors in the US. [23] In this way licensees often either voluntarily censor titles or re-market them towards an older audience. In the less conservative European markets, content that might be heavily edited or cut in an English-language release is often present in French, German and other translated editions. As one effect of these variations, US companies have moved to use the borrowed words that have gained name-value in fan communities, but separate them from the Japanese meaning. In their sh€jo manga range, publisher VIZ Media attempt a re-appropriation of the term, providing the definition: sh•‚jo (sho'jo) n. 1. Manga appealing to both female and male readers. 2. Exciting stories with true-to-life characters and the thrill of exotic locales. 3. Connecting the heart and mind through real human relationships. • Nasu Yukie , Here is Greenwood 1 , San Francisco, California: [1996] 2004. VIZ LLC. ISBN

1-59116-604-7 The desire to disassociate the word from its meaning, "girl", seems largely driven by fear of putting off potential new readers, particularly male ones. Manga and anime labeled as "sh€jo" need not interest only young girls, and some titles gain a following outside the traditional audience. For instance, Frederik L. Schodt identifies Banana Fish by Akimi Yoshida as: ...one of the few girls' manga a red-blooded Japanese male adult could admit to reading without blushing. Yoshida, while adhering to the conventions of girls' comics in her emphasis on gay male love, made this possible by eschewing flowers and bug eyes in favor of tight bold strokes, action scenes, and speed lines. • [24]

Such successful "crossover" titles remain the exception rather than the rule, however: the archetypal sh€jo manga magazine Hana to Yume has a readership 95% female, with a majority aged 17 or under. [25] The popularity of romantic sh€jo manga in America has encouraged Harlequin to release manga-styled romantic comics.[26]

Sh€jo manga

142

Circulation figures The reported average circulations for some of the top-selling sh€jo manga magazines in 2007 included: Title

Reported Circulation

First Published

Ciao

982,834

1977

Nakayoshi

400,000

1954

Ribon BessatsuMargaret HanatoYume Cookie DeluxeMargaret

376,666 320,000 226,826 200,000 181,666

1955 1964 1974 1999 1967

Margaret

177,916

1963

LaLa

170,833

1976

Cheese!

144,750

1996

For comparison, circulations for the top-selling magazines in other categories for 2007 included: Category

Magazine Title

Reported Circulation

Top-selling sh€nen manga magazine Weekly Sh€nen Jump

2,778,750

Top-selling seinen manga magazine Young Magazine

981,229

Top-sellingjoseimangamagazine Top-selling non-manga magazine

YOU

194,791

Monthly The Te levision 1,018,919

(Source for all circulation figures: Japan Magazine Publishers Association [27] )

Sh€jo magazines in Japan In a strict sense, sh€jo manga refers to a story serialized in a sh€jo manga magazine (a magazine marketed to girls and young women). The list below contains past and current Japanese sh€jo manga magazines, grouped according to their publishers. Such magazines can appear on a variety of schedules, including bi-weekly ( Margaret, Hana to Yume, Sh€jo Comic), monthly (Ribon, Bessatsu Margaret, Bessatsu Friend , LaLa), bi-monthly (Deluxe Margaret, LaLa DX , The Dessert), and quarterly (Cookie BOX, Unpoko). Weekly sh€jo magazines, common in the 1960s and 1970s, had disappeared by the early 1980s.

Shueisha • Ribon (monthly, 1955- ) • Ribon Original • • • • • • •

Cobalt Cookie Cookie BOX (quarterly) Margaret (bi-weekly, 1963- ) Bessatsu Margaret (monthly) The Margaret Deluxe Margaret (bi-monthly)

Sh€jo manga

Kodansha • • • • • •

Nakayoshi Aria Sh€jo Friend Bessatsu Friend Dessert The Dessert

Shogakukan •• • • • • •

Ciao Chu Chu Sh€jo Comic Betsucomi Petit Comic Cheese! Pochette

Hakusensha • • • • •

Hana to Yume Bessatsu Hana to Yume LaLa LaLa DX Melody

Akita Shoten • • • • • •

Princess Princess Gold Petit Princess Mystery Bonita Susperia Mystery Renai MAX

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Sh€jo manga

Kadokawa Shoten • Asuka

Web magazine • Manga Airport

Shinshokan • Unpoko

Sh€jo magazines outside Japan Viz Media • Shojo Beat, a sh€jo manga magazine published in North America from 2005 to 2009

References Ultimate Manga Guide [28] (zip), version 13.6, last modified July 31, 2004 Shojo Anime List [29], last modified February 14, 1995 Napier, Susan J., Anime: From Akira to Howl's Moving Castle (Palgrave Macmillan, 2005) Thorn, Matt (2001) "Sh‰jo Manga •Something for the Girls" [30], The Japan Quarterly, Vol. 48, No. 3 The Boys of Shojo Manga [31], article by Shaenon K. Garrity Shamoon, Deborah "Revolutionary Romance: The Rose of Versai lles and the Transformation of Shojo Mang a" [32] Mechademia Vol. 2, 2007 • Takahashi Mizuki "Opening the Closed World of Shojo Manga" [33] Japanese Visual Culture Ed. Mark MacWilliams. ME Sharpe, 2008.

• • • • • •

Further reading • Ogi, Fusami (Autumn 2001) "Beyond Shoujo, Blending Gender: Subverting the Homogendered World in Shoujo Manga (Japanese Comics for Girls)." International Journal of Comic Art 3 (2): 151-161. • Prough, Jennifer S.. Straight from the heart : gender, intimacy, and the cultural production of sh€jo manga. Honolulu: University of Hawaii Press. ISBN 978-0-8248-3528-6.

References [1] Toku, Masami, editor. 2005. "Shojo Manga: Girl Power!" Chico, CA: Flume Press/California State University Press. ISBN 1-886226-10-5. See also http:/ / www.csuchico.edu/pub/cs/spring_06/feature_03.html.Accessed 2007-09-22. [2] Thorn, Matt (2001) "Sh‰jo Manga •Something for the Girls" (http:/ /matt-thorn.com/shoujo_manga/japan_quarterly/index.html), The Japan Quarterly, Vol. 48, No. 3 [3] Thorn, Matt (2004) What Sh‰jo Manga Are and Are Not: A Quick Guide for the Confused (http:/ /matt-thorn.com/shoujo_manga/ whatisandisnt.html), last modified December 18, 2006 [4] Thorn, Matt (July €September 2001). "Sh‰jo Manga•Something for the Girls" (http:/ / matt-thorn.com/sh€jo_manga/japan_quarterly/ index.html). The Japan Quarterly 48 (3). . Retrieved 2007-09-22 [5] The Kikuy€ Town Library ¶·K¸ßz[[Category:Articles containing Japanese language text (http:// www.kikuyo-lib.jp/top.html)]]. Meiji - Sh€wa sh€jo zasshi no gosh€kai (ˆ ¨V¹º ~Æ Š‚ é ご»[[Help:Installing Japanese character sets|? (http:/ /www.kikuyo-lib.jp/ 08_menu.htm)], "Meiji - Sh€wa: An Introduction to Girls' Magazines") ] Retrieved on 2008-09-15. [6] Thorn, Matt (2006) " Pre-World War II Sh€jo Manga and Illustrations (http:// matt-thorn.com/sh€jo_manga/prewar_sh€jo/index.html)" matt-thorn.com [7] Schodt, Frederik L. (1983) Manga! Manga! The World of Japanese Comics, Kodansha International [8] Yonezawa, Yoshihiro, ed. (1991)Kodomo no Sh€wa-shi: Sh€jo manga no sekai I, Sh€wa 20 nen - 37 nen (Xoé ¹º_€€~Æ êÝ Ùé¢£ I ¹º20Ë V37Ë "A Children's History of Showa-Era Japan: The World of Sh€jo Manga I,

144

Sh€jo manga 1945-1962") Bessatsu Taiy€ series. Tokyo: Heibonsha [9] Thorn, Matt (2005) " The Moto Hagio Interview (http:// matt-thorn.com/shoujo_manga/hagio_interview.htm)" The Comics Journal #269. [10] Toku, Masami (2007) " Shojo Manga! Girls' Comics! A Mirror of Girls„ Dreams (http:/ /www.upress.umn.edu/Books/L/ lunning_mechademia2.html)" Mechademia 2 pp.22-23 [11] Thorn, Matt (2008) " The Multi-Faceted Universe of Sh€jo Manga (http:// matt-thorn.com/shoujo_manga/colloque/index.html)", presented at Le manga, 60 ans apr“s... (http:// www.mcjp.asso.fr/ pjanv2008/conferences/manga/index.html), Paris, March 15. [12] Yonezawa, Yoshihiro, ed. (1991) Kodomo no Sh€wa-shi: Sh€jo manga no sekai II, Sh€wa 38 nen - 64 nen (Xoé ¹º_€€~Æ êÝ Ùé¢£ II ¹º38Ë V64Ë "A Children's History of Showa-Era Japan: The World of Sh€jo Manga II, 1963-1989") Bessatsu Taiy€ series. Tokyo: Heibonsha [13] Thorn, Matt (2005) "The Magnificent Forty-Niners" The Comics Journal #269. [14] Schodt, Frederik L. 1986. Manga! Manga! The World of Japanese Comics. Tokyo: Kodansha. ISBN 978-0870117527. [15] Gravett, Paul. 2004. Manga: Sixty Years of Japanese Comics. New York: Harper Design, pages 78-80 ISBN 1-85669-391-0. [16] Lent, 2001, op. cit., pp. 9-10. [17] Šgi, Fusami 2004. "Female subjectivity and sh€jo (girls) manga (Japanese comics): sh€jo in Ladies' Comics and Young Ladies' Comics." Journal of Popular Culture, 36(4):780-803. [18] http:/ /www.jpf.go.jp/JF_Contents/GetImage/img_pdf/JBN56.pdf?ContentNo=9&SubsystemNo=1&FileName=img_pdf/JBN56.pdf [19] Gravett, Paul. 2004. Manga: Sixty Years of Japanese Comics. NY: Harper Design. ISBN 1-85669-391-0. p. 8. [20] Schodt, Frederik L. 1996. Dreamland Japan: Writings on Modern Manga. Berkeley, CA: Stone Bridge Press. ISBN 978-1880656235. [21] Azumanga Daioh mistakenly identified as 'sh€jo comedy' (http:/ / web.mit.edu/anime/www/Showings/Azumanga_Daioh.shtml) on the MIT Anime Club website, last modified August 19, 2004 [22] Chobot, Jessica Shojo Showdown (http:/ /comics.ign.com/articles/675/675434p1.html), defending choice of Love Hina as #5 in the 'Top Ten Sh€jo Manga', IGN, December 2, 2005 [23] Shojo Update:Your Comments and Our Answers (http:// www.icv2.com/articles/news/654.html), ICV2, August 23, 2001 [24] Schodt, Frederik L. (1996) Dreamland Japan: Writings on Modern Manga - Japanese Comics for Otaku. Berkeley, California: Stone Bridge Press. ISBN 1-880656-23-X [25] "Hana to Yume Readers Data" (http:/ / www.j-magazine.or.jp/data_002/pdf/d_hakus_hanat.pdf) (in Japanese) (PDF). The Japanese Magazine Publishers Association. . Retrieved October 29, 2009. [26] Harlequin Ginger Blossom manga (http:/ / www.darkhorse.com/Press-Releases/1208/Harlequin-Ginger-Blossom-manga) [27] Japan Magazine Publishers Association Magazine Data 2007 (http:/ / www.j-magazine.or.jp/data_001/index.html). The publication, which relies on information provided by publishers, categorizes the magazine Cookie as josei, but Shueisha's "S-MANGA.NET" site (http:/ / www.s-manga.net/) clearly categorizes that magazine as sh€jo, hence its categorization here. [28] http:/ /users.skynet.be/mangaguide/mgguide.zip [29] http:/ /www.rawbw.com/~hbv/anime/shouanim.txt [30] http:/ /matt-thorn.com/shoujo_manga/japan_quarterly/index.html [31] http:/ /www.comixology.com/articles/52/The-Boys-of-Shojo-Manga [32] http:/ /www.upress.umn.edu/Books/L/ lunning_mechademia2.html [33] http:/ /www.mesharpe.com/mall/resultsa.asp?Title=Japanese+Visual+Culture%3A+Explorations+in+the+World+of++Manga+ and+Anime

145

Sh€nen manga

Sh€nen manga The term sh€nen, shonen, or shounen manga (~Ë – — sh€nen manga) refers to manga marketed to a male audience aged roughly 10 and up. The Kanji characters ( ~Ë ) literally mean "few" and "year", respectively, where the characters (– — ) generally mean "comic". The complete phrase literally means "young person's comic" or simply "boys comic" Examples include Dragon Ball, One Piece, Saint Seiya, Detective Conan, YuYu Hakusho, InuYasha, Hunter Š Hunter, Naruto, Bleach, Soul Eater, The Prince of Tennis, Slam Dunk, Fairy Tail, Reborn!, Tsubasa: Reservoir Chronicle, Fist of the North Star, Yu-Gi-Oh!, Fullmetal Alchemist and D.Gray-man. Sh€nen (~Ë ) manga (– — ) is typically characterized by high-action, [1] often humorous plots featuring male protagonists. The camaraderie between boys or men on sports teams, fighting squads and the like is often emphasized. Attractive female characters with exaggerated features are also common (see fan service), but are not a requirement; Dragon Ball, for example, has only a few such characters. After the case of Tsutomu Miyazaki, depictions of violence and sexual matters became more highly regulated in manga in general, but especially in shonen manga.[2] The art style of sh€nen is generally less flowery than that of sh€jo manga, although this varies greatly from artist to artist, and some artists draw both sh€nen and sh€jo manga. Beyond sh€nen manga, manga for men (university age and older) is called seinen manga. Despite a number of significant differences, many Western fans do not make a distinction between sh€nen manga and seinen manga. This may be because very few seinen manga have been published outside of Japan. In Japan, many older men read sh€nen magazines because of their ease in reading during commutes to and from work on trains. Consequently, in Japan, sh€nen manga magazines are the most popular manga magazines. Dragon Ball creator Akira Toriyama is credited for shaping the sh€nen genre we see today, with notable authors of other sh€nen manga such as Yoshihiro Togashi, Eiichiro Oda, Masashi Kishimoto, Gosho Aoyama, Tite Kubo and Yusuke Murata paying homage to his impact and influence on their work. [3]

List of sh€nen manga Main category: Sh€nen manga

References [1] "Short anime glossary [¶§¨©³«º ¨¯«´²Ë¯¬-§·°°³«º §¨½¸¬¬§¯«³]" (in Russian). anime*magazine (3): 36. 2004. ISSN 1810€8644. [2] http:// intersections.anu.edu.au/issue20/mclelland.htm "One result was a new regime of self-regulation among manga producers and distributors who began to reign in the more violent and sexual images that characterised some genres, particularly manga directed at sh€nen (male youth)." [3] http:// dragonballarena.gamesurf.it/ english/info/guide/tributes.php

External links • Anime for boys (Japanese) • Anime for men (Japanese) • Sh€nen-in (http:/ /www.moj.go.jp/ KYOUSEI/kyouse04.html), reformatory (Ministry of Justice site) (Japanese)

146

147

Genre Harem Harem, hÌremumono ( Æ„ À ,gé ), broadly speaking, is a loose subgenre of anime and manga characterized by

a protagonist surrounded, usually amorously, by three or more members of the opposite sex. [1] The most common and practically tantamount scenario is a male surrounded by a group of females; when this is reversed it is informally referred to as a reverse harem gyakuhÌremu (¼Æ„ À ,).[2] More recent variants include removing the protagonist's opposing sex to allow for yuri harems and yaoi harems (as with Gakuen Heaven). The term is derived from the Arabic "harem", srcinally defined as a private sanctum for women where men were forbidden but, modernly defined outside its srcinal meaning as "a group of women associated in any way with one man or household".[3]

Structure Because romance is rarely the main focus of an entire series, harem structure is ambiguous. The most distinguishable trait is arguably the group of girls who accompany, and in some instances cohabitate with the boy, and while intimacy is just about customary, it is never necessary; when it is present, there must be a minimum of three girls who express it, otherwise two is a love triangle. Additionally, it is not essential for there to be one exclusive boy; many can exist as long as they are given less attention or the story calls for an unusually obscure sex ratio. [1]

Controversy

Given the archetypical ratio and content of harems, [a] the genre is often criticized in the West for its almost inviting but unnecessary sexual references, known colloquially as fan service. The unrest has been seen particularly in the United States. [4] Harem is also criticized for often excessive use of clichƒs and stock characters as well as obvious use of wish-fulfillment fantasies. Common criticisms also stem from the tendency to portray female characters very negatively often having little depth beyond their attachment to the male lead and their tendency towards unnecessary violence and jealousy which is often seen as repetitive and sexist. [5]

Notes a. "Series" implies any that are designated as a harem.

References [1] Oppliger, John (April 17, 2009). "Ask John: What Distinguishes Harem Anime?" (http:// www.animenation.net/blog/2009/04/17/ ask-john-what-distinguishes-harem-anime/). Anime Nation. . Retrieved 2009-11-16. [2] "DarkSeraphim" (December 2006). "Reverse Harem" (http://www.urbandictionary.com/define.php?term=Reverse Harem). Urban Dictionary. . Retrieved 2009-11-17. [3] "Harem definition" (http:/ / dictionary.reference.com/browse/harem). Dictionary.com. . Retrieved 2009-11-16. [4] Oppliger, John (May 20, 2005). "Ask John: Why Do Americans Hate Harem Anime?" (http:// www.animenation.net/blog/2005/05/20/ ask-john-why-do-americans-hate-harem-anime/). AnimeNation.net. . Retrieved April 25, 2008. [5] http:// www.comedyvideoscentral.com/Harem_anime.html

Harem

Further reading • Brenner, Robin E. (2007). Understanding Manga and Anime. Westport, Connecticut: Libraries Unlimited. pp. 82, 89, 112, 297. ISBN 978-1-59158-332-5. OCLC 85898238. • Drummond-Mathews, Angela (2010) "What Boys Will Be: A Study of Shonen Manga" in Johnson-Woods, Toni (e.d.) Manga: An Anthology of Global and Cultural Perspectives Continuum International Publishing Group pp. 69-70. ISBN 9780826429384

Magical girl Magical girls (§'~Æ mah€ sh€jo, also known as mahou shoujo or majokko) belong to a sub-genre of Japanese fantasy anime and manga. Magical girl stories feature young girls with superhuman abilities, forced to fight evil and to protect the Earth. They often possess a secret identity,[1] although the name can just refer to young girls who follow a plotline involving magic and a transformation (such as Full Moon o Sagashite and Sailor Moon). Ojamajo Doremi features magical girls as protagonists, but its plot differs from the standard as the girls use magic for friendship, behavior and achieving goals, rather than for attacking antagonists. The Japanese language identifies magical girls as majokko (§Æ MX, literally "witch girl"), though this term does not generally apply to modern magical-girl anime. Sally, the Witch (1966) counts as the first magical girl anime. [1] Magical boys occur much more rarely, but one can readily identify them: they operate along similar lines (as with D.N.Angel and Mei no Naisho). Magical girls generally differ from catgirls and from magical girlfriends. Sometimes the catgirl and magical girl character types cross over; the magical girl may have cat-ears and -tail as part of her costume, or a catgirl could have some form of magical powers. Examples of these include Tokyo Mew Mew and Hyper Police. A magical girl and a magical girlfriend typically differ in that the magical girlfriend is not the protagonist.

General examples A general example of a magical girl is Sakura Kinomoto from the series Cardcaptor Sakura, a normal girl who gains magical powers, and becomes involved in a quest for various magical objects. Ano ther magical girl includes Lucia Nanami from Mermaid Melody Pichi Pichi Pitch whose true identity as a mermaid princess prevents her from declaring love to a young surfer; she battles enemies using the power of her voice and songs with the help from the other mermaid princesses. Other magical-girl subjects may appear in the guise of witches, or (rarely) of psychics (such as Hailey from Queen Bee). Examples of conventional magical girls include the protagonists of: Princess Tutu, Sailor Moon, and Shugo Chara!.

Genre history In 1962 Secret Akko-chan introduced the convention that the magical girl gets her powers from a "special object".[2] Paul Gravett regards Princess Sapphire as a prototype for magical girls. Born with two hearts, one of a girl and one of a boy, she must pass as a boy in order to save her kingdom [3] from falling into the clutches of her evil uncle. In feminine guise (with aid of a blonde wig) she romances a prince. The Japanese dub of the American TV series Bewitched became popular among young Japanese girls in the 1960s.[4] This occurred in the formative years of Japanese animation as a genre, and animators wanted to produce a series aimed at young girls; since the target audience approved of Bewitched, animators decided to make a series about a witch • not a witch in the usual Western sense of the word, resembling the evil witch in Hansel and Gretel, but a witch in the same vein as Bewitched's Samantha: a witch who looked just like a normal person and used her magic for everyday tasks and the good of others around her. This inspired Mitsuteru Yokoyama • best known in the U.S.

148

Magical girl as the creator of Tetsujin 28-go • to invent Sally the Witch,[5] which aired on television in serial form in 1966. [2] Commentators regard Cutie Honey, which began in 1973, as the prototype for the transforming magical-girl genre. Sailor Moon, which began in 1992, later popularized the genre. At the same time, many related video games ware made too.[6] Typically, such transforming sequences involve pirouetting, loss of normal clothes (usually censored) and the sudden appearance of a magical girl uniform and weapon. According to the analyst John Oppliger of AnimeNation, after 2003 magical girl anime•marketed (at least partially) to male audiences•has become a prolific trend alongside the traditional female-oriented works, coinciding with the rise of moe-genre popularity.[7] As a prime example of this, note Magical Girl Lyrical Nanoha.

Common themes and features

Magical girls generally obtain their powers from some sort of enchanted object: such as a pendant, a wand, a compact, or a ribbon. By concentrating on this object, and in some cases by speaking a special phrase or command, a girl undergoes an intricate transformation sequence and changes to her fully powered form. A major theme of magical girl stories involves learning to harness these powers and develop them fully. Teams of magical girls often learn to combine their powers to perform massive, super-charged attacks. Powers or no powers, though, magical girls rarely suffer defeat even in normal form, as they tend to learn how to cope with opponents in their powerless form, or they might have learned some ordinary acrobatics, martial arts, or other offensive or defensive actions to supplement their supernatural talents, although they do need to use their power against whatever villains they have to fight.[8] Magical girls do not operate alone in their adventures. They occasionally receive the help of mysterious, magical boys. These boys sometimes disdain their female counterparts, but at other times they show romantic interest in one of the girls, or vice versa. Another common theme involves some sort of talking-animal sidekick with magical powers of its own. These pets rarely participate in combat; instead, they offer advice and help train the girls in the use of their abilities. Magical girls' power potential is generally inestimable, which also makes their abilities vaguely defined. While their powers evidently have a source behind them, the extent and exact nature of those powers usually remains unknown or unclear. However, because the function of magical girls is generally to unleash and harness such mystical powers, and their ability to summon powers depends on their mind state, which, in turn, depends on various emotional factors such as combat awareness, sense of duty, realizing what they must protect and the fact that they are the ones to protect, and so forth. Thus a magical girl may summon extraordinary new magical powers •powers previously unavailable to her•in the last moments of an epic battle. Such powers can serve as a deus ex machina to resolve the major conflict in a climactic fashion. To some extent, this seems to differ from sh€nen in that sh€nen tends to define a hero's powers specifically and to indicate what those powers can achieve (in most cases said powers increase as time goes by, usually by extensive training), whereas magical girl series tend to leave these factors ambiguous, and instead allow her powers to be more free-flowing and open to change based on the situation. However, since magical girls tend to harness their power using their mind and might even fuel their power with their mindful indomitability, the extra powers can generally be attributed to a power source from their mind or the power sources' response to their mind.peaceful Unlike and sh€nen whothe tendnormal to have an ofaffection adventuring and heroism, girls are generally theycharacters, tend to prefer way life, so in they tend to develop combat magical awareness along the way and experience an emotional upheaval during an epic battle, resulting in a dramatic power increase that might be repeatable only when the situation calls for it. Magical girls spend much of their time trying to keep their powers and their normal identities secret. The reasons for this vary: they may wish to avoid capture by the enemy, they may simply feel embarrassed, and sometimes they have even received severe warnings not to let their friends and family know about their secret powers. However, despite their best attempts to keep their normal and supernatural lives separate, [9] strange events tend to occur to magical girls in normal life with alarming regularity, forcing them to transform and fight.

149

Magical girl Magical girl stories tend to be emotion-oriented, upbeat and cheerful. Magical girls often represent that special time in a young, Japanese girl's life where she is free from adult responsibility and submission. The characters fight for idealistic causes such as love, peace, hope, and beauty •rarely for revenge. By forming teams, the heroines learn the values of friendship and co-operation. Even the magical girls' enemies leave them alone most of the time; the girls need to pursue the enemies and to attempt to thwart their plans. The genre can be intriguing due to the contrasts and conflicts the magical girls represent, caught up as they are between the childish and the mature, or between helplessness and power.

Magical girl in Japan Until the appearance Sailor the srcinal termof mah€ in Japan referred to girls whoevil; did not transform themselvesofand whoMoon used ,magic for acts mercysh€jo and succor rather thanprimarily for heroism against for example, Mako of Mah€ no Mako-chan. In fact, magical girl series such as Himitsu no Akko-chan and Fushigi na Merumo existed in which the heroines received the power to transform themselves into whatever they wished, not for the sake of fighting evil, but for the sake of adventure. However, the term is generally used in the west to refer only to evil-fighting magical girls. The series Sally, the Witch and Minky Momo are hardly known in the United States although they are popular works of magical girl series in Japan. One series transcended these two cases: Akazukin Chacha, a Japanese mah€ sh€jo manga, portrayed the adventures of the protagonist Chacha and her friends. When Nihon Ad Systems and Studio Gallop adapted the manga into anime, Chacha became a "Magical Princess" in order to battle with villains. Another genre-crossing series, Majokko Megu-chan (Toei, 1974€75), sees the heroine, Megu, use her magic not only to fight villains but also to deal with everyday situations (such as teaching her younger brother to swim). In 2004, Pretty Cure and Magical Girl Lyrical Nanoha premiered, both shows featuring an emphasis on combat alongside magical girl based powers.

References Patrick Drazen, Anime Explosion!: The What? Why? & Wow! of Japanese Animation, p 123, ISBN 1-880656-72-8

[1] [2] [3] [4]

Gravett, Paul (2004). Manga: 60 Years of Japanese Comics. Harper Design. p. 78. ISBN 1-85669-391-0. Gravett, Paul (2004). Manga: 60 Years of Japanese Comics. Harper Design. p. 77. ISBN 1-85669-391-0. Drazen, Patrick (October 2002). Anime Explosion! The What? Why? & Wow! of Japanese Animation. Berkeley, California: Stone Bridge Press. pp. 281. ISBN 1-880656-72-8. OCLC 50898281. [5] Boren, James (September 2003). "The Making of a Magical Girl". Animerica (Viz Media) 11 (9): 31. [6] "Magical Girl" (http:/ /www.uvlist.net/groups/info/magicalgirl). UVL. . Retrieved July 13, 2010. [7] Oppliger, John (2007-10-22). "Ask John: Is Magical Girl Anime for Male Viewers a New Trend?" (http:/ / www.animenation.net/blog/ 2007/10/22/ask-john-is-magical-girl-anime-for-male-viewers-a-new-trend/). AnimeNation. . Retrieved 2008-05-30. [8] Magical girls appearing as fighters often obtain fighting powers after transforming into a warrior form, and they tend to become more agile and situation-aware as the story proceeds, but they generally live an ordinary normal life without having explicitly learned fighting techniques outside of battles. [9] "Short anime glossary [¶§¨©³«º ¨¯«´²Ë¯¬-§·°°³«º §¨½¸¬¬§¯«³]" (in Russian). anime*magazine (3): 36. 2004. ISSN 1810€8644.

Further reading • Yoshida, Kaori (2002). Evolution of Female Heroes: Carnival Mode of Gender Representation in Anime (http:// journals2.iranscience.net:800/mcel.pacificu.edu/mcel.pacificu.edu/aspac/home/papers/scholars/yoshida/ yoshida.php3). Western Washington University. Retrieved 2007-09-22. • Napier, Susan J. (1998) [1998]. "Vampires, Psychic Girls, Flying Women and Sailor Scouts". In Martinez, Dolores P.. The Worlds of Japanese Popular Culture: Gender, Shifting Boundaries and Global Culture. Cambridge University Press. ISBN 0521631289.

150

Magical girlfriend

Magical girlfriend A magical girlfriend (also referred to as exotic girlfriend, supernatural lover, or nonhuman woman[1] ) is a female character often associated with romantic comedy anime series, [2] and is sometimes considered a genre of its own,[3] or as the leading lady of the "fantastic romance" genre, which combines the fantasy and romance genres. [2] As Thomas LaMarre states, "Anime fans become familiar with a whole range of female figures that are either not really human (robots, aliens, deities, animals), or that possess extra-human powers of some kind or another (from cyborg enhancements to magical or psychic abilities), which take them beyond the merely human woman." [1] Magical girlfriends can be one or many in a single anime (always attached to the male lead). Because of the

tendency for rivals to appear even when there is one female lead and because of the unnatural gender balance among the cast, magical girlfriend comedies are often conflated with harem comedies. A good example of this conflation is Oh My Goddess![4] which is "one of the prototypical ‚haremƒ anime titles"[5] despite the short-lived nature of most of the romantic rivalries.

Characteristics of the genre Often series in the genre start with the male lead encountering the female lead either by pure chance or by an unusual event, after which the female lead somehow becomes bound or otherwise dependent upon him, often forcing a situation of cohabitation. In many cases, this situation is repeated with other characters ( Tenchi Muyo!), overlapping with the harem genre of anime. However the male lead is often inexperienced with women despite typically being a "nice guy". This situation often prevents the relationship from advancing beyond a platonic level throughout most of the series, as an ideal girlfriend doesn't come on strong herself and is generally passive in the relationship. In parodies, the character may be too young (i.e. Nakahito Kagura in Steel Angel Kurumi; Negi Springfield in Mahou Sensei Negima!) or otherwise have a more rational, ambivalent attitude towards women. A famous early reversal of the cliche occurs with the overtly lecherous Ataru Moroboshi of Urusei Yatsura), who is simply uninterested in monogamous relationships despite the fact few women besides his romantically-aggressive alien girlfriend find him attractive. Another feature is that soon after the male and female leads begin to live together, other (usually female) characters from the female (or male) lead's srcin appear (friends, siblings, relatives, rivals or even enemies), either becoming frequent visitors, cohabitors, or generally causing a disruption. or even moving in with the lead couple. Sometimes a character from the male lead's srcin will appear. Examples include Ai Yori Aoshi, where Kaoru's half-brother tries to take Aoi for himself, and Omamori Himari, where demonslayer Kuesu Jinguuji appears in volume 3 to claim Yuuto Amakawa as her betrothed. Even when there is one female lead, various rivals always threaten the relationship between the lead characters, often creating complicated "love polygons". These can vary from being from mundane characters such as men who fight for the affection of the female (and rarely male) lead, or rivals from the female lead's srcins. The romantic relationship(s) in magical girlfriend comedies tend to remain static and platonic throughout the series. Commonly involve sort of desire superficial to the staticisnature the relationship (which and often is, theepisodes male lead or thesome girlfriends' to getthreat closer), which almostofalways resolved in somecould, way that doesn't fundamentally alter that relationship. Action plotlines are often introduced through some sort of threat from the magical girlfriends srcins or through other means. If the romantic relationship(s) do move, it is very slow. For example, Oh My Goddess starts with Belldandy contractually bound to Keiichi and the other goddesses trying to separate them. After more than 100 chapters, Belldandy is no longer bound, but chooses to stay with Keiichi, and the other goddesses admit that Keiichi is worthy of a goddess' love.

151

Magical girlfriend

The "ideal woman" personality, or yamato nadeshiko Many magical girlfriends are considered by both fans and critics of the genre to be idealizations of woman-kind. This model of the ideal Japanese woman, the yamato nadeshiko, is similar to that found in The Tale of Genji. Ideal girlfriends are not necessarily magical in nature. Aoi of Ai Yori Aoshi is an example of an ideal woman and girlfriend but is of mundane srcin. Some "ideal" magical girlfriends may seem weak and emotionally needy, while others, such as Belldandy of Oh My Goddess!, may possess a godly power stemming from their feminine traits. Ideal women have absolute dedication to whatever work they do and for whomever they have great affection, although depending on the character's actual talents this can make for anything from 'quite capable' to 'well-meaning klutz'. They usually have calm, gentle and demure personalities. They generally suppress selfish desires in favor of desiring good for others. Ideal women are always naive or innocent, sometimes explained by the girlfriends srcins which do not allow for much experience with mainstream life. Paradoxically, other characters of the girlfriend's srcin tend not to be as naive (e.g. Belldandy of Oh My Goddess! is more naive than even her kid sister). Ideal women are emotionally insightful, seeing the good in others when most wouldn't and forgiving their shortcomings. Ideal women are examples of moe girls in anime. As such, ideal girlfriends are not overly independent. They are proper Japanese women who typically will not initiate romantic action themselves, except in a delicate or indirect manner (Aoi's romantic behavior might be considered clingy, even desperate at times, but is still done in a delicate manner, except in ecchi dream sequences). However, numerous characters are so innocent as to not understand the nature of their actions. Independence and aggression (especially in sexual matters) is a trait of parodies of the ideal girlfriend such as Lum Invader in Urusei Yatsura, Kurumi in Steel Angel Kurumi or Hazuki in Tsukuyomi -Moon Phase-. Parodies of the ideal woman are often selfish and become involved with the male lead because of their own selfish desires which are not (initially) shared by their mate. While the male lead usually has some sort of hold over his girlfriend (as "husband," "fiancƒ," provider, contract holder, client, creator, master, or even owner) the parody of the ideal girlfriend either succeeds in inverting the power balance of relationship or simply reverses roles. Sh€jo artists have written another sort of parody of magical girlfriends. Sh€jo writers put more emphasis on the girl. Examples include Absolute Boyfriend , in which an ordinary girl gets a magical boyfriend, [6] and Ultra Maniac, in which a Middle School girl meets and becomes best friends with a magical girlfriend; followed by their misadventures at finding boyfriends. Susan J. Napier has described the popularity of the ideal magical girlfriend, for example, Belldandy and Ai to be a backlash against the "yellow cab" social phenomenon, where some Japanese women were seeking out sexual relationships with non-Japanese men.[2]

Examples of "magical girlfriend" characters • • • • • • • • • •

Belldandy of Oh My Goddess! Lum Invader of Urusei Yatsura[7] (a parody of the ideal girlfriend) Chi of Chobits[1] [8] [9] Saati Nanba of A.I. Love You[9] Haruko of FLCL[9] Shaorin of Mamotte Shugogetten[10] Night of Absolute Boyfriend[6] (male equivalent of magical girlfriend) Sun Seto of My Bride is a Mermaid Valkyrie of UFO Ultramaiden Valkyrie Phryne of Fractale - Zac Bertschy of Anime News Network states: "let's just call it 'mildly interesting, competently made magical girlfriend show'"[11]

152

Magical girlfriend

Magical girlfriends in Western media Tiffany White of Pop Matters, in her review of the Mannequin movies, classifies magical girlfriend movies with this template:[12] ‘ Main protagonist is a loser who has no luck with girls or has a real girlfriend who doesn „t understand him. ‘ Main guy finds magical girlfriend (usually an angel, mermaid, or science experiment) and they fall in love. ‘ An antagonist lurks about, and its sole purpose is exposing the magical girlfriend. ‘ In the end, the protagonist and the magical girlfriend escape persecution, gain public acceptance, and spend the rest of their lives happy ever after. A.E. Sparrow of IGN, in reviewing Mamotte Shugogetten, also relates magical girlfriends shows to their western [10]

counterparts: "She's completely devoted to protecting her new "master" from any misfortune, utterly oblivious to the ways of the modern world, and (in cute girl manga terms) a total knockout. If you're not completely immersed in the world of manga yet, think "I Dream of Jeannie". If you are, then think "Oh! My Goddess!". Either one works if you're looking for a comparison."

References [1] Lamarre, Thomas (July 2006). "Platonic Sex: Perversion and Sh‰jo Anime (Part One)". Animation: An Interdisciplinary Journal 1 (1): 45€59. doi:10.1177/1746847706065841. [2] Napier, Susan (May 2001). "Carnival and Conservatism in Romantic Comedy" (http:// books.google.com/?id=T7WhxNhF6vAC). Anime from Akira to Princess Mononoke (1st ed.). New York: Palgrave. pp. 139€156. ISBN 0-312-23863-0. . Retrieved 2008-01-03. [3] Wong, Wendy Siuyi (2006). "Globalizing Manga: From Japan to Hong Kong and Beyond" (http:// books.google.com/ ?id=CMYwUzMCj-gC&pg=PA28&dq="magical+girlfriend"). Mechademia 1: 28. ISBN 9780816649457. . [4] Fujishima, Kosuke. Oh My Goddess! (manga, unflopped) Volume 3. p. 187 [5] Martin, Theron (2005-10-06). "Anime News Network review of Ah! My Goddess DVD 1" (http:/ / www.animenewsnetwork.com/review/ ah-my-goddess/dvd-1). Anime News Network. . Retrieved 2007-08-09. [6] Green, Jason. "Shojo Beat Review € Absolute Boyfriend" (http:/ / www.playbackstl.com/index.php?option=com_content&task=view& id=2628&Itemid=31). playback:stl. . Retrieved 2009-05-11. [7] Napier, Susan (May 2001). "Carnival and Conservatism in Romantic Comedy" (http:// books.google.com/?id=T7WhxNhF6vAC). Anime from Akira to Princess Mononoke (1st ed.). New York: Palgrave. pp. 142€151. ISBN 0-312-23863-0. . Retrieved 2008-01-03. [8] CLAMP. Chobits (manga) Volume 1, Chapter 2, Hideki ponders: ‚You hear about it all the time. A guy finds a nice girl, takes her home. She„s always cute. Then it turns out she„s got some sort of special powers, and she„ll fall madly in love with the guy. Happens all the time. I „ve seen it on TV, like I Dream of Jeannie!ƒ [9] Harvell, Jess (2006-10-11). "Boys Life: Sometimes a Giant Robot Isn't Just a Giant Robot in the World of Japanese Comics" (http:// www2. citypaper.com/news/story.asp?id=12770). Baltimore City Paper. . Retrieved 2011-10-17. [10] Sparrow, A.E. (2008-05-13). "Mamotte Shugogetten: Volume 1 Review" (http:// comics.ign.com/articles/873/873178p1.html). IGN. . Retrieved 2011-10-17. [11] Bertschy, Zac (2011-01-04). "The Winter 2011 Anime Preview Guide" (http:// www.animenewsnetwork.com/feature/2011-01-04/zac). Anime News Network. . Retrieved 2011-11-14. [12] White, Tiffany (2008-05-14). "Mannequin & Mannequin 2: On the Move" (http:// www.popmatters.com/pm/review/ mannequin-mannequin-2-on-the-move). Pop Matters. . Retrieved 2011-11-14.

153

Mecha anime

Mecha anime Mecha anime cover all series that revolve around the use of piloted robotic armors in battle, which is broken down

into two subcategories of Super Robot and Real Robot. Mecha series cover a wide variety of genres from comedy to drama, though are always fantastical and larger-than-life in nature and feature large-scale battles and/or action sequences. Mecha anime has contributed to a greater popularity of mecha and has expanded into other media, with manga and video game adaptations, and has also contributed to the popularity of scale model robots.

History The genre started with Mitsuteru Yokoyama's 1956 manga Tetsujin 28-go (which was later animated in 1963 and also released abroad as Gigantor). Its inclusion is debatable however, as the robot was controlled by remote instead of a cockpit in the machine. Not long after that the genre was largely defined by author Go Nagai, into something considerably more fantastical. Mazinger Z , his most famous creation, was not only the first successful Super Robot anime series, but also the pioneer of the genre staples like weapons that were activated by the hero calling out their names ("Rocket Punch!"). It was also a pioneer in die-cast metal toys such as the Chogokin series in Japan and the Shogun Warriors in the U.S., that were (and still are) very popular with children and collectors. Getter Robo, for its part, was the first combining robot, something that became a frequent design theme and was aggressively imitated in similar mecha shows. The appearance of Yoshiyuki Tomino's Gundam in 1979 is considered to have broken the mecha genre into two subsets: the Super Robot show, which focused on ultratech mecha that often had elements of mysticism and tend to use a "monster of the week" format; and the Real Robot show, in which the mecha are shown as tools rather than semi-mystical creations, and the focus is less on the machines and more on the pilots. The introduction of Mobile Suit Gundam in 1979 introduced a sort of plot paradox that would be revisited frequently in subsecuent Real Mecha anime productions: a war show about giant war machines that was in fact anti-war at heart. Other notable series include but are by no means limited to The Super Dimension Fortress Macross, which in its modified Robotech form led to one of the breakthroughs of anime in the USA; Hideaki Anno's Gunbuster, which along with Macross and Gundam is considered the pinnacle of mecha anime in the 1980s; the police-focused Patlabor, which acted as a homage to the light-hearted and courage-focused stories of the 80s in a time of mostly dramatic mecha series; and as examples of older shows, Go Lion (Voltron) and Giant Robo as well as Full Metal Panic. Macross was especially noteworthy as it showed mecha fighting under combined arms tactics, ranging from the infantry Spartan MBR-07-II to the jet fighter VF-1 Valkyrie and artillery Monster HWR-00-II. One anime series that drew from the tradition of both super robot and Real Robot genres while being unique was Hideaki Anno's Neon Genesis Evangelion. Considered by many to be the spiritual successor to Space Runaway Ideon, Evangelion was highly successful and quite controversial, similar to its would-be predecessor. Another series, Kishin Heidan, is less well known outside Japan. The mecha genre in anime is still alive and well as the new millennium came, with revival OVAs like Getter Robo: the Last Day, Diebuster, Mazinkaiser and Gurren Lagann from the Super Robot tradition, the Gundam Seed, Gundam 00, Code Geass and Macross Frontier series from the Real Robot side, and Reideen, a recent remake of the 1975 hit series Brave Raideen. Arguably, the concept of piloted mecha goes back decades before Tetsujin-28. The tripods featured in The War of the Worlds, with advanced weaponry and dedicated piloting stations, are perhaps the forerunners of modern mecha. More recent anime titles, such as Escaflowne and ZOIDS, introduce variant concepts to the mecha genre, such as organic mecha and upscaled mechanical animals and vehicles.

154

Mecha anime

Scale models Assembling and painting mecha scale model kits is a popular pastime among mecha enthusiasts. While many model kits are not produced for distribution to the West, foreign fans can acquire them through comic book shops or online retailers that cater to imports. Like other models such as cars or airplanes, more advanced kits require much more intricate assembly. Others enjoy building Lego mecha [1], whether to reproduce existing designs or create their very own. Lego mecha construction can present unique engineering challenges; the balancing act between a high range of motion, good structural stability, and aesthetic appeal can be difficult to manage. In 2006, the Lego Group released their own somewhat manga-inspired mecha line with the Exo-Force series.

External links • Gears Online [2] • Brickshelf Lego mecha galleries [3] • Mecha Anime HQ [4]: Extensive coverage on Gundams and other mecha.

References [1] [2] [3] [4]

http:// www.mechahub.com/ http:// www.gearsonline.net http:// www.brickshelf.com/cgi-bin/customview.cgi?include=Mecha http:// www.mahq.net/

Sentai Sentai (½) in Japanese language is a word for a military unit and may be literally translated as "squadron", "task force", "group" or "wing". The terms "regiment" and "flotilla", while sometimes used as translations of Sentai, are also used to refer to larger formations.

World War II It is perhaps best known as a term used during World War II by the military of the Empire of Japan, for Imperial Japanese Army Air Force (IJAAF) and Imperial Japanese Navy Air Service (IJNAS) military aviation units equivalent to a group or wing in other air forces. However, the term had slightly different meanings in the IJAAF and the IJNAS. An IJAAF Sentai was made up of two to four squadrons ( ch…tai). In the IJAAF, two or more Sentai comprised a hik€dan (air brigade). In the later stages of World War II, the IJAAF abolished ch…tai and divided its sentai into hik€tai (flying units) and seibitai (maintenance units). A sentai commander (sentaich€) was generally a Lieutenant Colonel. In the IJNAS, a sentai was a larger unit: a k€k…tai was the equivalent of an IJAAF sentai. Several sentai made up a kantai (air fleet). In the IJNAS, a Sentaich€ was usually a Naval Captain.

155

Sentai

156

Super Sentai The Super Sentai Series (³„â„ ½r² „ F S…p• Sentai Shir’zu) is a franchise of Japanese tokusatsu television dramas that uses the word sentai to describe a group of three or more costumed superheroes (whose core team generally consists of five members) who often pilot mecha.

References • Dan Ford, 2004-05, "An introduction to the Japanese Army Air Force" [1] (warbirdforum.com) • Mark Kaiser, 1997-98, "Unit structure of IJA Air Force" [2] (self-published) • Mitch Schwartz, 2001, "East Asian/Pacific Area" [3] (self-published) • Peter Dunn, 2002, "Japanese Navy Air Force (JNAF) Operating in the Australian Area During WW2" [4] (ozatwar.com)

References [1] [2] [3] [4]

http:// www.warbirdforum.com/jaaf.htm http:// markkaiser.com/japaneseaviation/jaafstructure.html http:// world.std.com/~Ted7/minorafp.htm http:// home.st.net.au/ ~dunn/jnaf/jnaf.htm

Yaoi )[1] also known as Boys' Love, is a Japanese popular term for female-oriented fictional media that focus on homoerotic or

Yaoi (¬お¹

homoromantic relationships, usually created female authors. As these depictmale males, there is an androphilic malebyaudience as well, however manga aimed at a gay male audience is considered a separate genre. Originally referring to a specific type of d€jinshi (self-published works) parody of mainstream anime and manga works, yaoi came to be used as a generic term for female-oriented manga, anime, dating sims, novels and d€jinshi featuring idealized homosexual male relationships. The main characters in yaoi usually conform to the formula of the seme (¾め lit. "attacker") who pursues the uke (¿š lit. "receiver"). In Japan, the term has largely been replaced by the rubric Boys' Love (D„ EFö + B€izu Rabu), which subsumes both parodies and srcinal works, and commercial as well as d€jinshi works. Although the genre is called Boys' Love (commonly abbreviated as " BL"), the males featured are pubescent or older. Works featuring prepubescent Example of sh€nen-ai artwork, srcinally published at Animexx. boys are labeled shotacon, and seen as a distinct genre. Yaoi (as it continues to be known among English-speaking fans) has spread beyond Japan: both translated and srcinal yaoi is now available in many countries and languages. Yaoi began in the d€jinshi markets of Japan in the late 1970s/early 1980s as an outgrowth of sh€nen-ai (~Ë W) (also known as "Junƒ" or "tanbi"), but whereas sh€nen-ai (both commercial and d€jinshi) were srcinal works, yaoi were parodies of popular sh€nen anime and manga, such as Captain Tsubasa and Saint Seiya. BL creators and fans are careful to distinguish the genre from bara, including "gay manga", which are created by and for gay men.[2] [3] However, some male manga creators have produced BL works.[4] Yuri is a wider blanket term than yaoi, because it refers to comics with lesbian relationships, regardless of the target audience, which may be

Yaoi

157 (presumptively heterosexual) men, heterosexual women, or lesbian women. Yuri made by and for lesbians tends to resemble a distaff counterpart of bara, while men's yuri manga is more like yaoi manga, since both are targeted at the opposite sex and are not about realistic homosexual relationships.

Terminology Usage Although different meanings are often ascribed to the terms yaoi and Boy's Love (with yaoi generally said to be more explicit and BL generally said to being less so), [5] there is conflicting information on their usage. [6] [7]

Yaoi is an acronym created [8] in the d€jinshi market of the late 1970s by Yasuko Sak ata and Akiko Hatsu and popularized in the 1980s standing for Yama nashi, ochi nashi, imi nashi (‘êó î [€チó î [Àí ó î ) "No climax, no point, no meaning". This phrase was first used as a "euphemism for the content"[9] and refers to how yaoi, as opposed to the "difficult to understand" sh€nen-ai of the Year 24 Group, [10] focused on "the yummy parts".[11] The phrase also parodies a classical style of plot structure. [2] Kubota Mitsuyoshi says that Osamu Tezuka used yama nashi, ochi nashi, imi nashi to dismiss poor quality manga, and this was appropriated by the early yaoi authors. [9] As of 1998, the term yaoi was considered "common knowledge to manga fans".[12] A joking alternative acronym among fujoshi (female yaoi fans) for yaoi is Yamete, oshiri ga itai (¬めf おÁ/ Â¹ ?, "Stop, my ass hurts!") .[4] [13] Originally in Japan, much BL material was called june (ï ‡Ž),[14] a name derived from June, a magazine that published male/male tanbi (Ãì "aesthetic") romances,[15] Kaoru Kurimoto had also written sh€nen ai mono stories in the late 1970s that have been described as "the precursors of yaoi".[7] The term "bish€nen manga" was used in the 1970s, but became depreciated in the 1990s when the manga featured a broader range of protagonists than adolescent boys.[] June magazine was named after the French author Jean Genet, with "june" being a play on the Japanese pronunciation of his name. [16] Eventually the term "june" died out in favour of "BL," which remains the most common name.[14] Mizoguchi suggests that publishers wishing to get a foothold in the June market coined the term BL to disassociate the genre with the publisher of June.[] Another term for yaoi is 801.[17] "801" can be read as "yaoi" [9] in the following form: the "short" reading of the number 8 is "ya", 0 can be read as "o" € a western influence, while the short reading for 1 is "i" ( see Japanese wordplay). For example, an Internet manga called Tonari no 801-chan, about a male otaku who dates a fujoshi, has been adapted into a serialized sh€jo manga and a live-action film. 801-chan, the mascot of a Japanese shopping centre, is used in the manga. [18]

Yaoi has become an umbrella term in the West for women's manga or Japanese-influenced comics with male-male relationships,[14] and it is the term preferentially used by American manga publishers. [19] The actual name of the genre aimed toward women in Japan is called 'BL' or 'Boy's Love'. BL is aimed at the sh€jo and josei demographics, but is considered a separate category. [14] [20] Yaoi is used in Japan to include d€jinshi and sex scenes,[14] and does not include gei comi, which is by and for gay men. [2] [14] The terms yaoi and sh€nen-ai are sometimes used by western fans to differentiate between the contents of the genre. In this case, yaoi is used to describe titles that contain largely sex scenes and other sexually explicit themes and

sh€nen-ai is used implicit to describe titlescontent. that focus more [21] [22] [] on romance and do not include explicit sexual content, although they may include sexual When using the terms in this way, Gravitation is considered to be sh€nen-ai due to its focus on the characters' careers rather than their love life, while the Gravitation Remix and Megamix d€jinshi by the same author, which emphasize the characters' sexual relationships, would be considered yaoi. Sometimes the word hentai is used as an additional modifier with yaoi € "hentai yaoi" € to denote the most explicit titles.[23] However, Kaze to Ki no Uta[24] was groundbreaking in its depictions of "openly sexual relationships", spurring the development of the Boys Love genre in sh€jo manga, [25] and the development of sexually explicit amateur comics.[26] The use of yaoi to denote those works with explicit scenes sometimes clashes with use of the word to describe the genre as a whole. Yaoi can be used by fans as a label for anime or manga-based

Yaoi

158 slash fiction.[27] While sh€nen-ai literally means boy's love, the two terms are not synonymous. In Japan, sh€nen-ai used to refer to a now obsolete subgenre of sh€jo manga about prepubescent boys in relationships ranging from the platonic to the romantic and sexual. The term was srcinally used to describe ephebophilia, and in scholarly contexts still is. Boy's Love, on the other hand, is used as a genre's name and refers to all titles regardless of sexual content or the ages of characters in the story (with the exception of titles featuring prepubescent boys, which are categorized as shotacon, a distinct genre with only peripheral connections to BL). [14]

Gei comi/Bara Although sometimes conflated with "yaoi" by Anglophone commentators, gay manga (ÄEÄ Å ) (also comi called "Mens' Love" (メÝ Fö + Menzu Rabu), ML, in Japan and "bara" in English) caters to a gaygei male audience rather than a female one and tends to be made primarily by homosexual and bisexual male artists (such as Gengoroh Tagame) and serialized in gay men's magazines. [28] It is an even smaller niche genre in Japan than yaoi manga; none has been licensed in English and not much has been scanlated into English. [29] Considered a subgenre of seijin (˜ • adult) (men's erotica) for gay males, bara resembles comics for men (seinen) rather than comics for female readers (sh€jo/josei). Recently a subgenre of BL has been introduced in Japan, so-called gachi muchi (Ùチ,チ) or "muscley-chubby" BL,[30] which offers more masculine body types and is more likely to have gay male authors and artists. Although still marketed primarily to women,[30] it is also thought to attract a large crossover gay male audience. [31] This material has been referred to as "bara" among English-speaking fans,[32] [33] but it is distinct in publishing terms (and often in content and style), and should not be confused with gei comi proper. The yaoi OVA Legend of the Blue Wolves is considered the first OVA for bara fans.

Seme and uke The two participants in a yaoi relationship (sometimes also in yuri [34] ) are often referred to as seme (¾め or É め) and uke (¿š or · š ). These terms srcinated in martial arts and uke is used in Japanese gay slang to mean the receptive partner in anal sex. [35] Aleardo Zanghellini suggests that the martial arts terms have special significance to a Japanese audience, as an "archetype" of male same-sex relationships are those between samurai and their companions. [5] Seme derives from the ichidan verb semeru (¾めþ to attack) and uke from the verb ukeru (¿š þ or · š þ to receive). Seme and uke are analogous to "top" and "bottom." The seme and uke are often drawn in the bish€nen style and are "highly idealised", [36] blending both masculine and feminine qualities.[12] Zanghellini suggests that the samurai archetype is responsible for "the Artwork depicting a seme (left) and uke (right) 'hierarchical' structure and age difference" of some relationships couple. portrayed in yaoi and BL.[5] The seme is often depicted as the stereotypical male of anime and manga culture: restrained, physically powerful, and/or protective. The seme is generally older and taller,[37] with a stronger chin, shorter hair, smaller eyes, and a more stereotypically masculine, even "macho", [38] demeanour than the uke. The seme usually pursues the uke, hence the name. The uke usually has softer, androgynous, feminine features with bigger eyes and a smaller build,

and is often physically weaker than the seme.[19] [35] [39] Zanghellini feels that these stereotypes come from sh€jo manga conventions of depicting heroines and her female rival, where the heroine would be portrayed as kawaii and

Yaoi

159 her rival would be portrayed as a sophisticated and adult beauty. When the characters were changed from female to male, these characteristics remained in the seme and uke characters. In this view, readers identify with the uke.[5] Readers may identify with the seme, or the uke, or both at the same time, or instead become a voyeur. [40] Anal sex is a prevalent theme in yaoi, as nearly all stories feature it in some way. [35] The storyline where an uke is reluctant to have anal sex with a seme is considered to be similar to the reader's reluctance to have sexual contact with someone for the first time. [41] Zanghellini notes that anal sex is almost always in a position so that the characters face each other, not in the doggy style Zanghelli states is portrayed by gay pornography. Zanghellini also notes that the uke rarely fellates the seme, but instead receives the sexual and romantic attentions of the seme. [5] One stereotype that is criticized is when the protagonists do not identify as gay, but rather are simply in love with that particular person.[3] [35] This is said to heighten the theme of all-conquering love, [42] but is also pointed to as avoiding having to address prejudices against people who consider themselves to have been born homosexual. [3] In recent years, newer yaoi stories have characters that identify as gay. [4] Criticism of the stereotypically "girly" behavior of the uke has also been prominent. [39] It has been questioned if yaoi is heteronormative, due to the masculine seme and feminine uke stereotypes.[19] [43] Additionally, yaoi stories are often told from the uke's perspective.[19] When the seme and uke roles are more closely adhered to, the uke character may be said to represent a "'vagina/anus' to be penetrated", but even as he is penetrated, his phallus is not forgotten, for example, as a seme simultaneously fellates and digitally penetrates his partner in Play Boy Blues . This combination of penetration and phallic pleasure reinforces depictions of sex in yaoi as challenging the idea that there is an active, penetrating, male sexuality as opposed to a passive, penetrated, female sexuality. [44] Though these stereotypes are common, not all works adhere to them. [6] [39] Mark McLelland says that authors are "interested in exploring, not repudiating" the dynamics between the insertive partner and the receptive partner. [45] The possibility of switching roles is often a source of playful teasing and sexual excitement for the characters, which has been said to show that the genre is aware of the "performative nature" of the roles. [46] Sometimes the bottom character will be the aggressor in the relationship, [47] or the pair will switch their sexual roles.[48] Riba, ² バ (a contraction of the English word "reversible") is used to describe a couple that yaoi fans think is still plausible when the partners switch their seme/uke roles.[49] In another common mode of characters, the author will forego the stylisations of the seme and uke, and will portray both lovers as "equally attractive handsome men". In this case, whichever of the two who is ordinarily in charge will take the "passive role" in the bedroom. [38]

Sh€nen-ai Sh€nen-ai srcinally connoted ephebophilia or pederasty in Japan, but from the early 1970s to the late 1980s, was used to describe a new genre of sh€jo manga, primarily by the Year 24 Group, about beautiful boys in love. Characteristics of sh€nen-ai include that they were exotic, often taking place in Europe,[50] and idealistic.[51] Suzuki describes sh€nen-ai as being "pedantic" and "difficult to understand", [10] saying that they required "knowledge of classic literature, history and science"[51] and were replete with "philosophical and abstract musings". [52] She says that this challenged the young readers and expanded their minds. Although they could not understand the works at first reading, as they grew older they would come to understand the works more. In the meantime, "the readers' attention became focused on the figure of the male protagonist" and how he navigated his sexual relationships. [52] By the late 1980s, the popularity of professionally published sh€nen-ai was declining, and yaoi d€jinshi was becoming more popular.[11] In recent years, the terms yaoi and sh€nen-ai have sometimes been used by western fans to differentiate between the contents of the genre. Yaoi has been used to describe titles that contain largely sex scenes and other sexually explicit themes and sh€nen-ai is used to describe titles that focus more on romance and do not include explicit sexual content, although they may include implicit sexual content.[21] [22] []

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160

D€jinshi The d€jinshi subculture has been considered the Japanese equivalent of the English-language slash fandom, especially as they both do not have typical "narrative structure", science fiction works are particularly popular in both,[12] and they both srcinated in the 1970s. [8] [21] Typical yaoi d€jinshi features male-male pairings from non-romantic, published manga and anime. Much of the material derives from male-oriented (sh€nen and seinen) works which contained male-male close friendships and are perceived by fans to imply homosexual attraction, [11] such as with Captain Tsubasa[2] and Saint Seiya, two titles which popularised yaoi in the 1980s.[8] Saint Seiya was particularly popular as it had a large cast of characters, most of them male, which allowed "an incredible number" of pairings between characters, although Andromeda Shun was one of the more popular characters to parody in yaoi, as he was presented in the srcinal series as "fragile and sensible, with fine traits, long hair, doe eyes and the most feminine armour of the group".[53] For a time, yaoi d€jinshi was known as ‚Captain Tsubasaƒ.[54] D€jinshi has been described by Comiket's co-founder Yoshihiro Yonezawa as being "girls playing with dolls"; [41] yaoi fans may ship any male-male pairing, sometimes pairing off a favourite character, or creating a story about two men and fitting existing characters into the story. [2] Matt Thorn notes that unlike in slash fandom, a canonical homoerotic element "takes away the fun" of creating yaoi for that series, for example, From Eroica with Love is more popular with slash fans than it has been with d€jinshi artists.[11] Kazuko Suzuki outlines the thematic development of the yaoi fandom, from curiosity about sexuality, to taking a parodic revenge against men, to a feminist protest, and lastly, exploring "ideal relationships". [55] Important characteristics of the early yaoi d€jinshi were that they were amateur publications not controlled by media restrictions, the stories were by teens for other teens and they were based on famous characters who were in their teens or early twenties, the same age as the yaoi fans. [8] The rapid expansion of Comiket during the 1980s (less than 10,000 attendees in 1982-over 100,000 attendees in 1989) permitted many doujinshi authors to sell thousands of copies of their works, earning a fair amount of money. Mizoguchi points out that June paid a small honorarium and only published stories which suited their less-explicit style, leading to some authors of yaoi choosing not to try to publish in June.[] During the early 1990s, d€jinshi played a part in popularising yaoi.[36] Yaoi d€jinshi has been compared to the Plot, what Plot? subgenre of fan fiction. [56] Though collectors often focus on d€jinshi based on particular manga, any male character may become the subject of a yaoi d€jinshi, even characters from non-manga titles such as Harry Potter or The Lord of the Rings,[57] or video games such as Kingdom Hearts and Final Fantasy,[58] [59] real people such as politicians, or personifications such as Hetalia: Axis Powers, or complementary items such as salt and pepper or peanut butter and jelly. Patrick W. Galbraith sums this up by saying "Among fujoshi, there seems no limit to the potential of transgressive intimacy imagined in yaoi relationships in pursuit of moe." [60] Most d€jinshi are created by amateurs who often work in "circles"; [61] for example, the group CLAMP began as an amateur d€jinshi circle, drawing Saint Seiya yaoi.[53] However, some professional artists, such as Kodaka Kazuma create d€jinshi as well.[62] Some publishing companies have used d€jinshi published in the 1980s to spot talented amateurs,[21] [35] such as Biblos hiring Youka Nitta. [63] Convention when labelling stories differs between Japanese fandom and slash-influenced fandoms. In Japan, the labelling is to put the two names of the characters separated by a multiplication sign, with the seme being first, and the uke being second.[64]

Yaoi

161

Global BL As Japanese yaoi gained popularity in the U.S., a few American artists began creating original English-language manga for female readers featuring beautiful male-male couples, [8] [7] referred to as "American yaoi." The first known srcinal English-language BL comic is Sexual Espionage #1 by Daria McGrain, published in May 2002. [65] Since approximately 2004, what started as a small subculture in North America has become a burgeoning market, as new publishers began producing female-oriented male/male erotic comics and manga from creators outside Japan.[66] Because creators from all parts of the globe are published in these "srcinal English language" works, the term "American Yaoi" fell out of use; terms like 'Original English Language yaoi'[67] shortened to 'Global Yaoi'.[68] The term Global BL was coined by creators and newsgroups that wanted to distinguish the Asian specific content known as 'yaoi', from the srcinal English content, and so the term Global BL was used. [69] [70] "Global BL" was shortened by comics author Tina Anderson in interviews and on her blog to the acronym 'GloBL'. [32] [71] Current North American publishers of 'Global BL' are Yaoi Press,[72] and publisher DramaQueen, which debuted its 'Global BL' quarterly anthology RUSH in 2006.[73] RUSH ceased publishing when the company experienced financial issues and were uncommunicative with the creators involved in the project. [74] [75] [76] Dramaqueen began publishing again in 2010,[77] and on their forums, CEO Tran Nguyen indicated RUSH would return in a new format in 2011.[78] Former publishers include Iris Print.[79] [80] Prolific GloBL creators include Yayoi Neko,[81] Dany & Dany,[82] [83] Tina Anderson,[84] and Studio Kosen.[85] The most recent publishing boom in GloBL is happening in Germany, with a handful of srcinal German titles gaining popularity for being set in Asia. [86] Some publishers of German GloBL are traditional manga publishers like Carlsen Manga,[87] and small press publishers specialising in GloBL like The Wild Side [88] and Fireangels Verlag.[89]

Publishing Mizoguchi divides BL publication into two eras € the first era from the time of June to 2004, and a second era from 2004 onwards.[90] The earliest magazine about Boy's Love was June, which began in 1978 as a response to the success of commercially published manga such as the works of Keiko Takemiya, Moto Hagio and Yumiko Šshima.[64] Other factors was the rising popularity of depictions of bish€nen in the d€jinshi market and ambiguous musicians such as David Bowie and Books on display at a San Francisco Kinokuniya bookstore Queen. June was meant to have an underground, "cultish, guerilla-style" feeling € most of its manga artists were new talent. Frederik L. Schodt describes June as "a kind of 'readers' magazine, created by and for the readers." Essays about the characteristics of the June genre were published with the manga in June. In 1982, Sh€setsu June ("Novel June"), a sister magazine to June began publication. Its content is text-only stories with male romance. [91] Nagaike believes that the true "revolution" in BL culture was when it began to be commercially published en masse in the 1990s.[92] As of the mid-1990s, Sh€setsu June outsold June.[91] As of 2008, June was still running,[93] although the target audience's ages have widened and the style of stories has changed from being "soft love" to more overtly pornographic.[64] The magazine Allan (³ö Ý Aran) (1980€1984) which was more text-based than June was influential in cultivating a lesbian culture.[94] The Japanese publisher Biblos was a BL publisher established in 1988 but their bankruptcy due to failure of their parent company[35] caused them to fold in April 2006.[95] Most of their titles were picked up by Libre. [96] A 2006 breakdown of the Japanese commercial BL market estimated it grosses approximately 12 billion yen annually, with novel sales generating 250 million yen per month, manga generating 400 million yen per month, CDs generating 180 million yen per month, and video games generating 160 million yen

Yaoi

162 per month.[92] A 2010 report estimated that the Boys Love market was worth approximately 21.3 billion yen in both 2009 and 2010.[97] Japanese BL works are sold to English-speaking countries by companies that translate and print them in English; companies such as Digital Manga Publishing with their imprints 801 Media (for explicit BL) and June (for "romantic and sweet" BL),[21] as well as DramaQueen, Kitty Media, Central Park Media's Be Beautiful, [19] Tokyopop under their imprint BLU, Broccoli under their Boysenberry imprint, Aurora Publishing under their imprint Deux Press, and Yaoi Generation. The first publisher of BL in translation may be ComicsOne, which released two volumes of sh€nen-ai manga as e-books in January 2000.[98] In 2001, the only BL-type manga available in print in English were the barely-suggestive Banana Fish and X/1999,[99] and in 2002, commercially translated BL was "not common".[100] According to McLelland, the earliest officially translated BL manga in print appeared in 2003, and as of 2006 there were about 130 English-translated works commercially available.[35] In March 2007, Media Blasters stopped selling sh€nen manga and increased their yaoi lines, anticipating to publish one or two titles per month that year. [101] In 2007 following Biblos' bankruptcy, Libre published an open letter on their website which said that English-language publishers had to renegotiate publishing rights for Biblos' former series with Libre, specifically nami ng CPM's releases as "illegal".[102] [103] Diamond Comic Distributors estimated the U.S. sales of yaoi manga as being approximately $US 6 million in 2007. In English-speaking countries explicit stories are either sold online or displayed in shrink wrap.[104] Mark McLelland surveyed 135 yaoi books published in North America between 2003 and 2006, and found that 14% was rated at 13 years or over, 39% was rated for readers aged 15 years or over, and 47% was rated for readers 18 years or older. [105] In 2008, BLU reported that although bookshops are becoming more willing to stock BL titles, they are conservative about how the books are labelled, leading to books being shrink wrapped and rated for over 18s which previously would have garnered an over 16 rating, and do not "really follow through on the [adult content] promise." [7] In 2010, Libre Publishing sent cease and desist letters to English language BL scanlation groups. [106] Tokyopop and its imprint BLU folded in May 2011. In October 2011, Viz Media launched the BL imprint SuBLime in collaboration with the Japanese BL publisher Libre and the Japanese retailer Animate to publish English-language BL for the print and worldwide digital market. [107] [108]

Thematic elements BL has similar themes to heterosexual sh€jo manga, several exploring adolescent romance and the "interiority of the characters."[109] Nagaike identifies common narratives as being toshishita zeme, where the younger partner penetrates the older, shota mono about young adolescents, riiman mono, about salarymen, and gakuen mono, stories set on a campus.[44] Common characters in yaoi are schoolboys and yakuza.[110] Sometimes, schoolboys are depicted in sexual situations, which is controversial when these titles are licensed in countries where underage sexuality and its depiction is taboo.[111]

Female characters Female characters often have very minor roles in yaoi, or are absent altogether. [42] [112] Suzuki notes that mothers, in particular, portrayed badly, as Takuto's mother from Zetsuai , who killedtoher husband in frontlacking of her young son.are Suzuki suggests thissuch is because the character and the reader1989 are attempting replace a mother's [113] "unconditional love" with the "forbidden" all-consuming love presented in yaoi. Nariko Enomoto, a yaoi author, says she feels that when women are shown, "it can't help but become weirdly real". [114] When yaoi fan works are created from a series which srcinally contained females (such as Gundam Wing),[115] the female's role is either minimised or the character is killed off.[112] Early sh€nen-ai and yaoi has been regarded as misogynistic, but Lunsing detects a decrease in misogynistic comments from characters and regards the development of the yuri genre as reflecting a reduction of internal misogyny.[4] Alternatively, the yaoi fandom is also viewed as a "refuge" from mainstream culture, which in this paradigm is viewed as inherently misogynistic.[8] Fumi Yoshinaga is regarded as a

Yaoi

163 creator who usually includes at least one sympathetic female character in her works. [116] Also, there are many female characters in Yaoi who are Fujoshi themselves.

Gachi muchi Recently, a subgenre of BL has been introduced in Japan, so-called "muscley-chubby BL" or gachi muchi (from gacchiri (/MÍ µ muscular) and muchimuchi (,チ,チ chubby))[30] which offers more masculine body types and is more likely to have gay male authors and artists. Although still marketed primarily to women, [30] it is also thought to attract a large crossover gay male audience.[117] Although this type of material has also been referred to as "bara" among English-speaking fans,[32] [33] it is not equivalent to gei comi proper (although there is considerable overlap, as writers, artists and art styles cross over between the two genres). Prior to the development of gachi muchi, the greatest overlap between yaoi and bara authors has been in BDSM-themed publications[118] such as Zettai Reido, a yaoi anthology magazine which had a number of openly male contributors. [4] Several female yaoi authors who have done BDSM-themed yaoi have been recruited to contribute stories to BDSM-themed bara anthologies or special issues.[118]

Gay rights Many BL manga have fantastic, historic or futuristic settings, and many fans consider BL to be an "escapist fantasy".[119] Homophobia, when it is presented as an issue at all,[6] is used as a plot device to "heighten the drama",[120] or to show the purity of the leads„ love.[] Matt Thorn has suggested that as BL is a romance narrative, having strong political themes may be a "turn off" to the readers. [11] Yaoi narratives show characters "overcoming obstacles, often internal, to be together". The theme of the victory of the protagonists in yaoi has been compared favourably to Western fairy tales, as the latter intends to enforce the status quo, but yaoi is "about desire" and seeks "to explore, not circumscribe, possibilities." [121] Hisako Miyoshi, vice editor-in-chief for Libre Publishing, has said that she feels that boys love manga has become less realist, with more comedic elements or being "simply for entertainment". She thinks that earlier BL focused "more on the homosexual way of life with a realist perspective."[122] Makoto Tateno has said that she feels that BL with a focus on realistic gay issues "won't become a trend, because girls like fiction more than realism." [123] Akiko Mizoguchi feels that while depictions of homosexuality as "shameful" to heighten dramatic tension are still shown, BL is including more coming out stories which portray a gradual acceptance from the wider community. Mizoguchi feels that BL is showing far more gay-friendly depictions of Japanese society, which she regards as activism. [90]

Idealism Most BL manga have been said to "foster an aesthetic of purity, even when depicting hard-core sex acts."[124] Sandra Buckley felt that the characters have equality in their relationships, which were "free of domination and exploitation".[125] Yaoi stories are often strongly homosocial, which gives the men freedom to bond with each other and to pursue shared goals together, as in dojinshi representations of Captain Tsubasa, or to rival each other, as in Haru wo Daiteita. This spiritual bond and equal partnership shown overcomes the male-female power hierarchy. [44]

Rape According to Suzuki, sexual intercourse in yaoi is a way of expressing commitment to a partner, and "apparent violence" in sex is a "measure of passion". Suzuki elaborates that when a woman is raped, she is stigmatised by society, but in yaoi narratives, boys who are loved by their rapists are still "imbued with innocence", a theme she attributes to Kaze to Ki no Uta.[126] According to Nagaike, rape scenes in yaoi are rarely presented as crimes with an assaulter and a victim. Nagaike feels that scenes where a seme rapes an uke are not symptomatic of the seme's "disruptive sexual/violent desires", but instead are a signifier of the "uncontrollable love" felt by a seme for an uke. Instead of being depicted as a crime, rape scenes can be a plot device used to make the uke see the seme as more

Yaoi

164 than just a good friend, resulting in the uke falling in love with the seme.[44] Rape fantasy themes have been said to free the protagonist of responsibility in sex, leading to the narrative climax of the story, where "the protagonist takes responsibility for his own sexuality".[111] The 2003-2005 Under Grand Hotel, set in a men's prison, has been praised for showing a more realistic depiction of rape. [127]

Tragedy June stories with suicide endings were popular,[91] as was "watching men suffer".[128] Matt Thorn theorises that depicting abuse in yaoi is a coping mechanism for some yaoi fans. [11] By the mid 1990s the fashion was for happy endings.[91] When tragic endings are shown, the cause is not infidelity, but "the cruel and intrusive demands of an uncompromising outside world."[129]

Critical attention Boys' Love manga has received considerable critical attention, especially after translations of BL became commercially available outside of Japan in the 21st century.[11] Different critics and commentators have had very different views of BL. In 1983, Frederik L. Schodt observed that ‚aestheticallyƒ depicted male-male homosexual relationships had become popular among female readers as an extension of bisexual themes already present in sh€jo manga.[130] Japanese critics have seen BL as allowing girls to distance sex from their own bodies, [131] as allowing girls to avoid adult female sexuality while simultaneously creating greater fluidity in perceptions of gender and sexuality,[132] and as rejecting ‚socially mandatedƒ gender roles as a ‚first step toward feminism.ƒ[133] In more elaborate theorizing, Kazuko Suzuki sees BL manga emerging from girls' contempt and dislike for masculine heterosexism and from an effort to define "ideal relationships" among men.[134] Mizoguchi, writing in 2003, feels that BL is a "female-gendered space", as the writers, readers, artists and most of the editors of BL are female.[135] BL has been compared to romance novels by English-speaking librarians.[37] [120] Parallels have also been noted in the popularity of lesbianism in pornography,[35] [41] and yaoi has been called a form of "female fetishism".[136] Mariko Šhara, a science fiction writer, has said that she wrote yaoi Kirk/Spock fiction as a teen because she could not enjoy "conventional pornography, which had been made for men", and that she had found a "limitless freedom" in yaoi, much like in science fiction.[137] Other commentators have suggested that more radical gender-political issues underlie BL. Shihomi Sakakibara (1998) argued that yaoi fans, including herself, were homosexually oriented female-to-male transsexuals. [138] For Sandra Buckley, bish€nen narratives champion ‚the imagined potentialities of alternative [gender] differentiations"[139] and James Welker described the bish€nen character as "queer", observing that manga critic Akiko Mizoguchi saw sh€nen-ai as playing a role in how she herself had become a lesbian. [140] Dru Pagliassotti sees this and the yaoi rons€ as indicating that for Japanese gay and lesbian readers, BL is not as far removed from reality as heterosexual female readers like to claim. [7] Welker added that sh€nen-ai liberates readers "not just from patriarchy, but from gender dualism and heteronormativity." [140] Some gay and lesbian commentators have criticized how gay identity is portrayed in BL, most notably in the yaoi rons€ or "yaoi debate" of 1992 €1997.[4] [] In May 1992, gay activist Masaki Sat€ criticized yaoi fans and artists in an open letter to the feminist zine (or minikomi in Japanese) Choisir.[4] [] Sat€ said that yaoi failed to provide accurate information about gay men, promoted a destructive image of gay men as wealthy, handsome, and well-educated, ignored prejudice and discrimination against gay men in society, and co-opted gay men as masturbation fantasies.[] An extensive debate ensued, with yaoi fans and artists arguing that yaoi is entertainment for women, not education for gay men, and that yaoi characters are not meant to represent "real gay men." [] As internet resources for gay men developed in the 1990s, the yaoi debate waned [141] but has had later echoes, for example when Mizoguchi in 2003 characterised stereotypes in modern BL as being "unrealistic and homophobic". [142] There has been similar criticism to the Japanese yaoi debate in the English-speaking fandom. [6] [143] [144] [145] In 1993 and 2004, Matt Thorn pointed to the complexity of these phenomena, and suggested that yaoi and slash fiction fans are discontented with ‚the

Yaoi

165 standards of femininity to which they are expected to adhere and a social environment that does not validate or sympathize with that discontent.ƒ[11] [146] As women have greater economic power, commercial demand for the sexualization of men may correlate. Korean manhwa writer Jin Seok Jeon wrote in a commentary to Vol. 5, Chp 2 of an Arabian Nights themed sh€nen-ai work, A Night of a Thousand Dreams, "Men are now marketable. It's also a time where women are big consumers and can buy almost anything they desire. Some men think this is degrading...but the tables have turned, and I like the fact that men are just as commercialized now." He jokes that after researching oil wrestling, which requires extreme physical fitness, he does not feel as marketable, illustrating that yaoi and other pornography exploiting men is subject to traditional criticisms, such as sexual objectification, creating unrealistic expectations and negative body images. In China, BL became very popular in the late 1990s, attracting media attention, which became negative, focusing on the challenge it posed to "heterosexual hegemony". Publishing and distributing BL is illegal in mainland China. [147] Zanghellini notes that due to the "characteristics of the yaoi/BL genre" of showing characters who are often underage engaging in romantic and sexual situations, child pornography laws in Australia and Canada "may lend themselves to targeting yaoi/BL work". He notes that in the UK, cartoons are exempt from child pornography laws unless they are used for child grooming.[5] In 2001, a controversy erupted in Thailand regarding homosexual male comics. Television reports labeled the comics as negative influences, while a newspaper falsely stated that most of the comics were not copyrighted as the publishers feared arrest for posting the content; in reality most of the titles were likely illegally published without permission from the srcinal Japanese publishers. The sh€nen ai comics provided profits for the comic shops, which sold between 30 to 50 such comics per day. The moral panic regarding the male homosexual comics subsided. The Thai girls felt too embarrassed to read heterosexual stories, so they read homosexual male-themed josei and sh€jo stories, which they saw as "unthreatening." [148] Youka Nitta has said that "even in Japan, reading boys' love isn't something that parents encourage" and encouraged any parents who had concerns about her works to read them. [149] Although in Japan, concern about manga has been mostly directed to sh€nen manga, in 2006, an email campaign was launched against the availability of BL manga in Sakai City's public library. In August 2008, the library decided to stop buying more BL, and to keep its existing BL in a collection restricted to adult readers. That November, the library was contacted by people who protested against the removal, regarding it as "a form of sexual discrimination". The Japanese media ran stories on how much BL was in public libraries, and emphasised that this sexual material had been loaned out to minors. Debate ensued on Mixi, a Japanese social networking site, and eventually the library returned its BL to the public collection. Mark McLelland suggests that BL may become "a major battlefront for proponents and detractors of 'gender free' policies in employment, education and elsewhere."[150]

Notes [1] In careful Japanese enunciation, all three vowels are pronounced separately, for a three-mora word, Japanese pronunciation: [ja.o.i]. The English equivalent is yah-oy. [2] Wilson, Brent; Toku, Masami. "Boys' Love," Yaoi, and Art Education: Issues of Power and Pedagogy (http:// www.csuchico.edu/~mtoku/ vc/Articles/toku/Wil_Toku_BoysLove.html) 2003 [3] Noh, Sueen (2002). "Reading YAOI Comics: An Analysis of Korean Girls' Fandom" (http://moongsil.com/study/yaoi_eng.pdf) (PDF). . [4] Lunsing, Wim. Yaoi Rons€: Discussing Depictions of Male Homosexuality in Japanese Girls' Comics, Gay Comics and Gay Pornography (http:// intersections.anu.edu.au/issue12/lunsing.html) Intersections: Gender, History and Culture in the Asian Context Issue 12, January 2006 Accessed 12 August 2008. [5] Zanghellini, Aleardo (2009). "Underage Sex and Romance in Japanese Homoerotic Manga and Anime". Social & Legal Studies 18 (2): 159€177. doi:10.1177/0964663909103623. [6] Masaki, Lyle. (6 January 2008) ‚Yowie!ƒ: The Stateside appeal of boy-meets-boy YAOI comics (http:/ / www.afterelton.com/Print/2008/1/ yaoi?) AfterElton.com [7] Kotani Mari, foreword to Sait€ Tamaki (2007) "Otaku Sexuality" in Christopher Bolton, Istvan Csicsery-Ronay Jr., and Takayuki Tatsumi ed., page 223 Robot Ghosts and Wired Dreams (http:/ / www.upress.umn.edu/Books/B/bolton_robot.html) University of Minnesota Press ISBN 978-0-8166-4974-7

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166 [8] McHarry, Mark (November 2003). "Yaoi: Redrawing Male Love" (http:// classic-web.archive.org/web/20080417001927/http:// www. guidemag.com/temp/yaoi/a/mcharry_yaoi.html). The Guide. . [9] Ingulsrud, John E.; Allen, Kate (2009). Reading Japan Cool: Patterns of Manga Literacy and Discourse. Rowman & Littlefield. p. 47. ISBN 0739127535. [10] Suzuki, Kazuko. 1999. "Pornography or Therapy? Japanese Girls Creating the Yaoi Phenomenon". In Sherrie Inness, ed., Millennium Girls: Today's Girls Around the World . London: Rowman & Littlefield, p.252 ISBN 0-8476-9136-5, ISBN 0-8476-9137-3. [11] Thorn, Matthew. (2004) ‚Girls And Women Getting Out Of Hand: The Pleasure And Politics Of Japan's Amateur Comics Community.ƒ (http:// matt-thorn.com/shoujo_manga/outofhand/index.php) pp. 169€186, In Fanning the Flames: Fans and Consumer Culture in Contemporary Japan, William W. Kelly, ed., State University of New York Press. ISBN 0-7914-6032-0. Retrieved 12 August 2008. [12] Kinsella, Sharon Japanese Subculture in the 1990s: Otaku and the Amateur Manga Movement (http:// www.jstor.org/pss/133236) Journal of Japanese Studies, Vol. 24, No. 2 (Summer, 1998), pp. 289€316 [13] Fujimoto, Yukari (1991) "Sh€jo manga ni okeru 'sh€nen ai' no imi" ("The Meaning of 'Boys' Love' in Sh€jo Manga"). In N. Mizuta, ed. New Feminism Review, Vol. 2: Onna to hy€gen ("Women and Expression"). Tokyo: Gakuy€ Shob€, ISBN 4-313-84042-7. http:/ / matt-thorn.com/ shoujo_manga/fujimoto.php (in Japanese). Accessed August 12, 2008. "¬め f[おÁ/[¹ .¹ ý Î " € "Stop, because my butt hurts" [14] "Definitions From Japan: BL, Yaoi, June" (htt p:/ / replay.web.archive.org/20090605111837/http:// www.aestheticism.com/visitors/ reference/ jpnse_def/index.htm). aestheticism.com. . [15] Tanbi was used for stories written for and about the worship of beauty, and romance between older men and beautiful youths using particularly flowery language and unusual kanji. Mori Mari in Koibito tachi no mori (f• .Í é ¡?, A Lovers' Forest) , considered "the first work of BL per se",Pagliassotti, Dru (November 2008) 'Reading Boys' Love in the West' (http:// www.participations.org/Volume 5/Issue 2/ 5_02_pagliassotti.htm) Particip@tions Volume 5, Issue 2 Special Edition used such unusual kanji for her characters' names that she converted to spelling their names in katakana.Vincent, Keith (2007) " A Japanese Electra and Her Queer Progeny (http:/ / www.upress.umn.edu/ Books/L/ lunning_mechademia2.html)" Mechademia 2 pp. 64€79 The word was srcinally used to describe an author's distinctive style, for example, the styles of Yukio Mishima and Jun'ichir€ Tanizaki. Akiko Mizoguchi describes its application to male-male stories as "misleading", but notes "it was the most commonly used term in the early 1990s."Mizoguchi Akiko (2003). "Male-Male Romance by and for Women in Japan: A History and the Subgenres of Yaoi Fictions". U.S.-Japan Women•s Journal, 25: 49-75. [16] "Digital Manga Names New Yaoi Imprint: A Tribute to Jean Genet" (http:// www.icv2.com/articles/news/8191.html). . [17] Aoyama, Tomoko (April 2009). "Eureka Discovers Culture Girls, Fujoshi, and BL: Essay Review of Three Issues of the Japanese Literary magazine, Yuriika (Eureka)" (http:// intersections.anu.edu.au/issue20/aoyama.htm). Intersections: Gender and Sexuality in Asia and the Pacific 20. . [18] "Tonari no 801 chan Fujoshi Manga Adapted for Sh€jo Mag" (http:// www.animenewsnetwork.com/news/2007-11-15/ tonari-no-801-chan-fujoshi-manga-adapted-for-shojo-mag). . [19] Jones, V.E. "He Loves Him, She Loves Them: Japanese comics about gay men are increasingly popular among women" (http://www. boston.com/ae/ books/articles/2005/04/25/he_loves_him_she_loves_them/). Boston.com. April 2005. [20] Thorn, Matt What Sh‰jo Manga Are and Are Not € A Quick Guide for the Confused (http:/ / www.matt-thorn.com/shoujo_manga/ whatisandisnt.php) [21] Strickland, Elizabeth. "Drawn Togeth er." (http:/ / www.villagevoice.com/2006-10-31/news/drawn-together/full) The Village Voice. November 2, 2006. [22] Cha, Kai-Ming (7 March 2005) Yaoi Manga: What Girls Like? (http:// www.publishersweekly.com/pw/print/20050307/ 29621-yaoi-manga-what-girls-like-.html) Publishers Weekly [23] Thompson, David (8 September 2003) Hello boys (http:/ / www.newstatesman.com/200309080034) New Statesman [24] First serialised in Sh€jo Comic in January 1976, Kaze has been called "the first commercially published boys' love story", but this claim has been challenged, as the first male-male kiss was in the 1970 In the Sunroom, also by Keiko Takemiya. Journalista € the news weblog of The Comics Journal Ä Blog Archive Ä Mar. 27, 2007: The first draft of history (some revisions may be necessary) (http:// archives.tcj.com/ journalista/?p=321).Tcj.com. Retrieved on 2008-12-23 Matt Thorn says that Kaze was "the first sh€jo manga to portray romantic and sexual relationships between boys", and that Takemiya first thought of Kaze nine years before it was approved for publication. Takemiya attributes the gap between the idea and its publication to the sexual elements of the story. [25] Toku, Masami (2007) " Shojo Manga! Girls „ Comics! A Mirror of Girls „ Dreams (http:/ / www.upress.umn.edu/Books/L/ lunning_mechademia2.html)" Mechademia 2 p. 27 [26] Matsui, Midori. (1993) "Little girls were little boys: Displaced Femininity in the representation of homosexuality in Japanese girls' comics," in Gunew, S. and Yeatman, A. (eds.) Feminism and The Politics of Difference, pp. 177€196. Halifax: Fernwood Publishing. [27] Aquila, Meredith (2007) " Ranma 1/2 Fan Fiction Writers: New Narrative Themes or the Same Old Story? (http:// www.upress.umn.edu/ Books/L/ lunning_mechademia2.html)" Mechademia 2 p.39 [28] McLelland, Mark (2000). Male homosexuality in modern Japan. Routledge. pp. 131 and ff. ISBN 070071300X. [29] Dirk Deppey. "A Comics Reader's Guide to Manga Scanlations" (http://archives.tcj.com/index.php?option=com_content&task=view& id=430&Itemid=70&limit=1&limitstart=0). The Comics Journal. . Retrieved 2007-07-11. [30] "WeeklyAkibaWords: Gachi Muchi ( Ùチ,チ)" (http:/ / en.akibablog.net/archives/2009/02/weeklyakibawords_gachi_muchi.html). WeeklyAkibaWords. 2009-02-27. . Retrieved 4/5/09. [31] Anderson, Tina (date unknown). "That Damn Bara Article!" (http:/ /ggymeta.wordpress.com/popular-gay-manga-posts/that-bara-article/ ). Guns, Guys & Yaoi. . Retrieved 4/5/09.

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167 [32] "GloBL and Gay Comics € Chicks On Anime" (http:/ /www.animenewsnetwork.com/chicks-on-anime/2008-11-25). Anime News Network. 2008-11-25. . Retrieved 2009-09-08. [33] "How To Find Bara In English" (http:/ / www.yaoi911.com/how-to-find-bara-in-english/). Yaoi 911. 2008-09-07. . Retrieved 2009-09-08. [34] Aoki, Deb (3 March 2007) Inte rview: Erica Friedman € Page 2 (http:/ / manga.about.com/od/mangaartistswriters/a/ EFriedman_2.htm) "Because the dynamic of the seme / uke is so well known, it's bound to show up in yuri. ... In general, I'm going to say no. There is much less obsession with pursued/pursuer in yuri manga than there is in yaoi." [35] McLelland, Mark. Why are Japanese Girls' Comics full of Boys Bonking? (http://blogs.arts.unimelb.edu.au/refractory/2006/12/04/ why-are-japanese-girlsÍÎÏ-comics-full-of-boys-bonking1-mark-mclelland/) Refractory: A Journal of Entertainment Media Vol.10, 2006/2007 [36] McLelland, Mark. " Male homosexuality and modern culture in modern Japan (http://intersections.anu.edu.au/issue3/mclelland2. html)." Intersections: Gender, History and Culture in the Asian Context Issue 3, January 2000 [37] Camper, Cathy (2006) Yaoi 101: Girls Love "Boys' Love." (http:// www.wcwonline.org/Women-s-Review-of-Books-May/June-2006/ Yaoi-101-Girls-Love-Boys-Love) [38] Suzuki, Kazuko. 1999. "Pornography or Therapy? Japanese Girls Creating the Yaoi Phenomenon". In Sherrie Inness, ed., Millennium Girls: Today's Girls Around the World . London: Rowman & Littlefield, p.253 ISBN 0-8476-9136-5, ISBN 0-8476-9137-3. [39] Keller, Katherine Seme and Uke? Make Me Puke (http:/ / www.sequentialtart.com/article.php?id=864) Sequential Tart February 2008 [40] http:/ /www.imageandnarrative.be/index.php/imagenarrative/article/viewFile/130/101 [41] Avila, K. "Boy's Love and Yaoi Revisited" (http:/ /www.sequentialtart.com/archive/jan05/art_0105_1.shtml). Sequential Tart. January 2005. [42] Lees, Sharon (June 2006). "Yaoi and Boys Love" (http:// www.akibaangels.com/articles/06_2006/yaoiandBL.php). Akiba Angels. [43] Linderstr‹m, Jenny Boys' Love: En studie av maskuliniteter och maktrelationer i yaoi manga (http:// sh.diva-portal.org/smash/record. jsf?pid=diva2:15266) [44] Nagaike Kazumi (2003). "Perverse Sexualities, Perverse Desires: Representations of Female Fantasies and Yaoi Manga as Pornography Directed at Women. U.S.-Japan Women•s Journal, 25: 76-103 [45] McLelland, Mark. The World of Yaoi: The Internet, Censorship and the Global ‚Boys„ Loveƒ Fandom (http:// ro.uow.edu.au/cgi/ viewcontent.cgi?article=1152&context=artspapers) Australian Feminist Law Journal, 2005. [46] Wood, Andrea. (Spring 2006). "Straight" Women, Queer Texts: Boy-Love Manga and the Rise of a Global Counterpublic. WSQ: Women's Studies Quarterly, 34 (1/2), pp. 394€414. [47] This character has been called an "Osoi uke" ( Å¹ ¿š , "attacking uke"). He is usually paired with a "Hetare seme" ( ŒタÀ ¾め, "wimpy seme"). [48] Manry, Gia. (16 April 2008) It's A Yaoi Thing: Boys Who Love Boys and the Women Who Love Them (http:/ / www.escapistmagazine. com/articles/view/issues/issue_145/4629-It-s-A-Yaoi-Thing) The Escapist [49] "fujyoshi.jp" (http:/ /fujyoshi.jp/fujyoshi_kouza0). . [50] Welker, James. 2006. "Beautiful, Borrowed, and Bent: 'Boys' Love' as Girls' Love in Sh‰jo Manga' Signs: Journal of Women in Culture and Society vol. 31, no. 3. page 842. doi:10.1086/498987 [51] Suzuki, Kazuko. 1999. "Pornography or Therapy? Japanese Girls Creating the Yaoi Phenomenon". In Sherrie Inness, ed., Millennium Girls: Today's Girls Around the World . London: Rowman & Littlefield, p.250 ISBN 0-8476-9136-5, ISBN 0-8476-9137-3. [52] Suzuki, Kazuko. 1999. "Pornography or Therapy? Japanese Girls Creating the Yaoi Phenomenon". In Sherrie Inness, ed., Millennium Girls: Today's Girls Around the World . London: Rowman & Littlefield, p.251 ISBN 0-8476-9136-5, ISBN 0-8476-9137-3. [53] Kimbergt, Sƒbastien (2008). "Ces mangas qui utilisent le yaoi pour doper leurs ventes". In Brient, Hervƒ (in French). Homosexualit‚ et manga: le yaoi. Manga: 10000 images. Editions H. pp. 113€115. ISBN 978-2-9531781-0-4. [54] Thorn, Matt. "Unlikely Explorers: Alternative Narratives of Love, Sex, Gender, and Friendship in Japanese "Girls'" Comics" (http://www. matt-thorn.com/shoujo_manga/sexual_ambiguity/index.html). . Retrieved 2007-12-05. [55] Suzuki, Kazuko. 1999. "Pornography or Therapy? Japanese Girls Creating the Yaoi Phenomenon". In Sherrie Inness, ed., Millennium Girls: Today's Girls Around the World . London: Rowman & Littlefield, p.260 ISBN 0-8476-9136-5, ISBN 0-8476-9137-3. [56] McLelland, Mark. (2006). "Manga" In GaÐtan Brulotte and John Phillips (eds.). Encyclopedia of Erotic Literature. New York: Routledge, pp. 849€851. [57] Granick, Jennifer (16 August 2006) Harry Potter Loves Malfoy (http:// www.wired.com/politics/law/ commentary/circuitcourt/2006/08/ 71597?currentPage=all) Wired.com [58] Kingdom Hearts (http:/ / replay.web.archive.org/20090112160819/http://www.aestheticism.com/visitors/gaming/kingdom_hearts/ index.htm) aestheticism.com [59] "Heavy Hero or Digital Dummy? Multimodal Player€Avatar Relations in Final Fantasy 7" (http:/ / vcj.sagepub.com/content/3/2/213. abstract). . [60] Galbraith, Patrick W. (31 October 2009) Moe: Exploring Virtual Potential in Post-Millennial Japan (http:// www.japanesestudies.org.uk/ articles/2009/Galbraith.html) [61] http:/ /educa.lit.osaka-cu.ac.jp/~ggp/nakami/2008/Comparative%20Studies%20on%20Urban%20Cultures02.pdf#page=33 [62] Lees, Sharon (July 2006). "Be Beautiful: Yaoi Publishers Interviews Part 3" (http:/ / www.akibaangels.com/articles/07_2006/bebeautiful. php). Akiba Angels. [63] O„Connell, M. 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168 [64] Toku, Masami (6 June 2002) Interview with Mr. Sagawa (http:// www.csuchico.edu/~mtoku/vc/interviews_full/Interview wi_ Sagawa. html) [65] Pagliassotti, Dru (2 June 2008) Yaoi Timeline: Spread Through U.S. (http://classic-web.archive.org/web/20080624064813/http:// ashenwings.com/marks/2008/06/02/yaoi-timeline-spread-through-us/) [66] "The Growth of Yaoi" (http:/ /sequentialtart.com/article.php?id=408). . Retrieved 2007-07-13. [67] Arrant, Chris (June 2006). Home-Grown Boys' Love from Yaoi Press (http:/ /www.publishersweekly.com/article/CA6341172.html). . [68] Abraham, Yamila (April 2007). "Publisher Yaoi Press 'Global Yaoi' Amazon Listings" (http:// www.amazon.com/Yaoi-Press-Global/lm/ R1JLG7ZSK38CGK). . [69] "Links to Yaoi-Con coverage" (http:/ / www.icaruscomics.com/wp_web/?p=938). October 2007. . [70] "German Publisher Licenses Global BL Titles" (http:// comipress.com/news/2008/04/18/3508). April 2008. . [71] "GloBL Previews and Other Stuff" (http:/ / ggymeta.wordpress.com/2007/09/17/globl-previews-and-other-stuff/). September 2007. . [72] "Yaoi Press Moves Stores and Opens Doors" (http:/ / www.animenewsnetwork.com/press-release/2007-01-08/ yaoi-press-moves-stores-and-opens-doors). . Retrieved 2007-07-13. [73] "DramaQueen Announces New Yaoi & Manhwa Titles" (http:// www.animenewsnetwork.com/press-release/2006-08-07/ dramaqueen-announces-new-yaoi-and-manhwa-titles). . Retrieved 2007-07-13. [74] "RUSH Seeks New Home" (http:/ /www.kuri-ousity.com/2008/08/rush-seeks-new-home/). . Retrieved 2008-08-05. [75] "RUSH Looking for a New Publish er" (http:/ / www.mangablog.net/?p=1766). . Retrieved 2008-08-07. [76] "Random News Bits" (http:/ / discarnate.com/boysnextdoor/blog/?p=65). . Retrieved 2008-12-09. [77] "DramaQueen returns from near death stat e" (http:/ / robot6.comicbookresources.com/2010/04/ dramaqueen-returns-from-near-death-state/). . Retrieved 2010-02-04. [78] "Publisher announcement on forum" (http:/ / www.onedramaqueen.com/forum/viewtopic.php?f=14&t=31). . Retrieved 2010-08-04. [79] "A Year of Yaoi At Iris Print" (http:/ /www.publishersweekly.com/pw/by-topic/new-titles/adult-announcements/article/ 1634-a-year-of-yaoi-at-iris-print-.html). . Retrieved 2007-03-13. [80] "Iris Print Wilts" (http:/ / www.icv2.com/articles/news/12751.html). ICv2. 2008-06-17. . Retrieved 2008-07-14. [81] "Amazon listings" (http:/ / www.amazon.com/s/ref=nb_ss_gw?url=search-alias=aps&field-keywords=yayoi+neko). . Retrieved July 2009. [82] "Amazon listings" (http:/ / www.amazon.com/s/ref=nb_sb_noss?url=search-alias=stripbooks&field-keywords=Dany+&+Dany+yaoi& x=0&y=0). . Retrieved May 2010. [83] "Active Anime Interviews Famous Italian Manga-Ka Duo Dany&Dany | Manga, Very, Were, Yaoi, Have" (http:// www.activeanime.com/ html/content/view/3727/36/). activeanime.com. 2008-08-17. . Retrieved 2009-09-08. [84] "Amazon Listings" (http:/ / www.amazon.com/Tina-Anderson/e/B002BML3ZG). . Retrieved May 2010. [85] "Amazon Listings" (http:/ / www.amazon.com/s/ref=ntt_athr_dp_sr_1?_encoding=UTF8&sort=relevancerank&search-alias=books& field-author=KOSEN). . Retrieved May 2010. [86] Malone, Paul M. (April 20 09). "Home-grown Sh€jo Mangaand the Rise of Boys' Love among Germany's 'Forty-Niners'" (http:/ / intersections.anu.edu.au/issue20/malone.htm). Intersections: Gender and Sexuality in Asia and the Pacific 20. . [87] "Anne Delseit, Martina Peters" (http:/ / www.carlsen.de/web/manga/buecher_von?aid=158478). . Retrieved July 2009. [88] "The Wildside Verlag Blog" (http:/ / wildsideverlag.wordpress.com/). . Retrieved July 2009. [89] "Fireangels.net Site" (http:/ /fireangels.net/). . Retrieved July 2009. [90] Mizoguchi, Akiko (September 2010). "Theorizing comics/manga genre as a productive forum: yaoi and beyond" (http:// imrc.jp/2010/09/ 26/20100924Comics Worlds and the World of Comics.pdf). In Berndt, Jaqueline. Comics Worlds and the World of Comics: Towards Scholarship on a Global Scale. Kyoto, Japan: International Manga Research Center, Kyoto Seika University. pp. 145€170. ISBN 978-4-905187-01-1. . Retrieved 29 October 2010. [91] Schodt, Frederik L. (1996) Dreamland Japan: Writings on Modern Manga pages 120€123 [92] Nagaike, Kazumi (April 2009). "Elegant Caucasians, Amorous Arabs, and Invisible Others: Signs and Images of Foreigners in Japanese BL Manga" (http:/ /intersections.anu.edu.au/issue20/nagaike.htm). Intersections: Gender and Sexuality in Asia and the Pacific (Australian National University) (20). . [93] "June.net" (http:/ / www.june-net.com/). . [94] Welker, James (2008). "Lilies of the Margin: Beautiful Boys and Queer Female Identities in Japan". In Fran Martin, Peter Jackson, Audrey Yue. AsiaPacifQueer: Rethinking Genders and Sexualities. University of Illinois Press. pp. 46 €66. ISBN 9780252075070. [95] "Biblos Bankrupt" (http:/ /www.animenewsnetwork.com/news/2006-04-05/biblos-bankrupt). . [96] Cha, Kai-Ming and Reid, Calvin (29 March 2006) Japanese Publisher Claims CPM Infringes (http:// classic-web.archive.org/web/ 20071218111942/http:// publishersweekly.com/article/ CA6428918.html) Publishers Weekly [97] http:/ /www.animenewsnetwork.com/news/2010-10-14/yano-research-reports-on-japan-2009-10-otaku-market [98] Thompson, Jason (2007). Manga: The Complete Guide. Del Rey. p. 417. ISBN 0345485904. [99] ICv2 € Viz Builds Strong Shojo Slate (http:/ / www.icv2.com/articles/news/685.html) [100] Perper, Timothy and Cornog, Martha (March 2002) Eroticism for the masses: Japanese manga comics and their assimilation into the U.S. (http:// www.springerlink.com/content/30p8x1878nbjlrax/) Sexuality & Culture, 6 (1) pp. 3€126 [101] Cha, Kai-Ming (13 March 2007) Media Blasters Drops Shonen; Adds Yaoi (http:// www.publishersweekly.com/pw/by-topic/new-titles/ adult-announcements/article/1918-media-blasters-drops-shonen-adds-yaoi-.html) Publishers Weekly

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169 [102] BE-BOY (http:/ / classic-web.archive.org/web/20080714224359/http:// www.libre-pub.co.jp/info17.html).Libre-pub.co.jp. Retrieved on 2008-12-23 [103] CPM Speaks on Manga License Dispute with Libre € Anime News Network (http:// www.animenewsnetwork.com/news/2007-12-09/ cpm-speaks-on-manga-license-dispute-with-libre).Animenewsnetwork.com. Retrieved on 2008-12-23 [104] Cha, Kai-Ming (10 August 2008) Brokeback comics craze (http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/ 2008/08/08/ RVR110R7D9.DTL&type=books) San Francisco Chronicle [105] McLelland, Mark; Yoo, Seunghyun (March 2007). "The International Yaoi Boys' Love Fandom and the Regulation of Virtual Child Pornography: The Implications of Current Legislation" (http:/ / ro.uow.edu.au/artspapers/192/). Sexuality Research and Social Policy: Journal of NSRC, Vol. 4, No. 1, pages 93€104. doi:10.1525/srsp.2007.4.1.93. [106] Publisher Libre Confirms Notices to Manga Scan Groups € Anime News Network (http:/ /www.animenewsnetwork.com/news/ 2010-09-25/publisher-libre-confirms-notices-to-manga-scan-groups) [107] http:/ / www.animenewsnetwork.com/news/2011-10-22/viz-launches-sublime-boys-love-manga-line-with-love-pistols [108] Balistrieri, Emily. "SuBLime: Everything We Know About VIZ's New Boys' Love Line" (http:// www.crunchyroll.com/anime-feature/ 2011/10/22/sublime-everything-we-know-about-vizs-new-boys-love-line). Crunchyroll. . Retrieved 24 October 2011. [109] Shamoon, Deborah (July 2004) ‚Office Sluts and Rebel Flowers: The Pleasures of Japanese Pornographic Comics for Womenƒ in Linda Williams ed. Porn Studies. Duke University Press p.85 [110] Lee, Tammy (May 200 1) Tantalizing Translations € M.J. Johnson (http:/ / www.sequentialtart.com/archive/may02/johnson.shtml) Sequential Tart [111] Valenti, Kristy L. (200 5). "'Stop, My Butt Hurts !' € The Yaoi Invasion" (http:// archives.tcj.com/269/e_yaoi.html). The Comics Journal, issue 269. [112] Fletcher, Dani (May 2002). Guys on Guys for Girls € Yaoi and Shounen Ai (http:/ /www.sequentialtart.com/archive/may02/ ao_0502_1.shtml). Sequential Tart. [113] Suzuki, Kazuko. 1999. "Pornography or Therapy? Japanese Girls Creating the Yaoi Phenomenon". In Sherrie Inness, ed., Millennium Girls: Today's Girls Around the World. London: Rowman & Littlefield, pp. 259€260 ISBN 0-8476-9136-5, ISBN 0-8476-9137-3. [114] Sait€ Tamaki (2007) "Otaku Sexuality" in Christopher Bolton, Istvan Csicsery-Ronay Jr., and Takayuki Tatsumi ed., page 231 Robot Ghosts and Wired Dreams (http:// www.upress.umn.edu/Books/B/bolton_robot.html) University of Minnesota Press ISBN 978-0-8166-4974-7 [115] Drazen, Patrick (October 2002). '"A Very Pure Thing": Gay and Pseudo-Gay Themes' in Anime Explosion! The What, Why & Wow of Japanese Animation Berkeley, California: Stone Bridge Press p.95 ISBN 1-880656-72-8. "The five pilots of Gundam Wing(1995) have female counterparts, yet a lot of fan sites are produced as if these girls never existed." [116] Mayerson, Ginger (1 April 2007). "Ichigenme Volume 1" (http:// www.sequentialtart.com/reports.php?ID=5222&issue=2007-04-01). The Report Card. Sequential Tart. . Retrieved 2009-04-05. [117] Anderson, Tina (date unknown). "That Damn Bara Article!" (http:// ggymeta.wordpress.com/popular-gay-manga-posts/that-bara-article/ ). Guns, Guys & Yaoi. . Retrieved 11 May 2011. [118] Simona (2009-05-13). "Simona's BL Research Lab: Reibun Ike, Hyogo Kijima, Inaki Matsumoto" (http:// www.akibanana.com/ ?q=node/1670). Akibanana. . Retrieved 2009-08-29. [119] Shamoon, Deborah (July 2004) ‚Office Sluts and Rebel Flowers: The Pleasures of Japanese Pornographic Comics for Womenƒ in Linda Williams ed. Porn Studies. Duke University Press p. 86 [120] Brenner, Robyn Romance by Any Other Name (http:/ / www.libraryjournal.com/article/CA6477427.html) [121] McHarry, Mark. (2006) "Yaoi" in GaÐtan Brulotte and John Phillips (eds.). Encyclopedia of Erotic Literature. New York: Routledge, pp. 1445€1447. [122] de Bats, Hadrien (2008). "Entretien avec Hisako Miyoshi". In Brient, Hervƒ (in French). Homosexualit‚ et manga: le yaoi. Manga: 10000 images. Editions H. pp. 17€19. ISBN 978-2-9531781-0-4. [123] Yaoi Love: An Interview with Makoto Tateno | Graphic Novel Reporter (http://graphicnovelreporter.com/content/ yaoi-love-interview-makoto-tateno-interview) [124] Shamoon, Deborah (July 2004) ‚Office Sluts and Rebel Flowers: The Pleasures of Japanese Pornographic Comics for Womenƒ in Linda Williams ed. Porn Studies. Duke University Press p.97 [125] Buckley, Sandra (1991) "'Penguin in Bondage': A Graphic Tale of Japanese Comic Books", p. 175, In Technoculture. C. Penley and A. Ross, eds. Minneapolis: University of Minnesota ISBN 0-8166-1932-8 [126] Suzuki, Kazuko. 1999. "Pornography or Therapy? Japanese Girls Creating the Yaoi Phenomenon". In Sherrie Inness, ed., Millennium Girls: Today's Girls Around the World. London: Rowman & Littlefield, pp. 257€258 ISBN 0-8476-9136-5, ISBN 0-8476-9137-3. [127] http:/ / www.mania.com/under-grand-hotel-vol-01_article_123833.html [128] Gravett, Paul (2004) Manga: 60 Years of Japanese Comics (Harper Design ISBN 1-85669-391-0) pages 80 €81 [129] McLelland, Mark (2000) "The love between 'beautiful boys' in women's comics" page 69 Male Homosexuality in Modern Japan: Cultural Myths and Social Realities Richmond, Surrey: Curzon Press ISBN 0-7007-1425-1 [130] Schodt, Frederik L. (1983) Manga! Manga! The World of Japanese Comics. pages 100€101 Tokyo and New York: Kodansha International. ISBN 0-87011-752-1 [131] Ueno, Chizuko (1989) "Jendaaresu waarudo no no jikken" ("Experimenting with in a Genderless World"). In Kikan Toshi II ("Quarterly City II"), Tokyo: Kawade Shob€ Shinsha, ISBN 4-309-90222-7. Cited and translated in Thorn, 2004.

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170 [132] Fujimoto, Yukari (1991) "Sh€jo manga ni okeru 'sh€nen ai' no imi" ("The Meaning of 'Boys' Love' in Sh€jo Manga"). In N. Mizuta, ed. New Feminism Review, Vol. 2: Onna to hy€gen ("Women and Expression"). Tokyo: Gakuy€ Shob€, ISBN 4-313-84042-7. http:/ / matt-thorn. com/shoujo_manga/fujimoto.php (in Japanese). Accessed August 12, 2008. [133] Takemiya, Keiko. (1993) "Josei wa gei ga suki!?" (Women Like Gays!?) Bungei shunj…, June, pp. 82 €83. [134] Suzuki, Kazuko. (1999) "Pornography or Therapy? Japanese Girls Creating the Yaoi Phenomenon". In Sherrie Inness, ed., Millennium Girls: Today's Girls Around the World. London: Rowman & Littlefield, p.246 ISBN 0-8476-9136-5, ISBN 0-8476-9137-3. [135] http:/ / ro.uow.edu.au/cgi/viewcontent.cgi?article=1229&context=artspapers [136] Hashimoto, Miyuki Visual Kei Otaku Iden tity •An Intercultural Analysis (http:/ / www.uri.edu/iaics/content/2007v16n1/10 Miyuki Hashimoto.pdf) Intercultural Communication Studies XVI: 1 2007 pp. 87€99 [137] McCaffery, Larry; Gregory, Sinda; Kotani, Mari; Takayuki, Tatsumi (n.d.) The Twister of Imagination: An Interview with Mariko Ohara (http:// web.archive.org/web/20080209112923/http:// www.centerforbookculture.org/review/02_2_inter/interview_Ohara.html) [138] Sakakibara, Shihomi (1998) Yaoi genron: yaoi kara mieta mono (An Elusive Theory of Yaoi: The view from Yaoi). Tokyo: Natsume Shobo, ISBN 4-931391-42-7. [139] Buckley, Sandra (1991) "'Penguin in Bondage': A Graphic Tale of Japanese Comic Books", pp. 163€196, In Technoculture. C. Penley and A. Ross, eds. Minneapolis: University of Minnesota ISBN 0-8166-1932-8 [140] Welker, James. 2006. "Beautiful, Borrowed, and Bent: 'Boys' Love' as Girls' Love in Sh‰jo Manga' Signs: Journal of Women in Culture and Society vol. 31, no. 3. page 843. doi:10.1086/498987 [141] Blackarmor (February 19, 2008) "A Follow-Up To the Yaoi Debate" http:// blackarmor.exblog.jp/7508722/(In Japanese.) Accessed August 14, 2008. [142] Mizoguchi, Akiko. (2003) "Homophobic Homos, Rapes of Love, and Queer Lesbians: Yaoi as a Conflicting Site of Homo/ Hetero-Sexual Female Sexual Fantasy". Session 187, Association for Asian Studies Annual Meeting, New York, March 27€30, 2003. http:// www.aasianst. org/absts/2003abst/Japan/sessions.htm Accessed August 12, 2008. [143] Butcher, Christopher (18 August 2006). A Few Comments About The Gay/Yaoi Divide € Strong enough for a man, but made for a woman... (http:/ /comics212.net/older/2006_08_01_archive.shtml) [144] Johnson, M.J. (May 2002). "A Brief History of Yaoi" (http:// www.sequentialtart.com/archive/may02/ao_0502_4.shtml). Sequential Tart. [145] McHarry, Mark. "Identity Unmoored: Yaoi in the West". In Thomas Peele, ed., Queer Popular Culture: Literature, Media, Film, and Television. New York: Palgrave Macmillan, 2007. ISBN 1-4039-7490-X. pp. 187€188. [146] Thorn, Matt. (1993) "Unlikely Explorers: Alternative Narratives of Love, Sex, Gender, and Friendship in Japanese Girls' Comics." New York Conference on Asian Studies, New Paltz, New York, October 16, 1993. [147] "Intersections: Conflicting Discourses on Boys' Love and Subcultural Tactics in Mainland China and Hong Kong" (http://intersections. anu.edu.au/issue20/liu.htm). Intersections.anu.edu.au. . Retrieved 2009-09-08. [148] Pilcher, Tim and Brad Brooks. The Essential Guide to World Comics. Collins & Brown. 2005. 124-125. [149] Embracing Youka Nitta € 5/9/2006 € Publishers Weekly (http:/ /replay.web.archive.org/20080918083027/http:// www. publishersweekly.com/article/CA6332853.html) [150] "Intersections: (A)cute Confusion: The Unpredictable Journey of Japanese Popular Culture" (http:// intersections.anu.edu.au/issue20/ mclelland.htm). Intersections.anu.edu.au. . Retrieved 2009-09-08.

References Further reading • Aoyama, Tomoko (1988) "Male homosexuality as treated by Japanese women writers" in The Japanese Trajectory: Modernization and Beyond, Gavan McCormack, Yoshio Sugimoto eds. Cambridge University Press, ISBN 0-521-34515-4. • Brienza, Casey (6 February 2004). "An Introduction to Korean Manhwa" (http:/ /caseybrienza.com/ BRIENZA_MANHWA.pdf) Aestheticism.com • Butcher, Christopher (11 December 2007). "Queer love manga style" (http:/ /www.xtra.ca/public/viewstory. aspx?AFF_TYPE=3&STORY_ID=4057&PUB_TEMPLATE_ID=1). Xtra!. • Camper, Cathy (2006). "Boys, Boys, Boys: Kazuma Kodaka Interview". Giant Robot (42): 60€63. ISSN 1534-9845. • Cooper, Lisa "Laugh it up" Newtype USA, October 2007 (Volume 6 Number 10) • Fujimoto Yukari (2004). "Transgender: Female Hermaphrodites and Male Androgynes". U.S.-Japan Women•s Journal (http://www.josai.jp/jicpas/usjwj/) 27: 76.

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171 • Galbraith, Patrick W. (2011). "Fujoshi: Fantasy Play and Transgressive Intimacy among "Rotten Girls" in Contemporary Japan". Signs 37 (1): 211€232. doi:10.1086/660182. • van de Goor, Sophie (2010) Slashing Japan: the self-depathology of the female fan (http:/ /www.mos.umu.se/ forskning/ cyberekon/symposiumabstracts. htm) • Haggerty, George E. (2000). Encyclopedia of Gay Histories and Cultures. Taylor & Francis. ISBN 978-0-8153-1880-4. • Kakinuma Eiko, Kurihara Chiyo et al. (eds.), Tanbi-Shosetsu, Gay-Bungaku Book Guide, 1993. ISBN 4-89367-323-8 • KUCI Subversities 18 October 2010 (http:/ /www.kuci.org/podcastfiles/600/Sv101018.mp3) • Lees, Sharon (July 2006). "Be Beautiful: Yaoi Publishers Interviews Part 3" (http:/ /www.akibaangels.com/ articles/07_2006/bebeautiful.php). Akiba Angels. • Levi, Antonia (1996) Samurai from Outer Space: Understanding Japanese Animation • Levi, Antonia; McHarry, Mark; Pagliassotti, Dru, eds (2010). Boys' Love Manga: Essays on the Sexual Ambiguity and Cross-Cultural Fandom of the Genre . McFarland & Company. ISBN 9780786441952 • Lewis, Marilyn Jaye (editor), Zowie! It's Yaoi!: Western Girls Write Hot Stories of Boys' Love. Philadelphia: Running Press, 2006. ISBN 1-56025-910-8. • Mautner, Chris (2007) " Introduction to yaoi, part 1 (http:/ /panelsandpixels.blogspot.com/2007/03/ introduction-to-yaoi-part-1.html)" • McCarthy, Helen, Jonathan Clements The Erotic Anime Movie Guide pub Titan (London) 1998 ISBN 1852869461 • McHarry, Mark (2011). "Girls Doing Boys Doing Boys: Boys' Love, Masculinity and Sexual Identities." In Perper, Timothy and Martha Cornog (Eds.) Mangatopia: Essays on Anime and Manga in the Modern World. New York: ABC-Clio. ISBN 9781591589082 • McLelland, Mark (2011). "Austr alia's 'Child-Abuse Materials' legislation, internet regulation and the juridification • • • • • • • • • • •

•

of the imagination". International of Cultural Studies Nishimura Mari (2001) Aniparo toJournal Yaoi Ohta Publishing ISBN. doi:10.1177/1367877911421082. 978-4-87233-643-6 Newtype USA, August 2007 (Volume 6 Number 8) "Why we like it" Newtype USA, November 2007 (Vol. 6 No. 11) "Favorite authors" p. 109 Ogi, Fusami (Autumn 2001) "Beyond Shoujo, Blending Gender: Subverting the Homogendered World in Shoujo Manga (Japanese Comics for Girls)." International Journal of Comic Art 3 (2): 151-161. Pilcher, Tim; Moore, Alan; Kannenberg, Gene Jr. (2009). Erotic Comics 2: A Graphic History from the Liberated '70s to the Internet. Abrams ComicArts. ISBN 9780810972773. PiQ, June 2008 (Volume 1 Number 3) PiQ, July 2008 (Volume 1 Number 4) Saito, Kumiko (2011) "Desire in Subtext: Gender, Fandom, and Women „s Male-Male Homoerotic Parodies in Contemporary Japan" in Mechademia 6. Salek, Rebecca (June 2005) More Than Just Mommy and Dadd y: "Nontraditional" Families in Comics (http:/ / www.sequentialtart.com/archive/june05/allaccess_0605.shtml) Sequential Tart Solomon, Charles (30 June 2004) Young men in love (http:/ /articles.latimes.com/2004/jun/30/entertainment/ et-solomon30) Los Angeles Times Thompson, Jason (31 July 2006) Boku no Shonen Ai (or "Jason overanalyzes something and takes all the fun out of it") (http:/ /khyungbird.livejournal.com/12890.html) livejournal.com archive (http://web.archive.org/ web/20110713220702/http://khyungbird.livejournal.com/12890.html) Welker, James. (2011) "Flower Tribes and Female Desire: Complicating Early Female Consumption of Male Homosexuality in Sh‰jo Manga" in Mechademia 6.

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Yuri also known by the wasei-eigo construction Girls' Love (Ù„ † Fö + g•ruzu rabu),[1] is a Japanese jargon term for content and a genre involving love between women in manga, anime, and related Japanese media. [2] [3] Yuri can focus either on the sexual, the spiritual, or the emotional aspects of the relationship, the latter two sometimes being called sh€jo-ai by western fans.[4] The themes yuri deals with have their roots in the Japanese lesbian literature of early twentieth century, [5] [6] with pieces such as Yaneura no Nishojo by Nobuko Yoshiya.[7] Nevertheless, it is not until the 1970s that lesbian-themed works began to appear in manga, by the hand of artists such as Ryoko Yamagishi and Riyoko Ikeda. [] The 1990s Yuri (¤ Æ),

brought new trends in manga and anime, as well as in d€jinshi productions, along with more acceptance for this kind of content.[8] In 2003 the first manga magazine specifically dedicated to yuri was launched under the name Yuri Shimai, followed by its revival Comic Yuri Hime, launched after the former was discontinued in 2004. [9] [10] Although yuri srcinated in female-targeted (sh€jo, josei) works, today it is featured in male-targeted (sh€nen, seinen) ones as well.[6] Yuri manga from male-targeted magazines include titles such as Kannazuki no Miko and Strawberry Panic!, as well as those from Comic Yuri Hime's male-targeted sister magazine, Comic Yuri Hime S, which was launched in 2007.[11]

Definition and semantic drift Etymology The word yuri (¤ Æ) literally means "lily", and is a relatively common Japanese feminine name.[2] In 1976, It€ Bungaku, editor of Barazoku (薔薇¬, lit. rose tribe), a magazine geared primarily towards gay men, first used the term yurizoku (¤ Æ¬, lit. lily tribe) in reference to female readers in the title of a column of letters called Yurizoku

no heya (¤ Æ¬é #;, lit. lily tribe's room).[12] It is unclear whether this was the first instance of this usage of the term. Not all women whose letters appeared in this short-lived column were necessarily lesbians, but some were and gradually an association developed. For example, the tanbi magazine Allan (³ö Ý Aran) began running a Yuri Ts…shin (¤ Æ4c?, "Lily Communication") personal ad column in July 1983 for "lesbiennes" to communicate.[13] Along the way, many d€jinshi circles incorporated the name "Yuri" or "Yuriko" into lesbian-themed hentai (pornographic) d€jinshi, and the "zoku" or "tribe" portion of this word was subsequently dropped. [4] Since then, the meaning has drifted from its mostly pornographic connotation to describe the portrayal of intimate love, sex, or the intimate emotional connections between women. [14]

Japanese vs. western usage As of 2009, the term yuri is used in Japan to mean the depiction of attraction between women (whether sexual, spiritual, or romantic; explicit or implied) in manga, anime, and related entertainment media, as well as the genre of stories primarily dealing with this content. [3] [14] The wasei-eigo construction "Girls Love" ( Ù„ † Fö + g•ruzu rabu), occasionally spelled "Girl's Love" or "Girls' Love", or abbreviated as "GL", is also used with this meaning. [1]

Yuri is generally a form of fanspeak amongst fans, but its usage by authors and publishers has increased since 2005.[1] [3] The term "Girls Love", on the other hand, is primarily used by the publishers. [14] [15]

[14]

In North America, yuri has initially been used to denote only the most explicit end of the spectrum, deemed primarily as a variety of hentai. [4] Following the pattern of sh€nen-ai, a term already in use in North America to describe content involving non-sexual relationships between men, western fans coined the term sh€jo-ai to describe yuri without explicit sex.[4] In Japan the term sh€jo-ai (~Æ W, lit. girl love) is not used with this meaning, [4] and instead tends to denote pedophilia (actual or perceived), with a similar meaning to the term lolicon (Lolita complex).[16] Still, the western use of yuri has broadened in the 2000s, picking up connotations from the Japanese

Yuri

173 use.[14] American publishing companies such as ALC Publishing and Seven Seas Entertainment have also adopted the Japanese usage of the term to classify their yuri manga publications.[17] [18]

Thematic history Among the first Japanese authors to produce works about love between women was Nobuko Yoshiya,[7] a novelist active in the Taish€ and Sh€wa periods of Japan.[19] Yoshiya pioneered in Japanese lesbian literature, including the early twentieth century Class S genre. [20] These kinds of stories depict lesbian attachments as emotionally intense yet platonic relationships, destined to be curtailed by graduation from school, marriage, or death. [19] The root of this genre is in part the contemporary understanding that same-sex love was a transitory and normal part of female [21]

development leading intoschoolgirls, heterosexuality andcrush motherhood. Class S stories particular tell [20] about strong emotional bonds between a mutual between an upperclassman and in an underclassman. Around the 1970s yuri began to appear in sh€jo manga, [] presenting some of the characteristics found in the lesbian literature of the early twentieth century. [5] This early yuri generally features an older looking, more sophisticated woman, and a younger, more awkward admirer. The two deal with some sort of unfortunate schism between their families, and when rumors of their lesbian relationship spread, they are received as a scandal. The outcome is a tragedy, with the more sophisticated girl somehow dying at the end.[5] In general, the yuri manga of this time could not avoid a tragic ending,[22] [23] Ryoko Yamagishi's Shiroi Heya no Futari, the first manga involving a lesbian relationship,[] being a prime example, as it was "prototypical" for many yuri stories of the 1970s and 1980s.[24] It is also in the 1970s that sh€jo manga began to deal with transsexualism and transvestism, [25] sometimes depicting female characters as manly looking, which was inspired by the women playing male roles in the Takarazuka Revue.[26] These traits are most prominent in Riyoko Ikeda's works, [27] including The Rose of Versailles, Oniisama e... and Claudine...!.[28] Some sh€nen works of this period feature lesbian characters too, but these are mostly depicted as fanservice and comic relief.[29] [8] [30]by Wakuni Some of these formulas began to weaken 1990s: manga storiesand suchstereotyped as Jukkai me no Jukkai Akisato, published in 1992, began to moveduring awaythe from the tragic outcomes dynamics. This stand side-by-side with d€jinshi works, which at the time were largely influenced by the immense popularity of Sailor Moon,[31] the first mainstream manga and anime series featuring a "positive" portrayal of an openly lesbian couple.[6] [27] Furthermore, many of the people behind this show went on to make Revolutionary Girl Utena, a sh€jo anime series where the main storyline focuses on a yuri relationship, which is widely regarded today as a masterpiece.[32] Male-targeted works such as the Devilman Lady anime series, based on a homonym seinen manga by Go Nagai, began to deal with lesbian themes in a more "mature manner" too. [33] The first magazines specifically targeted towards lesbians appeared around this period, containing sections featuring yuri manga.[34] These stories range from high school crush to lesbian life and love, featuring different degrees of sexual content. [34] [35] It is at this point (the mid 1990s) that lesbian-themed works began to be acceptable. [27]

The later 1990s brought Oyuki Konno's Maria-sama ga Miteru, which by 2004 was a bestseller among yuri novels.[36] This story revisits what was being written at the time of Nobuko Yoshiya:[37] strong emotional bonds between females, mostly revolving around the school upperclassman-underclassman dynamic, like those portrayed in Class S.[37] Another prominent author of this period is Kaho Nakayama, active since the early 1990s, with works involving love stories among lesbians.[36] It is around this point (the early 2000s) that the first magazines specifically dedicated to yuri manga were launched,[9] [10] containing stories dealing with a wide range of themes: from intense emotional connections such as that depicted in Voiceful, to more explicit school-girl romances like those portrayed in First Love Sisters,[38] passing by realistic tales about love between adult women such as those seen in Rakuen no J€ken.[39] Some of these subjects are seen in male-targeted works of this period as well,[40] [41] sometimes in combination with other themes, including mecha and science fiction. [42] [43] Examples include series such as Kannazuki no Miko, Blue Drop, and Kashimashi: Girl Meets Girl. In addition, male-targeted stories tend to make extensive use of moe and bish€jo characterizations. [11]

Yuri

174

Publications Sun Magazine published the yuri manga anthology magazine Yuri Shimai between June 2003 and November 2004 in quarterly installments, ending with only five issues.[9] After the magazine's discontinuation, Comic Yuri Hime was launched by Ichijinsha in July 2005 as a revival of the magazine,[3] containing manga by many of the authors who had had work serialized in Yuri Shimai.[10] Like its predecessor, Comic Yuri Hime is also published [10]

quarterly. A sister magazine to Comic Yuri Hime named Comic Yuri Hime S was launched as a quarterly publication by Ichijinsha in June 2007.[44] Unlike either Yuri Shimai or Comic Yuri Hime, Comic Yuri Hime S is targeted towards a male audience.[11] Ichijinsha will start to publish light novel adaptations from Comic Yuri Hime works and srcinal yuri novels under their sh€jo light novel line Ichijinsha Bunko Iris, scheduled to begin on July 19, 2008. [45] Some Japanese lesbian lifestyle magazines contain manga sections, including the now-defunct magazines Anise (1996€97, 2001€03) and Phryn‚ (1995).[34] Carmilla, an erotic lesbian publication,[34] released an anthology of yuri manga called Girl's Only.[46] Additionally, Mist (1996€99), a ladies' comic manga magazine, contained sexually explicit yuri manga as part of a section dedicated to lesbian-interest topics.[34]

Cover of the autumn 2004 issue of Yuri Shimai, illustrated by Reine Hibiki, the illustrator for the yuri light novel series Maria-sama ga Miteru.

The first company to release lesbian-themed manga in North America was Yuricon's publishing arm ALC Publishing.[47] Their works include Rica Takashima's Rica 'tte Kanji!?, which in 2006 was course material for Professor Kerridwen Luis' Anthropology 166B course at Brandeis University,[48] [49] and their annual yuri manga anthology Yuri Monogatari; both first released in 2003. [47] The latter collects stories by American, European and Japanese creators, including Akiko Morishima, Althea Keaton, Kristina Kolhi, Tomomi Nakasora and Eriko Tadeno.[50] [51] These works range from fantasy stories to more realistic tales dealing with themes such as coming out and sexual orientation.[51] Besides ALC Publishing, the Los Angeles-based Seven Seas Entertainment has also incurred in the genre, with the English version of well known titles such as the Kashimashi: Girl Meets Girl manga and the Strawberry Panic! light novels.[18] On October 24, 2006, Seven Seas announced the launch of their specialized yuri manga line, which includes works such as the Strawberry Panic! manga, The Last Uniform,[18] and Comic Yuri Hime's compilations such as Voiceful and First Love Sisters.[38]

Yuri series These lists display stories according to the role yuri plays in them. The first list shows series in which attraction between females and/or lesbian themes play a central role in their storylines; most of which are labeled by publishers as yuri. The second list contains stories in which the same subjects are used mostly for comic relief, as fanservice, subtext, or for character development in a larger, sometimes unrelated context; these are generally recognized by the fandom as to contain prevalent elements of yuri (even if the series is not marketed as such).

Yuri

175

Yuri as a central element [52] • 12 Days [54] • Akai Ito

[53] • Girls' Revolution [53] • Hayate X Blade [53] • Hen Akatsuki-iro no Senpuku Majo [30] [43] Anata to Scandal • Ice [57] [58] Aoi Hana • Iono-sama Fanatics [60] [53] Blue • Kanamemo [61] [42] Blue Drop • Kannazuki no Miko [63] [18] [32] • Kashimashi: Girl Meets Girl Candy Boy [64] [65] Chirality • Kuchibiru Tameiki Sakurairo [30] [28] Claudine...! • Love My Life [32] [67] • Maka-Maka Devil Lady [68] [69] El Cazador de la Bruja • Maria-sama ga Miteru [38] [30] First Love Sisters • Miyuki-chan in Wonderland [71] [30] Girl Friends • Oniisama e... [53] [72] Girls' Life • Piet†

• • • • • • • • • • • • •

[32] • Read or Dream [55] • Revolutionary Girl Utena [56] • Sasameki Koto [24] • Shiroi Heya no Futari [59] • Sh€jo Sect [32] • Simoun [62] • Steel Angel Kurumi 2 [18] • Strawberry Panic! [65] • Strawberry Shake Sweet [66] • Stray Little Devil [18] • Tetragrammaton Labyrinth [18] • The Last Uniform [70] • The Sword of Paros [38] • Voiceful • Yami to B€shi to Hon no Tabibito

[73]

Yuri as an additional element [74] • .hack//Sign

[75] • I My Me Strawberry Eggs

[32] [76] • R.O.D the TV

• Ace o Nerae![77] [81] • Agent Aika [82] • Air Master [30] • Angel/Dust

• Ikki Tousen[78] [79] [30] • Kaguyahime [83] • Kaleido Star [84] • Kanamemo [86] • Koihime Mus€ [89] • Lady Snowblood [92] • Loveless [95] • Madlax

• S.S. Astro [80] [30] • Sailor Moon [84] • Saki [85] • Sakura no Sono

[97] • Magical Girl Lyrical Nanoha [99] • Maria Holic [102] • Maze [104] • Mnemosyne

[87] • Sasami: Magical Girls Club [90] • Seraphim Call [93] • Shattered Angels [32] • Stellvia of the Universe [98] • Steel Angel Kurumi [100] • Stratos 4 [32] • Strawberry Marshmallow [105] • Strike Witches

• Cosplay Complex[106] [108] • Cutie Honey

• My-HiME[32] [32] • My-Otome

• Sukeban Deka[107] [109] • Tactical Roar

[110] • Doki Doki School Hours [113] • El-Hazard [115] • Excel Saga [117] • Family Complex [120] • Fight! Iczer One

[111] • Najica Blitz Tactics

• The Rose of Versailles

[114] • Negima!: Magister Negi Magi [114] • Negima!? [118] • Ninja Nonsense [72] • Noir

[84] • Toaru Kagaku no Railgun [116] • Touka Gettan [119] • Ultimate Girls [121] • Uta Kata

• Azumanga Daioh • • • • • • •

[72]

[88] Battle Athletes Victory [91] Best Student Council [94] Bubblegum Crisis [96] Burst Angel [30] Cardcaptor Sakura [101] Choir! [103] Confidential Confessions

[112]

Yuri

176 [123] • Project A-ko [126] • Puni Puni Poemy [129] • Queen's Blade [130] [131] • Hanaukyo Maid Team: La Verite • Rakka Ry…sui [132] [133] • He Is My Master • Red Garden [134] [30] • High School Girls' • RG Veda • Futari wa Pretty Cure [125] • Girls Bravo [128] • Godannar

[122]

[124] • Vampire Princess Miyu [127] • Venus Versus Virus [30] • X/1999 [72] • Yokohama Kaidashi Kik€

Notes and references [1] Morishima, Akiko (January 2008). "YurixYuri Kenbunroku" (in Japanese). Comic Yuri Hime (11). ASIN B00120LP56. [2] Charlton, Sabdha. "Yuri Fandom on the Internet" (http:// www.yuricon.com/essays/yuri-fandom-on-the-internet/). Yuricon. . Retrieved 2008-01-13. Query Wayback (http:/ / wayback.archive.org/web/*/http:// www.yuricon.com/essays/yuri-fandom-on-the-internet/) Bibalex Wayback (http:/ / web.archive.bibalex.org/web/*/http:// www.yuricon.com/essays/yuri-fandom-on-the-internet/) WebCite (http:// www.webcitation.org/query.php?url=http:// www.yuricon.com/essays/yuri-fandom-on-the-internet/) Wikiwix (http:/ / wikiwix. com/cache/?url=http://www.yuricon.com/essays/yuri-fandom-on-the-internet/). [3] "Joseid€shi no LOVE wo egaita, danshi kinsei no "Yuri b‚mu" gayattekuru!?" (http:// www.cyzo.com/2008/02/post_350.html) (in Japanese). Cyzo. . Retrieved 2008-03-21. [4] Friedman, Erica. "What is Yuri?" (http:/ / www.yuricon.org/essays/whatisyuri.html). What are Yuri and Shoujoai, anyway?. Yuricon and ALC Publishing. . Retrieved 20 May 2005. [5] Fujimoto, Yukari (1998) (in Japanese). Watashi no Ibasho wa Doko ni Aruno? (Where do I belong?). Tokyo: Gakuyo Shobo. ISBN 4313870113. [6] "Interview: Erica Friedman (page 2)" (http:/ / manga.about.com/od/mangaartistswriters/a/ EFriedman_2.htm). Manga. About.com. . Retrieved 2008-03-06. [7] Tsuchiya, Hiromi (March 9 €12, 2000). "Yoshiya Nobuko „s Yaneura no nishojo (Two Virgins in the Attic): Female-Female Desire and Feminism" (http:/ / www.aasianst.org/absts/2000abst/Japan/J-12.htm). Homosexual/Homosocial Subtexts in Early 20th-Century Japanese Culture (San Diego, CA: Abstracts of the 2000 AAS Annual Meeting). . Retrieved 2008-02-24. [8] "Maria-sama ga Miteru to Yuri Sakuhin no Rekishi" (http://d.hatena.ne.jp/kaien/20060828/p1) (in Japanese). . Retrieved 2008-02-16. Sources: Watashi no Ibasho wa Doko ni Aruno? by Yukari Fujimoto (ISBN 4313870113), Otoko Rashisa to Iu By€ki? Pop-Culture no Shin Danseigaku by Kazuo Kumada (ISBN 4833110679), and Yorinuki Dokusho S€danshitsu (ISBN 978-4860110345). [9] "Yuri Shimai" (http:/ / comipedia.com/magazine/yuri-shimai). ComiPedia. . Retrieved 2008-01-19. [10] "Comic Yuri Hime" (http:/ / comipedia.com/magazine/comic-yurihime). ComiPedia. . Retrieved 2008-01-19. [11] "Ichijinsha's info about Comic Yuri Hime S " (http:/ /www.ichijinsha.co.jp/ad/) (in Japanese). Ichijinsha. . Retrieved 2008-01-03. [12] "Yurizoku no heya (lily tribe's room)" (in Japanese). Barazoku (Rose tribe): 66€70. November 1976.After this first column, Yurizoku no heya appeared sporadically through the mid-1980s. [13] Welker, James (2008). "Lilies of the Margin: Beautiful Boys and Queer Female Identities in Japan". In Fran Martin, Peter Jackson, Audrey Yue. AsiaPacifQueer: Rethinking Genders and Sexualities. University of Illinois Press. pp. 46 €66. ISBN 9780252075070. [14] "Interview: Erica Friedman (page 1)" (http:/ /manga.about.com/od/mangaartistswriters/a/EFriedman.htm). Manga. About.com. . Retrieved 2008-05-17. [15] "Comic Yuri Hime official website" (http:// www.ichijinsha.co.jp/yurihime/) (in Japanese). Ichijinsha. . Retrieved 2008-01-19. Ichijinsha classifies their yuri manga publication Comic Yuri Hime as a "Girls Love" comic magazine. [16] Miyajima, Kagami (April 4, 2005) (in Japane se). Sh€jo-ai. Sakuhinsha. ISBN 4861820316. [17] "ALC Publishing" (http:/ / www.yuricon.org/alc.html). Yuricon. . Retrieved 2008-02-19. [18] "Yuri on the Seven Seas!" (http:/ / www.gomanga.com/news/press_027.php). Seven Seas Entertainment. . Retrieved 2007-11-20. [19] Suzuki, Michiko (August 2006). "Writing Same-Sex Love: Sexology and Literary Representation in Yoshiya Nobuko's Early Fiction" (http:/ / journals.cambridge.org/action/displayAbstract;jsessionid=419D6C9B25191554B1DBD61007F71527.tomcat1?fromPage=online& aid=857000). The Journal of Asian Studies 65 (3): 575. doi:10.1017/S0021911806001148. . Retrieved 2008-01-23. [20] Robertson, Jennifer (August 1992). "The Politics of Androgyny in Japan: Sexuality and Subversion in the Theater and Beyond". American Ethnologist 19 ( 3): 427. doi:10.1525/ae.1992.19.3.02a00010. JSTOR 645194. [21] Dollase, Hiromi (2003). "Early Twentieth Century Japanese Girls' Magazine Stories: Examining Sh€jo Voice in Hanamonogatari (Flower Tales)". The Journal of Popular Culture 36 (4): 724€755. doi:10.1111/1540-5931.00043. ISSN 00223840. OCLC 1754751. [22] Natsume, Fusanosuke (1999). Manga no Yomikata (How to read manga). Tokyo: Takarajimasha. [23] Schodt, Frederik (1996). Dreamland Japan: Writings on Modern Manga. Berkeley, CA: Stone Bridge Press. ISBN 978-1880656235. [24] Welker, James (2006). "Drawing Out Lesbians: Blurred Representations of Lesbian Desire in Sh€jo Manga". In Chandra, Subhash. Lesbian Voices: Canada and the World: Theory, Literature, Cinema. New Delhi: Allied Publishers Pvt. ISBN 81-8424-075-9.

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"Celebrating Lesbian Sexuality: An Interview with Inoue Meimy, Editor of Japanese Lesbian Erotic Lifestyle Magazine Carmilla" (http:/ /wwwsshe.murdoch.edu.au/intersections/issue12/welker2.html). Intersections: Gender, History and Culture in the Asian Context (12). . Retrieved 2008-01-30. [35] "ALC Publishing announces yuri manga Works by Eriko Tadeno" (http:// web.archive.org/web/20080611052019/http://www. activeanime.com/pn/index.php?name=News&file=article&sid=3135). Active Anime. Archived from the srcinal (http:/ /www. activeanime.com/pn/index.php?name=News&file=article&sid=3135) on 2008-06-11. . Retrieved 2008-02-24.Works by Eriko Tadeno is an anthology of four stories and three short gag comics that were srcinally published in Phryn‚, Anise and Mist magazines. [36] Azuma, Erika (June 2004) (in Japanese). Yorinuki Dokusho S€danshitsu. Hon no Zasshisha. ISBN 978-4860110345. [37] "Esu toiu kankei" (http:/ /media.excite.co.jp/book/news/topics/012/p02.html) (in Japanese). 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The other is Aika kissing a woman she thinks is a man." [82] Beard, Jeremy A.. " Air Master Review" (http:// www.themanime.org/viewreview.php?id=528). THEM Anime Reviews. . Retrieved 2007-11-28., Tucker, Derrick L.. " Air Master Review" (http:// www.themanime.org/viewreview.php?id=745). THEM Anime Reviews. . Retrieved 2007-11-28. [83] Friedman, Erica. "Kaleido Star" (http:/ / okazu.blogspot.com/search/label/Kaleido Star). Okazu. . Retrieved 2007-11-15.

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179 [84] Friedman, Erika. "Top Ten Yuri Anime of 2009" (http:// okazu.blogspot.com/2009/12/top-ten-yuri-anime-of-2009.html). Okazu. . Retrieved 2010-05-13. [85] Welker, James. "From The Cherry Orchard to Sakura no Sono: Translating Sexual Identities" (http:/ / apq.anu.edu.au/archive/apq3/ James_Welker.html). Australian National University. . Retrieved 2008-11-25. [86] Friedman, Erika. "Yuri Anime: Koihime Musou" (http://okhttp:// okazu.blogspot.com/2008/09/yuri-anime-koihime-musou.html). Okazu. . Retrieved 2011-03-17. [87] Brienza, Casey (2009-01-02). "Sasami: Magical Girls Club Review" (http:// www.animenewsnetwork.com/review/sasami/ magical-girls-club/dvd-season-one). Anime News Network. . Retrieved 2009-07-23. "Probably the most annoying recurring interaction is An-An's puppy love infatuation with Tsukasa." [88] Brown, Rebecca (2005). "An Introduction to Yuri Manga and Anime (page 3)" (http:// www.afterellen.com/archive/ellen/Print/2005/8/ yuri3.html). AfterEllen.com. . Retrieved 2008-01-13. [89] "Lady Snowblood Review" (http:/ /www.rpg.net/reviews/archive/12/12135.phtml). RPGnet. . Retrieved 2008-04-23. [90] Frost, Marc. "Seraphim Call Review" (http:/ / www.asian-stuff.com/anime/review_85.html). Asian-Stuff. . Retrieved 2008-03-18. "Some scenes of girls in bathing suits and lingerie. Lesbian themes." [91] Friedman, Erica. "Yuri Anime: Best Student Council, Volume 1" (http:// okazu.blogspot.com/2007/04/ yuri-anime-best-student-council-volume.html). Okazu. . Retrieved 2010-12-27. [92] Friedman, Erica. "Loveless" (http:/ / okazu.blogspot.com/search/label/Loveless). Okazu. . Retrieved 2008-04-23. [93] Friedman, Erica. "Yuri Manga: Kyoshiro to Towa no Sora, Volume 2" (http:// okazu.blogspot.com/2008/02/ yuri-manga-kyoshiro-to-towa-no-sora.html). . Retrieved 2008-04-23. [94] Friedman, Erica. "Yuri Anime: Bubblegum Crisis/Bugglegum Crash" (http:// okazu.blogspot.com/2005/02/ bubblegum-crisisbugglegum-crash.html). Okazu. . Retrieved 2007-11-15. [95] Houston, Don. " Madlax: Complete Collection Review" (http:/ /www.dvdtalk.com/reviews/read.php?ID=29311). DVD Talk. . Retrieved 2007-11-30. "As with other genre picks, there were some hinted at lesbian overtures but nothing as overt as expected." [96] Friedman, Erica. "Yuri Manga: Bakuretsu Tenshi, Volume 1" (http:// okazu.blogspot.com/2005/04/bakuretsu-tenshi-volume-1.htmlp). . "Yuri Manga: Bakaretsu Tenshi, Volume 2" (http:// okazu.blogspot.com/2005/05/yuri-manga-bakaretsu-tenshi-volume-2.html). . "Yuri Manga: Bakaretsu Tenshi, Volume 2" (http:/ / okazu.blogspot.com/2005/10/yuri-manga-bakuretsu-tenshi-vol-3.html). Okazu. . Retrieved 2008-04-23. [97] Friedman, Erica. "Nanoha" (http:/ / okazu.blogspot.com/search/label/Nanoha). Okazu. . Retrieved 2008-04-23. [98] "Steel Angel Kurumi Vol. 1 - Angel On My Shoulder Review" (http:/ / web.archive.org/web/20070515001158/www.otakureview.net/ 182.html). Otaku Review. 2004-10-08. Archived from the srcinal (http:/ /www.otakureview.net/182.html) on 2007-05-15. . Retrieved 2009-07-28. "and the rival maid who is a lesbian." [99] "Maria Holic Manga Confirmed to Get TV Anime" (http:/ / www.animenewsnetwork.com/news/2008-08-07/ maria-holic-manga-confirmed-to-get-tv-anime). Anime News Network. 2008-08-07. . Retrieved 2008-08-07. [100] Beveridge, Chris. "Stratos 4 Vol. #3 Review" (http:/ / www.animeondvd.com/reviews2/disc_reviews/3369.php). AnimeOnDVD.com. . Retrieved 2007-11-20. "It's a military show that's not a military show (...) with an aliens invasion storyline that's tied to lesbianism and consuming mass quantities of food." [101] Friedman, Erica (2008-11-10). "Yuri Manga: Choir!, Volume 1" (http:// okazu.blogspot.com/2008/11/yuri-manga-choir-volume-1. html). Okazu. . Retrieved 2009-10-25. [102] "Maze TV" (http:/ / www.themanime.org/viewreview.php?id=193). T.H.E.M. Anime Reviews. . Retrieved 2009-07-26. "Solude is exactly like Fuuko-chan from Flame of Recca (or heck, Asagiri Priss, weaponry-wise), with the lesbian bent of Akane from KOR." [103] "Confidential Confessions Volume 4" (http:/ / www.tokyopop.com/product/1157/ConfidentialConfessions/4. html?PHPSESSID=6a24d8a9808cc0aebe33596b01c6310a). Tokyopop. . Retrieved 2008-04-23. [104] Friedman, Erica. "Yuri Anime: Mnemosyne 2" (http:// okazu.blogspot.com/2008/03/yuri-anime-mnemosyne-ova-2.html). . Retrieved 2008-04-23. [105] Friedman, Erica (February 12, 2009). "Strike Witches Anime" (http:/ / okazu.blogspot.com/2009/02/strike-witches-anime.html). . Retrieved 2009-02-16. [106] Crocker, Janet. " Cosplay Complex Review" (http:/ / www.animefringe.com/magazine/2004/07/review/02.php). Animefringe. . Retrieved 2007-12-01. "Jenny, a rabid Italian lesbian with cat fangs who loves Athena." [107] Friedman, Erica (March 3, 2004). "Yuri Manga: Sukeban Deka" (http://okazu.blogspot.com/2004/03/yuri-manga-sukeban-deka.html). . Retrieved 2008-05-19. [108] Friedman, Erica. "Cutey Honey" (http:/ / okazu.blogspot.com/search/label/Cutey Honey). Okazu. . Retrieved 2007-11-15. [109] Tran, Can. "Anime Review of Tactical Roar" (http:/ / www.groundreport.com/Arts_and_Culture/Anime-Review-of-Tactical-Roar). GroundReport. . Retrieved 2008-02-04. [110] "Doki Doki School Hours" (http:// www.imdb.com/title/tt0406463/plotsummary). IMDb. . Retrieved 2008-04-23. [111] Divers, Allen. " Najica Blitz Tactics DVD 1 Review" (http:/ /www.animenewsnetwork.com/review/najica-blitz-tactics/dvd-1). Anime News Network. . Retrieved 2007-11-28. "Yes, this show is full of panty shots, upskirt camera angles and a slight lesbian overtone." [112] Shamoon, Deborah (2007). "Revolutionary Romance: The Rose of Versailles and the Transformation of Sh€jo Manga" (http://www. upress.umn.edu/Books/L/ lunning_mechademia2.html). In Lunning, Frenchy. Networks of Desire. Mechademia. 2. University of Minnesota Press. p. 8, pp.10€11. ISBN 978-0-8166-5266-2. .

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180 [113] Thom, Martin. " El-Hazard OVA Vol. #3 Review" (http:/ / www.animeondvd.com/reviews2/disc_reviews/6391.php). AnimeOnDVD.com. . Retrieved 2007-12-04. [114] Friedman, Erica. "Negima" (http:/ /okazu.blogspot.com/search/label/Negima). Okazu. . Retrieved 2007-11-15. [115] Crandol, Mike. " Excel Saga DVD 4 Review" (http:/ / www.animenewsnetwork.com/reviews/display.php?id=390). Anime News Network. . Retrieved 2007-11-21. Yegulalp, Serdar. "DVD of the Week (07-31-03): Excel Saga" (http:/ /www.thegline.com/ dvd-of-the-week/2003/07-31-2003.htm). TheGline.com. . Retrieved 2007-11-21. [116] Friedman, Erica. "Another Anime With Yuri In It: Touka Gettan" (http:// okazu.blogspot.com/2008/02/ another-anime-with-yuri-in-it-touka.html). . Retrieved 2008-04-23. [117] Ellinwood, Holly. "Family Complex Review" (http:/ /www.activeanime.com/html/content/view/2497/57/). Active Anime. . Retrieved 2008-03-18. [118] Friedman, Erica. "Yuri Anime: Ninja Nonsense, Volume 4 (English)" (http:// okazu.blogspot.com/2007/07/ yuri-anime-ninja-nonsense-volume-4.html). Okazu. . Retrieved 2007-11-15. [119] Jones, Tim. "Ultimate Girls Review" (http:// www.themanime.org/viewreview.php?id=797). THEM Anime. . Retrieved 2008-04-23. [120] Ross, Carlos. " Iczer-One Review" (http:/ /www.themanime.org/viewreview.php?id=149). THEM Anime Reviews. . Retrieved 2007-11-21. [121] Friedman, Erica. "Yuri Anime: Uta-Kata Revisited" (http:// okazu.blogspot.com/2004/12/yuri-anime-uta-kata-revisited.html). Okazu. . Retrieved 2008-04-23. [122] "Is Pretty Cure the Next Sai lor Moon?" (http:/ /www.animenation.net/blog/2007/05/23/ask-john-is-pretty-cure-the-next-sailor-moon/ ). AnimeNation. . Retrieved 2007-11-29. "Furthermore, the first two seasons of Pretty Cure illustrated co-star Nagisa's crush on her classmate Sh€jo Fujimura, and frequently hinted at a developing lesbian affection between the two female stars." [123] Anderson, Matthew. " Project Ako Review" (http:/ / www.dvdvisionjapan.com/ako.htm). DVD Vision Japan. . Retrieved 2007-11-28. "Yes, Bko is a lesbian, in love with Cko, and all of the people on the ship were women." [124] Napier, Susan J. (1998). "Vampires, Psychic Girls, Flying Women and Sailor Scouts". In Martinez, Dolores P.. The Worlds of Japanese Popular Culture: Gender, Shifting Boundaries and Global Culture. Cambridge University Press. pp. 97 and p.107. ISBN 0521631289. [125] Gilvear, Kevin. "Girls Bravo Volume 1 Review" (http:// www.dvdtimes.co.uk/content.php?contentid=57458). DVD Times. . Retrieved 2007-12-03. "Further examples come later when Kirie runs into Kosame in episode 4, and thus we get another character insight when we learn that Kosame is a lesbian and fancies Kirie." [126] Smith, Lesley. " Puni Puni Poemy Review" (http:/ / www.dvdtimes.co.uk/content.php?contentid=59200). DVD Times. . Retrieved 2007-11-28. [127] "Venus Versus Virus Ultimate Guide" (http:/ /gomanga.com/news/features_vvv_01.php). Seven Seas Entertainment. . Retrieved 2007-12-08. "There is no explicit yuri content in the manga, but the pages are full of subtext." [128] Beveridge, Chris. "Godannar Vol. #5 Review" (http:/ / www.animeondvd.com/reviews2/disc_reviews/5223.php). AnimeOnDVD.com. . Retrieved 2008-04-23. [129] Friedman, Erica. "Yuri Anime: Queen's Blade Anime, Volume 1 (English)" (http:// okazu.blogspot.com/2010/12/ queens-blade-anime-volume-1-english.html). Okazu. . Retrieved 2011-02-07. [130] Toole, Mike. " Hanaukyo Maid Team: La Verite vols. 1-3 Review" (http:/ / web.archive.org/web/20071107174426/http:// www. animejump.com/index.php?module=prodreviews&func=showcontent&id=659). Anime Jump. Archived from the srcinal (http:/ / www. animejump.com/index.php?module=prodreviews&func=showcontent&id=659) on 2007-11-07. . Retrieved 2007-12-04. "The maids are rounded out by Yashima, a security maid with dark skin, a speech impediment, and a lesbian crush on Konoe." [131] Erica Friedman (2006-12-06). "Yuri Manga: Rakka Ryuusui" (http:// okazu.blogspot.com/2006/12/yuri-manga-rakka-ryuusui.html). . Retrieved 2007-11-30. [132] Friedman, Erica (February 12, 2008). "He is My Master Manga, Volume 1 (English)" (http://okazu.blogspot.com/2008/02/ he-is-my-master-manga-volume-1.html). . Retrieved 2008-04-22. [133] Friedman, Erica (April 19, 2007). "Yuri Manga: Red Garden, Volume 1" (http:// okazu.blogspot.com/2007/04/ yuri-manga-red-garden-volume-1.html). . Retrieved 2008-04-22. [134] Friedman, Erica. "Yuri Manga: High School Girls, Volume 8 (English)" (http:// okazu.blogspot.com/2007/06/ yuri-manga-high-school-girls-volume-8.html). Okazu. . Retrieved 2008-04-23.

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External links • Sh€jo-ai Archive (http:/ /www.shoujoai.com/) • Yuricon (http:/ /www.yuricon.org/ ) • Small Call (http:/ /smallcall.net/yuri/) List of all the yuri-related d€jinshi circles present in Comiket since 2001. (Japanese)

• Yuribu (http:/ /yuribu.net/) Group of one-hundred yuri d€jinshi circles that will be present in Comitia 84. (Japanese)

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Selected biographies Go Nagai Go Nagai (ÇÈÉ)

Go Nagai at Japan Expo 2008, Paris, France (2008-07-04). Born

Kiyoshi Nagai (ÇÈÊ) September 6, 1945 Wajima, Ishikawa, Japan

Residence

Japan

Nationality

Japanese

Occupation

Manga artist

Known for

Harenchi Gakuen Mazinger Z Cutie Honey Devilman Violence Jack UFO Robot Grendizer

Awards

4th Kodansha Manga Award Susano Oh Website

[1] (Japanese) Dynamic Productions

Go Nagai

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Kiyoshi Nagai (ÇÈÊ Nagai Kiyoshi, born September 6, 1945 in Wajima, Ishikawa), better known by the penname Go Nagai (ÇÈ É Nagai G€), is a Japanese manga artist and a prolific author of science fiction, fantasy, horror and erotica.[2] He made his professional debut in 1967 with Meakashi Polikichi, but is best known for creating Cutie Honey, Devilman, and Mazinger Z in the 1970s. In 2005, he became a Character Design professor at the Osaka University of Arts. Since 2009, he is a member of Tezuka Osamu Cultural Prize's nominating committee.

Life Go Nagai in his studio, Tokyo, 1987; photo by Sally Larsen

Early life Go Nagai was born on September 6, 1945 [3] •in the Ishikawa Prefecture city of Wajima. [4] He is the son of Yoshio and Fujiko Nagai (ÇÈËÌqÍ
Go Nagai

First works After working as assistant of Shotaro Ishinomori, his very first professional manga work was Meakashi Polikichi (Àˆ î e² Ò also Àˆ ý î e² Ò),[5] [15] a very short gag comedy oneshot, published in November 1967 in the magazine Bokura by Kodansha.[16] Almost at the same time, this was followed by the manga adaptation of Tomio Sagisu's TV anime Chibikko Kaiju Yadamon (Í NMÌ ÓÔ‘H’Ý , Little Monster Yadamon), also published in 1967 in the same magazine.[17] A common misconception is that Kuro No Shishi (Black Lion ) was his first manga work; while not entirely false, what Nagai really made two years earlier than Meakashi Polikichi , was only a draft for what would later be Kuro no Shishi, which would not be actually published until 1978. His first works consisted entirely of short gag comedy manga. This would change with Harenchi Gakuen.

First success and controversies In less than a year after debuting, he met with a big success. After being an unknown manga artist, he became a protagonist of televised debates and journalistic investigations. [18] In 1968, while Shueisha was getting prepared to launch its first manga publication, Sh€nen Jump, in order to compete with other magazines from rival companies (like Sh€nen Magazine from Kodansha and Sh€nen Sunday from Shogakukan), Nagai was invited to be one of the first manga artists publishing in the new magazine. He contemplated this, since he had to design a long running series instead of the autoconclusive short stories that he had been developing until that point.[4] He accepted and the series became a big success, being the first for Nagai [19] and making Sh€nen Jump sell more than one million copies. [15] With Harenchi Gakuen, Nagai was the first to introduce eroticism in modern manga and became the creator of modern erotic manga, [2] [19] [20] [21] [22] opened the door to a new era in Manga [21] and also became the symbol of an entire generation. [15] This work has influenced Japanese society radically, completely changing the common perceptions of manga. [23] Until Harenchi Gakuen, Japanese manga had been relatively tame affairs, but things soon changed. [20] The manga became so popular that several live-action films and TV series based on the manga were developed. Harenchi Gakuen is considered as probably the work that has had the most influence in the world of manga at the end of the 1960s, leading the newly born Sh€nen Jump magazine to sell millions of copies per week. [24] A scandalous manga in its time, it is a very innocent series by today's standards. [24] But at the time of his srcinal publication, it met with severe criticism by some parts of the Japanese society. Harenchi Gakuen was criticized as vulgar because it introduced overt eroticism to children. Male students and teachers were depicted as being preoccupied with catching glimpses of girls' panties or naked bodies. Many parents, women's associations, and PTAs protested. [25] In particular, the PTA protests over Harenchi Gakuen were notorious. Nagai was bombarded with interview requests from newspapers, magazines and TV. Whenever he flew outside of Tokyo, TV cameras were waiting for him. He was branded a "nuisance" and even an "enemy of society". He, however, had a clear sense of what things he could or could not do with the manga. [26] At first, Nagai didn't think that the opposition was against him, since he always knew when to draw the line and was aware of the standards that applied with movies and similar things for an audience below 18 years old. At that time, he never drew sex scenes, avoided pictures of genitals and made nudes cute rather than sexy. [20] His fans supported him throughout the PTA protests. They sent him letters where they expressed how they were aware that the adults cracking down on them were reading raunchier stuff than what Nagai was producing. [20] The protests were not only against the manga, but also against the TV series. The PTA even managed to prevent the distribution of the magazine in some parts of Japan. [18] As a result of the protests, when the series was about to be cancelled because of the PTA. Nagai changed the theme in Harenchi Gakuen into a more mature and serious matter. From nonsense gags with sexy touchs, to a full scale war where murder was depicted in the bloody way for which many know him. This led to the famous ending of Harenchi Gakuen, symbol of freedom and of rejection of the

184

Go Nagai hypocrisy, where all students & teachers, while defending their freedom of expression, are killed by the PTA and other parental forces. This was the ironic answer that Nagai gave to the PTA. It wasn't the true ending of Harenchi Gakuen, as it would return to be published for several years. [18] It was also around this time that he created Gakuen Taikutsu Otoko (Ù… ” Ý ÕÖo), also known as Guerrilla High, another school-themed manga, but this time war between youths and adults was the main theme. A little before that, in 1969,Abashiri Ikka (ú mî µ  家) was created. Both titles are a direct result of the PTA protests, being both a form of parody of what happened. Abashiri Ikka became a big success, and along with Harenchi Gakuen, the most popular series of Nagai's juvenile period. [27]

Dynamic Productions Thanks to the success of Harenchi Gakuen, Dynamic Productions (HEèÅß…÷ H… rð Ý , also known as Dynamic Production or Dynamic Pro, HEèÅß…÷ ), was founded by Go Nagai with his brothers in April, 1969. [28] Meant to be a group to help him with his works, as a consequence of what happened with Harenchi Gakuen, where he received almost no royalties derived from the TV series, films and gadgets related, Dynamic Productions became a company established to manage Nagai's relations and contractual rights of his work. Dynamic became one of the first companies to require publishers the edition of contracts (even today many manga are designed and published only on the basis of verbal agreements). [4] It would start as a yugen kaisha (limited company) and would change to a kabushiki kaisha (stock company) in 1970. [5] The same year of the foundation of Dynamic Pro, Ken Ishikawa joined the company. He would become Nagai's second assistant after Mitsuru Hiruta, who had been working with Nagai since the beginnings of Harenchi Gakuen.[5] He would become one of Nagai's regular partners and his best friend. Ken Ishikawa participated as assistant in Harenchi Gakuen, Abashiri Ikka and Gakuen Taikutsu Otoko, particularly in the last one. In parallel with those activities as assistant, he co-produces with Go Nagai what would be in fact his professional debut in manga, Gakuen Bangaichi (1969-09-08 ~ 1970-09-22), and also his second manga, Sasurai Gakuto (1970-01 ~ 1970-05). He temporary quit Dynamic Productions in 1970. This prompted Nagai to end Gakuen Taikutsu Otoko and the story of this series would be left inconclusive.

Change in genres Even with the changes in Harenchi Gakuen and other series, Nagai remained writing mostly gag comedies, varying only in the thematic. With the success of Harenchi Gakuen and Abashiri Ikka, most editors expected this kind of story from Nagai. This would start to change in 1970, with the oneshot Oni -2889 Nen no Hanran- , which tells a science fiction story set in the year 2889 about a war between the race of Onis (who in this story are treated as a lower class) and the human beings. After this, in 1971 came the horror oneshot Susumu-chan Dai Shock about a violent collapse of the parent-child relationships. A series of horror oneshots would follow, in the series called Gensou Kyofu e Hanashi (×ØÙÚÛÜ), which comprehends Africa no Chi (an srcinal story of Yasutaka Tsutsui), Schalken Gahaku (based in the famous story Strange Event in the Life of Schalken the Painter by Joseph Sheridan Le Fanu) and Kuzureru. A little before that, Nagai would be given the chance to write a full serial of an occult horror story called Mao Dante, which would in turn mark the beginning of his most famous horror work, Devilman.

Style and works Further information: Bibliography of Go Nagai In his series Harenchi Gakuen (ÆÀ Ý チyÕ , Shameless School, 1968€1972, Weekly Sh€nen Jump magazine) Nagai used eroticism and extreme, graphic violence in kid's manga for the first time in Japan, thus breaking taboos and becoming quite controversial.[2] His use of violence and gross humour was widely loathed in many corners of Japan's society and became a concern for many PTAs at the time. The series temporary ended dramatically when all the characters died during a massacre. This type of content would be a trend in most of Nagai's later work and in

185

Go Nagai those of other directors such as Yoshiyuki Tomino. A Harenchi Gakuen live-action TV series followed in the early 1970s, as well as several other live-action movies and an OVA version ( Heisei Harenchi Gakuen , or "Modern-Day Shameless School") in the mid-1990s. In 1970, Go Nagai started a company, Dynamic Productions, to fund his manga and anime ventures. Dynamic Productions' first titles were Getter Robo and Abashiri Ikka (ú mî µ  家, Abashiri Family). After Harenchi Gakuen Nagai created the Mazinger Z (êï Ý Ù„ Z) series, later expanded into Great Mazinger, Grendizer, and - many years later - Mazinkaiser, where he developed the concept of giant mecha. Mazinger was the first manga where a giant robot was piloted by the hero, thus creating one of the biggest staples of the industry. Mazinger is considered the first successful "Super Robot" anime show, and has spanned numerous imitations. Simultaneously to Mazinger, he created one of his most popular manga, Debiruman (Á ·† êÝ , Devilman), about a demonic hero fighting against hordes of demons. Nagai also turned Devilman into a series which was less violent and gritty than the manga. Years later Nagai revamped this popular series by introducing the main character as a female and altering the storyline. This series is called Devilman Lady (Á ·† êÝÀÁÂ„ , Devil Lady in the US). It was first released as a manga and then later as an anime. Go Nagai considers the Devilman series, as well as the Mazinger series, as being his life's work due to their massive popularity all over the world. In 1972, Nagai managed to have 5 weekly manga publications at the same time, drawing and writing. This hasn't been achieved by other manga artists with the exception of Shinji Mizushima and George Akiyama. [29] ャß … ) spanned multiple volumes and dealt with Another long-running series, Violence Jack (ÝŒE€ÀÝ³ ï a giant brute of a man fighting evil warlords in a post-apocalyptic setting where Japan has been devastated by a massive earthquake and isolated from the rest of the world. One of Nagai's most popular works outside of his fanbase has been Cutey Honey, considered to be one of the first "magical girl" comics and a major influence on future series in the genre (in particular Sailor Moon). Nagai had less success a few years later with Majokko Tickle, a more traditional magical-girl series for younger children, although

the accompanying anime was popular on TV in some European countries. In 1980, he received the 4th Kodansha Manga Award for sh€nen for Susano OH.[30] Nagai has worked with Shotaro Ishinomori and Ken Ishikawa. He is currently being more prolific in manga production than ever. Much of Nagai's work has been adapted into anime and tokusatsu. Nagai has made cameo appearances in some of his live-action adaptations of his work, including The Toxic Avenger Part II, the Cutie Honey 2004 live action film, and in a special DVD-only episode of Cutie Honey: The Live as Dr. Koshiro Kisaragi.

Success abroad In Italy, France, and the Middle East, Grendizer was very popular when they aired. They are still fondly remembered to this day. In Spain, a Mazinger Z statue has been erected in Tarragona. It still stands even today.

Influences Anime Director Hideaki Anno (Evangelion)cited Devilman as a source of inspiration for Evangelion during a conversation between him and Go Nagai published in Devilman Tabulae Anatomicae. Manga artist Kentarou Miura claims that he likes Go Nagai's dynamic style and that Nagai had a big influence on him in an interview which was included as an extra in the fourth volume of the North American DVD release by Media Blasters in 2002. Movie Director Yoshihiro Nishimura (Tokyo Gore Police) claimed that he's a fan of Go Nagai's works in an interview with Sancho Asia and said that he wants to adapt Devilman into a live action movie since he didn't like the 2004 live action Devilman adaptation.

186

Go Nagai

Anime titles created or based in the works of Go Nagai • • • • • • • • • • • • • • • •

• •

Devilman (Á ·† êÝ )(TV series, 1972-07-08) Mazinger Z (êï Ý Ù„ Z)(TV series, 1972-12-03) Mazinger Z tai Devilman (êï Ý Ù„ ZÞÁ ·† êÝ )(Movie, 1973-07-18) Dororon Enma-kun (ÚÝ ãº §?º )(TV series, 1973-10-04) Cutie Honey (à ‡„ テÂ „ ÆÕ„ , Cutey Honey)(TV series, 1973-10-13) Getter Robot (Äß タ„  D)(TV series, 1974-04-04) Mazinger Z tai Ankoku Daishougun (êï Ý Ù„ ZÞßà° Îá)(Movie, 1974-07-25) Great Mazinger (áÀ„´ êï Ý Ù„ )(TV series, 1974-09-08) êï Ý Ù„ ÞÄß タ„  D)(Movie, 1975-03-21) Great Mazinger tai Getter Robot (áÀ„´ Getter Robot G (Äß タ„  D G)(TV series, 1975-05-15) êï Ý Ù„ ÞÄß タ„  DG Great Mazinger tai Getter Robot G: Kuuchuu Daigekitotsu (áÀ„´ Y>° ¦â, Great Mazinger tai Getter Robo G: The Great Space Encounter)(Movie, 1975-07-26) Uchuu Enban Daisensou (¢£òã° ä, The Great Battle of the Flying Saucers)(Movie, 1975-07-26) Koutetsu Jeeg (å鉄ï „ á )(TV series, 1975-10-05) UFO Robot Grendizer (UFO D á À Ý HEp„ )(TV series, 1975-10-05) UFO Robot Grendizer tai Great Mazinger (UFO D á À Ý HEp„ ÞáÀ„´ êï Ý Ù„ )(Movie, 1976-03-20) Daikyu Maryu Gaiking (° Y§æÙEà Ý á )(TV series, 1976-04) Nagai had some problems with Toei and was left out of the credits. [31] Eventually Nagai sued Toei and stopped further collaborations for some time. Nagai himself confirmed that he was the creator of the robot in the Comicon 2007 of Naples, Italy. [32] Groizer X (á  Ep„ X, Gloizer X)(TV series, 1976-07-01) Grendizer, Getter Robot G, Great Mazinger: Kessen! Daikaijuu (á À Ý HEp„ qÄß タ„  DGqáÀ„´ êï Ý Ù„ ç!° [Ô)(Movie, 1976-07-18)

• • • • • •

Majokko Tickle (§Æ MXチß … † )(TV series, 1978-03-06) Psycho Armor Govarian (ƒ EÄ ³„ ê„ Þ „ バ² ³Ý )(TV series, 1983-07-06) God Mazinger (Þ ß Ú êï Ý Ù„ )(TV series, 1984-04-15) Chounouryoku Sh€jo Barabanba (+,‹~Æ バö バÝ バ)(OVA, 1985-06-21) Mujigen Hunter Fandora (èéêÆÝ タ„ フŒÝ Ú ö , Dream Dimension Hunter Fandora)(OVA, 1985-09-21) Violence Jack: Harem Bomber (バE€ÀÝ³ï ャß … Æ„ À ,DÝ バ„ , Violence Jack: Slumking)(OVA, 1986-06) Devilman: Tanjo Hen (Á ·† êÝ ë€}, Devilman: The Birth)(OVA, 1987-11-01) Violence Jack: Evil Town (バE€ÀÝ³ï ャß … Ììí, Violence Jack: Jigokugai)(OVA, 1988-12-21) Juushin Liger (Ô- ö EÙ„ , Beast-God Riger)(TV series, 1989-03-11) Shutendoji (å 5!X, Shuten Douji)(OVA, 1989-12) Devilman: Yocho Sir“ne Hen (Á ·† êÝ 8îrÀ „ ï}, Devilman: The Demon Bird)(OVA, 1990-02-25) ャß … Œ† ³ KEÝ Ú }, Violence Jack: Hell's Violence Jack: Hell's Wind Hen (バE€ÀÝ³ï

• • • • • • • •

Wind)(OVA, 1990-11-09) Getter Robot Go (Äß タ„  Dð)(TV series, 1991-02-11) CB Chara Nagai Go World (CBà ャö ÇÈÉ£„ † Ú )(OVA, 1991-02-21) Abashiri Family (ú mî µ  家, Abashiri Ikka)(OVA, 1991-05-21) Kekko Kamen (š MÌ · ÚÛ)(OVA, 1991-08-01) )(1992-04-24) Kyukioku no Sex Adventure Kamasutra (ñòé SEX³Ú Ü Ý チャ„ Û „ ê³„´ö Iron Virgin Jun (鉄é µÆ JUN, Tetsu no Sh€jo JUN)(OVA, 1992-07) Oira Sukeban (お¹ Î Æ ó(³ dバÝ ), Sukeban Boy, Delinquent in Drag)(OVA, 1992-08) Hanappe Bazooka (E'バF„ Û )(OVA, 1992-09)

• • • • • •

187

Go Nagai

188

Black Lion (àé ô<, Kuro no Shishi)(OVA, 1992-11) New Cutey Honey (tqà ‡„ テÂ „ ÆÕ„ , Shin Cutey Honey)(OVA, 1994-04) Heisei Harenchi Gakuen ('˜ ÆÀ Ý チyÕ )(OVA, 1996-03) Harenchi Koumon Manyuuki (ÆÀ Ý チõöêÝ ÷²)(OVA, 1996-05) Cutey Honey F (à ‡„ テÂ „ ÆÕ„ F(øùúûü))(TV series, 1997-02) Cutey Honey F (à ‡„ テÂ „ ÆÕ„ F(øùúûü))(Movie, 1997-07) Shin Getter Robo: Sekai Saigo no Hi (ŸÄß タ„  DY¢ £ aýé 日Z, Getter Robo: Armageddon))(OVA, 1998-08) • Devilman Lady (Á ·† êÝÀÁÂ„ )(TV series, 1998-10) • Amon: The Apocalypse of Devilman (Á ·† êÝ þÿ録)(OVA, 2000€05) • • • • • • •

• • • • • • • • • • • • •

Shin Getter Robot tai Neo Getter Robot (ŸÄß タ„  DÞŽ€Äß タ„  D)(OVA, 2000€12) Mazinkaiser (êï Ý Û Ep„ )(OVA, 2001€09) Demon Lord Dante (§ë HÝ テ, Mao Dante)(TV series, 2002€08) Mazinkaiser: Death! The Great General of Darkness (êï Ý Û Ep„ 死Ž!ßà° Îá, Mazinkaiser: Shitou! Ankoku Daishogun)(OVA, 2003€07) New Getter Robo (tÄß タ„  D, Shin Getter Robo)(OVA, 2004-04) Panda-Z - The Robonimation (â Ý H„ ゼß ´ THE ROBONIMATION)(TV series, 2004-04) Re: Cutie Honey (Re:à ‡„ テÂ „ ÆÕ„ )(OVA, 2004€07) Gaiking Legend of Daiku-Maryu (ÙEà Ý á )(TV series, 2005€11) Demon Prince Enma (0Ô X炎§, Kikoushi Enma)(OVA, 2006€08) Koutetsushin Jeeg (å鉄-ï„á , Steel God Jeeg)(TV series, 2007-04) Shin Mazinger Shougeki! Z Hen (Ÿêï Ý Ù„ 衝撃! Z} )(TV series, 2009-04) Mazinkaizer SKL (êï Ý Û Ep„ SKL)(OVA, 2010€11) Dororon Enma-kun Meeramera (Dororonãº §?º メ~ö めÎ )(TV series, 2011-04-07) This list is incomplete.

Tokusatsu/Live action created or based in the works of Go Nagai Harenchi Gakuen (ÆÀ Ý チyÕ )(Movie, 1970-05-02) Harenchi Gakuen: Shintai Kensa no Maki (ÆÀ Ý チyÕ 身体検査é ¸)(Movie, 1970-08-01) ¸)(Movie, 1970-09-12) Harenchi Gakuen: Tackle Kiss no Maki (ÆÀ Ý チyÕ タß … † qàß³é Harenchi Gakuen (ÆÀ Ý チyÕ )(TV series, 1970-10-01) Shin Harenchi Gakuen (tÆÀ Ý チyÕ )(Movie, 1971-01-03) Battle Hawk (バ´ † ホ„ … )(TV series, 1976-10-04) Pro-Wres no Hoshi Aztecaser (÷À³é . ³³ テÛ Ep„ )(TV series, 1976-10-07) DÝ バ„ , Super Space Machine X Bomber, Star Fleet)[TV X Bomber (XDÝ バ„ , +¢£êr„Ý”ß…³ series, 1980-10-04) • Nagai Go no Kowai Zone: Kaiki (ÇÈÉé Ì -¹ ゾ„ Ý Ó0)(Movie, 1989-08-25) • Nagai Go no Kowai Zone 2: Senki (ÇÈÉé Ì -¹ ゾ„ Ý 2 0)(Movie, 1990-08-24) • • • • • • • •

• The Ninja Dragon (YØ¥ y任侠伝 ò道ÐÑÚ ³ æ, Kuso Kagaku Ninkyoden: Gokudo Ninja Dosuryu)(Movie, 1990-10-25) • Kekko Kamen (š MÌ · ÚÛ)(Movie, 1991-03-22) • Bish€jo Tantei Maboroshi Panty (ì ~Æ 探偵ま» ¾î â Ý テÂ )(Movie, 1991-11-25) • Kekko Kamen 2: We'll be back... (š MÌ · ÚÛ2, š MÌ · ÚÛ2 We„ll be backqqq)(Movie, 1992-03-27) • Nagai Go no Horror Gekijo: Mannequin (ÇÈÉé ホö „ 劇î êŽà Ý )(Movie, 1992-04-24) • Oira Sukeban: Kessen! Pansuto (お¹ Î Æ ó ç!â Ý ³ 党)(Movie, 1992-07-24) • Nagai Go no Horror Gekijo: Kirikagami (ÇÈÉé ホö „ 劇î 霧加- )(Movie, 1992-08-28) • Kekko Kamen 3 (š MÌ · ÚÛ3)(Movie, 1993-04-23)

Go Nagai

189

• Jushin Thunder Liger: Fist of Thunder (Ô- ƒ Ý H„ ö EÙ„ 怒µ é 雷鳴 FIST OF THUNDER)(Movie, 1995-02-21) • Heisei Harenchi Gakuen ('˜ ÆÀ Ý チyÕ )(Movie, 1996-02-02) • Kyuketsu Onsen e Yokoso (89温Cõ¼· Ì )(Movie, 1997-04-21) • Lovely Angel: Homon Soap Degozaimasu (ö +² „ q” Ý ï s† 訪問X„ ÷ ©ござ¹ ま)(Movie, 1997-09-26) • Lovely Angel 2: Taiketsu! Homon Soap Jo vs Shuccho SM Jo!! (ö +² „ q” Ý ï s† 2 Þç!訪問X„ ÷ 嬢vsØ 張SM嬢!!)(Movie, 1997-11-28) • Kekko Kamen (š MÌ · ÚÛ, Mask of Kekkou)(Movie, 2004-02-06) • Nagai Go World: Maboroshi Panty VS Henchin Pokoider (ÇÈÉ£„ † Ú ま» ¾î â Ý テÂ VS±º Í º eÄ EH„ )(Movie, 2004-05-10) • Cutie Honey (à ‡„ テÂ „ ÆÕ„ )(Movie, 2004-05-29) • Kekko Kamen: Mangriffon no Gyakushu (š MÌ · ÚÛ êÝ á ² フォÝ é ¼Å, Kekko Kamen: The MGF Strikes Back!)(Movie, 2004€07-23) • Devilman (Á ·† êÝ )(Movie, 2004-10-09) • Kekko Kamen Returns (š MÌ · ÚÛ RETURNS)(Movie, 2004-10-31) • Kekko Kamen Surprise!! (š MÌ · ÚÛ SURPRISE)(Movie, 2004-10-31) • Kabuto-O Beetle (兜ë ·„ ´ † )(Movie, 2005-07-16) • Oira Sukeban (お¹ Î Æ ó)(Movie, 2006-02-04) • Kekko Kamen Royale (š MÌ · ÚÛ  £E‘† )(Movie, 2007-05-25) • Kekko Kamen Premium (š MÌ · ÚÛ ÷ À Å ³,)(Movie, 2007-06-22) • Kekko Kamen Forever (š MÌ · ÚÛ フォ„ ” バ„ )(Movie, 2007-07-27) • Cutie Honey The Live (à ‡„ テÂ „ ÆÕ„ THE LIVE)(TV series, 2007-10-02) • Abashiri Ikka: The movie (ú mî µ  家 THE MOVIE)(Movie, 2009-11-21)

Additionally, Nagai appears as an actor in the following productions: • The Toxic Avenger Part II (1989) • Nijisseiki Sh€nen Dokuhon (1989) • Kekko Kamen 2: We'll be back... (1992) • Nagai Go no Horror Gekijo: Mannequin (1992) • Oira Sukeban: Kessen! Pansuto (1992) • Mirai no Omoide: Last Christmas (1992) • Metropolis (anime) (2001) Guest voice • Kekko Kamen (2004) • Nagai Go World: Maboroshi Panty VS Henchin Pokoider (2004) • Cutie Honey (2004) • Devilman (2004) • Cutie Honey The Live (2007) episode 26 (DVD-only episode)

This list is incomplete.

Go Nagai

References [1] http:// www.dynamicproduction.co.jp/ [2] Lambiek Comiclopedia. "Comic Creator: G‰ Nagai" (http:/ / lambiek.net/artists/n/nagai_go.htm). Lambiek. . Retrieved 2008-03-13. [3] Patten, Fred (2004). "Hypersexual Psychoviolence! The Dynamic World of Go Nagai" (http:// books.google.com/ books?id=u3K0z7s0Z7cC&lpg=PA194&pg=PA194). Watching Anime, Reading Manga. Stone Bridge Press. p. 194. ISBN 978-1-880656-92-1. . [4] "L'AUTORE / CHI E' GO NAGAI" (http:/ /web.archive.org/web/20071229194605/http:// www.d-world.jp/goldrake/autore.html) (in Italian). D/visual. 2007-03-03. Archived from the srcinal (http:/ / www.d-world.jp/goldrake/autore.html) on 2007-12-29. . Retrieved 2008-03-29. [5] "GO HISTORY" (http:/ /www.mazingerz.com/MrGO/MrGO.html) (in Japanese). The World of Go Nagai. . Retrieved 2008-05-15. [6] "Happywedding Go & Sumiko" (http:/ / www.mazingerz.com/DYNAMIC/WEDDING.html) (in Japanese). The World of Go Nagai. . Retrieved 2008-03-29. [7] "Go Nagai - Il potere e la gloria" (http:/ / web.archive.org/web/20080606023954/http:// www.ilpotereelagloria.com/biografie/ Go-Nagai) (in Italian). Il potere e la gloria. Archived from the srcinal (http:/ /www.ilpotereelagloria.com/biografie/Go-Nagai) on 2008-06-06. . Retrieved 2008-03-29. [8] Rafaelli, Luca. "La parola al papÉ di Goldrake - Colloquio con Go Nagai" (http:/ /xl.repubblica.it/dettagliospeciale/45961) (in Italian). La Repubblica - Gruppo Editoriale L'Espresso. . Retrieved 2008-03-29. [9] "Manga Kakumei 40 Nen Nagai Go To kushu" (http:/ / www.nikkansports.com/special/nagai/2007/top-nagai.html) (in Japanese). Gag, serious, SF, Fantasy Nadode Fan Miryo. Nikkan Sports News. . Retrieved 2008-04-02. [10] "7 & Y - Nagai Go Debut 40 Shunen Kinen Kikaku Nagai Go Senshu" (http:// www.7andy.jp/esb/docs/special/200711_bible/index2. html) (in Japanese). Seven and Y Corp. . Retrieved 2008-03-29. [11] Scalambra, Giovanni (2002-03-11). "Il grande Go Nagai" (http:// www.divertimento.it/articoli/2002/03/11/275833.php?ppid=275850) (in Italian). Divertimento.it - NEXTA Media Srl. . Retrieved 2008-03-29. [12] Crispino, Susanna (2007-05-26). "La Sirena a strisce. Il Comicon, festival internazionale del fumetto e dell'animazione" (http:/ /lnx. whipart.it/artivisive/3328/comicon-festival-fumetto-animazione-napoli.html) (in Italian). Whipart Onlus. . Retrieved 2008-03-29. [13] Di Pino, Angelo (2007-05-22). "Go Nagai...intervista integrale." (http:// cartoonmag.altervista.org/index.php?option=com_content& task=view&id=275&Itemid=102) (in Italian). CartoonMag. . Retrieved 2008-03-29. [14] "Hikken - Mazinger Z, Devilman, Cutie Honey Nado Kyosho - Nagai Go, 40 nen Bun no Sakuhingunga Ichido Ni" (http://trendy.nikkeibp. co.jp/article/pickup/20071226/1005726/?ST=ent&P=4) (in Japanese). Trendy.net - Nikkei Business Publications. 2007-12-26. . Retrieved 2008-04-02. [15] "L'AUTORE / CHI E' GO NAGAI" (http:/ / web.archive.org/web/20071229194605/http:// www.d-world.jp/goldrake/autore.html) (in italian). D/visual. Archived from the srcinal (http:/ / www.d-world.jp/goldrake/autore.html) on 2007-12-29. . Retrieved 2008-01-25. [16] "Kodansha magazine" (http:/ / www.mazingerz.com/magazine/kodanshaBOKU.html) (in Japanese). The World of Go Nagai. . Retrieved 2008-01-25. [17] "Yadamon" (http:/ / www.mazingerz.com/GAG/YADAMON.html) (in Japanese). The World of Go Nagai. . Retrieved 2008-01-25. [18] Colpi, Federico (1996). "SERIE TV - L'autore" (http:/ / www.goldrake.info/serietv/nagai-go.html) (in Italian). Il mondo di Go Nagai. Dynamic Italia Srl.. . Retrieved 2008-04-11. [19] "Harenchi Gakuen" (http:/ / www.misiontokyo.com/index.php?ind=reviews&op=entry_view&iden=162) (in Spanish). Mision Tokyo. . Retrieved 2008-04-12. [20] Connel, Ryan (2007-03-30). "40-year veteran of ecchi manga Go Nagai says brains more fun than boobs" (http:/ /web.archive.org/web/ 20080317060218/http:// mdn.mainichi.jp/culture/waiwai/archive/news/2007/03/20070330p2g00m0dm024000c.html). Mainichi Newspapers Co.. Archived from the srcinal (http:/ /mdn.mainichi.jp/culture/waiwai/archive/news/2007/03/ 20070330p2g00m0dm024000c.html) on 2008-03-17. . Retrieved 2008-04-12. [21] "Tezuka Osamu @ World - Manga wo rks" (http:/ / en.tezuka.co.jp/manga/sakuhin/m074/m074_01.html). The Song for Apollo. Tezuka Productions. 2007-03-30. . Retrieved 2008-09-21. [22] "Harenchi Gakuen : Il manga" (http:/ / gonagainet.blogspot.com/2007/08/harenchi-gakuen-il-manga.html) (in Italian). Gonagainet. 2007-08-24. . Retrieved 2008-09-21. [23] "Nagai Go (Science Fiction and Fantasy Writers of Japan)" (http://www.sfwj.or.jp/member/NAGAI-GO.e.html). Science Fiction and Fantasy Writers of Japan. . Retrieved 2008-04-15. [24] "HARENCHI GAKUEN / SCUOLA SENZA PUDORE" (http:/ / web.archive.org/web/20071031161023/http://www.d-world.jp/dv/ gonagai.php?action=harenchi) (in Italian). d/visual. Archived from the srcinal (http:/ / www.d-world.jp/dv/gonagai.php?action=harenchi) on 2007-10-31. . Retrieved 2008-04-12. [25] Ito, Kinko (2005-02). "A History of Manga in the Context of Japanese Culture and Society" (http:/ / www.blackwell-synergy.com/doi/ full/10.1111/j.0022-3840.2005.00123.x?cookieSet=1). The Journal of Popular Culture (Blackwell Publishing) 38 (3): 456. doi:10.1111/j.0022-3840.2005.00123.x. . Retrieved 2008-04-12. [26] Alt, Matt (2007-06-16). "Go Monkey - a short excerpt of the Monkey Punch interview by Go Nagai" (http://altjapan.typepad.com/ my_weblog/2007/06/enemies_of_soci.html). . Retrieved 2008-04-12.

190

Go Nagai [27] "Abashiri ikka" (http:/ / web.archive.org/web/20080606030656/http:// www.d-world.jp/dv/gonagai.php?action=aba) (in Italian). d/visual. Archived from the srcinal (http:/ / www.d-world.jp/dv/gonagai.php?action=aba) on 2008-06-06. . Retrieved 2008-04-15. [28] "Dynamic Pro Company Overview" (http:/ / www.dynamicproduction.co.jp/d-pro_gaiyo.html) (in Japanese). Dynamic Production. 2007. . Retrieved 2008-05-15. [29] Mandana Tsushin Blog. "The Busiest Mangaka Ever: Go Nagai" (http://comipress.com/article/ 2008/02/11/3257). ComiPress. . Retrieved 2008-03-06. [30] Joel Hahn. "Kodansha Manga Awards" (http:/ / web.archive.org/web/20070816031310/http:// www.hahnlibrary.net/comics/awards/ kodansha.shtml). Comic Book Awards Almanac. Archived from the srcinal (http:/ /www.hahnlibrary.net/comics/awards/kodansha.shtml) on 2007-08-16. . Retrieved 2007-08-21. [31] "Biografia Go Nagai" (http:/ /www.encirobot.com/5nagai/n_bio.asp) (in Italian). Enciclo'Robopedia. . Retrieved 2008-03-25. [32] "Go Nagai al Comicon: annunci dalla giornata di sabato" (http:// animeclick.lycos.it/notizia.php?id=7616) (in Italian). AnimeClick.it. . Retrieved 2008-03-25.

External links • Go Nagai (http:/ /www.sfwj.or.jp/member/NAGAI-GO.e.html) (Science Fiction and Fantasy Writers of Japan)

• • • • •

• •

• (Japanese) ÇÈ Éäó /¹ ご· å (http://www.sfwj. or.jp/member/NAGAI-GO.html) (日„SF‰家… ö +) • a Japanese version of the page. The World of Before the Apocalypse Fan Page: Go Nagai (http:/ /www.cjas.org/~bchow/gonagai/) Go Nagai (http:/ /www.animenewsnetwork.com/encyclopedia/people.php?id=3140) at Anime News Network's Encyclopedia Revelation, An Essay on Devilman by Go Nagai (http:/ /www.devilworld.org/ revelations.html) (Japanese) The World of Go Nagai (http:/ /www.mazingerz.com/GO.html), with lists and pictures of various Nagai and Nagai-related works, and many notes on them. (Italian) Enciclo'Robopedia - Sezione di Go Nagai (http:/ /www.encirobot.com/5nagai/nagai_main.asp), a website with a biography of Go Nagai and a list of almost all of his manga and anime work from 1967 to 2004, as well as other works based on his srcinal ideas. (Italian) L'AUTORE / CHI E' GO NAGAI - Dynamic Italie (http:/ /www.d-world.jp/goldrake/autore.html), the official biography of Go Nagai by D/visual. (Italian) Shuten Doji (Anime Mundi) (http:/ /www.terrediconfine.eu/Default.aspx?tabid=610), detailed production information

191

Hayao Miyazaki

192

Hayao Miyazaki Hayao Miyazaki

Born

January 5, 1941 Bunky€, Tokyo, Japan

Occupation

Anime Director Animator Screenwriter Manga Artist Storyboard Artist

Years active

1963€present

Known for

NausicaÑ Castle in the Sky My Neighbor Totoro Kiki's Delivery Service Porco Rosso Princess Mononoke Spirited Away Howl's Moving Castle Ponyo

Spouse

Akemi Šta

Hayao Miyazaki (宮崎駿 Miyazaki Hayao, born January 5, 1941) is a Japanese manga artist and prominent film director and animator of many popular anime feature films. Through a career that has spanned nearly fifty years, Miyazaki has attained international acclaim as a maker of animated feature films and, along with Isao Takahata,

co-founded Studio Ghibli, an animation studio and production company. The success of Miyazaki's films has invited comparisons with American animator Walt Disney, British animator Nick Park and Robert Zemeckis, and he has been named one of the most influential people by Time magazine.[1] [2] Born in Bunky€, Tokyo, Miyazaki began his animation career in 1961 when he joined Toei Animation. From there, Miyazaki worked as an in-between artist for Gulliver's Travels Beyond the Moon where he pitched his own ideas that eventually became the movie's ending. He continued to work in various roles in the animation industry over the decade until he was able to direct his first feature film Lupin III: The Castle of Cagliostro which was released in 1979. After the success of his next film, Nausica‹ of the Valley of the Wind, he co-founded Studio Ghibli where he

Hayao Miyazaki continued to produce many feature films until his temporary retirement in 1997 following Princess Mononoke. While Miyazaki's films have long enjoyed both commercial and critical success in Japan, he remained largely unknown to the West until Miramax Films released Princess Mononoke. Princess Mononoke was the highest-grossing film in Japan•until it was eclipsed by another 1997 film, Titanic•and the first animated film to win Picture of the Year at the Japanese Academy Awards. Miyazaki returned to animation with Spirited Away. The film topped Titanic's sales at the Japanese box office, also won Picture of the Year at the Japanese Academy Awards and was the first anime film to win an American Academy Award. Miyazaki's films often incorporate recurrent themes like humanity's relationship to nature and technology, and the difficulty of maintaining a pacifist ethic. Reflecting Miyazaki's feminism, the protagonists of his films are often strong, independent girls or young women. Miyazaki is a vocal critic of capitalism and globalization. [3] While two of his films, The Castle of Cagliostro and Castle in the Sky, involve traditional villains, his other films like Nausica‹ or Princess Mononoke present morally ambiguous antagonists with redeeming qualities.

Early life and education Miyazaki, the second of four sons, was born in the town of Akebono-cho, part of Tokyo's Bunky€. During World War II, Miyazaki's father, Katsuji, was director of Miyazaki Airplane, owned by his brother (Hayao Miyazaki's uncle), which made rudders for A6M Zero fighter planes. During this time, Miyazaki drew airplanes and developed a lifelong fascination with aviation, a penchant that later manifested as a recurring theme in his films. [4] Miyazaki's mother was a voracious reader who often questioned socially accepted norms. From 1947 until 1955 his mother underwent treatment for Pott disease. She spent the first few years mostly in the hospital, but was eventually able to be nursed from home. [4] During his childhood, Miyazaki was forced to switch schools several times. These would all impact elements of his films. First, when he was three, Miyazaki's family was forced to evacuate Bunky€. He began school as an evacuee in 1947. At age nine [4] his family returned home, but the following year he switched to another American-influenced elementary school. Miyazaki attended Toyotama High School. In his third year there, he saw the film Hakujaden (The Tale of the White Serpent ), which has been described as "the first-ever Japanese feature length color anime." [5] After high school, Miyazaki attended Gakushuin University, from which he would graduate in 1963 with degrees in political science and economics. He was a member of the "Children's Literature research club," the "closest thing to a comics club in those days." [5]

Manga and anime interest Like many children in postwar Japan, Miyazaki decided he wanted to become a manga artist during high school. However, his talents were limited to things like planes, tanks and battleships; he had an especially hard time drawing people. Famous manga artists like Osamu Tezuka, Tetsuji Fukushima and Sanpei Shirato influenced his early works. In order to distance himself from the criticism he expected from following Tezuka's form, he consciously developed his own style, but was unable to fully shake Tezuka's influence off until he began studying animation. [6] His interest in animation began during high school after watching Japan's first full-length feature animation The Tale

of the White Serpent by Taiji Yabushita. Miyazaki "fell in love" with the movie's heroine and it left a strong impression on him. It was after this Miyazaki decided to stop his pursuit of being a manga artist and pursue animation.[7] However, in order to become an animator, he had to learn to draw the human figure, since his prior work had been limited to airplanes and battleships. [5]

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Hayao Miyazaki

Animation career Toei Animation In April 1963, Miyazaki got a job at Toei Animation, working as an in-between artist on the anime Watchdog Bow Wow (Wanwan Chushingura). He was a leader in a labor dispute soon after his arrival, becoming chief secretary of Toei's labor union in 1964. [8] He first gained recognition while working as an in-between artist on the Toei production Gulliver's Travels Beyond the Moon (Garib• no Uchuu Ryok€) in 1965. He found the srcinal ending to the script unsatisfactory and pitched his own idea, which became the ending used in the final film. In October 1965, he married fellow animator Akemi Ota, who later left work to raise their two sons, Gor€ and Keisuke. In 1968 played an important role asbychief artist,heand scene designer on Hols: of the Sun, Miyazaki a landmark animated film directed Isao animator, Takahata,concept with whom continued to collaborate forPrince the next three decades. In Kimio Yabuki's Puss in Boots (1969), Miyazaki again provided key animation as well as designs, storyboards and story ideas for key scenes in the film, including the climactic chase scene. Shortly thereafter, Miyazaki proposed scenes in the screenplay for Flying Phantom Ship, in which military tanks would roll into downtown Tokyo and cause mass hysteria, and was hired to storyboard and animate those scenes. In 1971, Miyazaki played a decisive role in developing structure, characters and designs for Animal Treasure Island and Ali Baba and the 40 Thieves. He also helped in the storyboarding and key animating of pivotal scenes in both films.

Works for other studios Miyazaki left Toei in 1971 for A Pro, where he co-directed six episodes of the first Lupin III series with Isao Takahata. He and Takahata then began pre-production on a Pippi Longstocking series and drew extensive story boards for it. However, after traveling to Sweden to conduct research for the film and meet the srcinal author, Astrid Lindgren, they were denied permission to complete the project, and it was canceled. [8] Instead of Pippi Longstocking , Miyazaki conceived, andinanimated twomiddle Panda!ofGo, Panda! shorts which were directed by Takahata. Miyazaki then left wrote, Nippondesigned Animation 1979 in the the production of Anne of Green Gables to direct his first feature anime The Castle of Cagliostro (1979), a Lupin III adventure film. Miyazaki's next film, Nausica‹ of the Valley of the Wind (Kaze no Tani no Naushika, 1984), was an adventure film that introduced many of the themes which recur in later films: a concern with ecology and the human impact on the environment; a fascination with aircraft and flight; pacifism, including an anti-military streak; feminism; and morally ambiguous characterizations, especially among villains. This was the first film both written and directed by Miyazaki. He adapted it from his manga series of the same title, which he began writing and illustrating two years earlier, but which remained incomplete until after the film's release.

Studio Ghibli Studio Ghibli was srcinally established in 1985, as a subsidiary of Tokuma Shoten. In 2005, Hayao Miyazaki, Toshio Suzuki and Isao Takahata established a new Studio Ghibli in Koganei, Japan and acquired all the copyrights of Miyazaki's works and business rights from Tokuma Shoten.[9] [10]

Works Following the success of Nausica‹ of the Valley of the Wind, Miyazaki co-founded the animation production company Studio Ghibli with Takahata in 1985, and has produced nearly all of his subsequent work through it. Miyazaki continued to gain recognition with his next three films. Laputa: Castle in the Sky (1986) recounts the adventure of two orphans seeking a magical castle-island that floats in the sky; My Neighbor Totoro (Tonari no Totoro, 1988) tells of the adventure of two girls and their interaction with forest spirits; and Kiki's Delivery Service (1989), adapted from a novel by Eiko Kadono, tells the story of a small-town girl who leaves home to begin life as a

194

Hayao Miyazaki witch in a big city. Miyazaki's fascination with flight is evident throughout these films, ranging from the ornithopters flown by pirates in Castle in the Sky, to the Totoro and the Cat Bus soaring through the air, and Kiki flying her broom.

Porco Rosso (1992) was a notable departure for Miyazaki, in that the main character was an adult male, an anti-fascist aviator transformed into an anthropomorphic pig. The film is set in 1920s Italy and the title character is a bounty hunter who fights air pirates and an American soldier of fortune. The film explores the tension between selfishness and duty. The film can also be viewed as an abstract self-portrait of the director; its subtext can be read as a fictionalized autobiography. Like many of his movies, it is richly allusive and generates a lot of its humour and charm out of its references to American film of the 1930s and 1940s. Porco Rosso, for instance, owes much to the various screen personae of Humphrey Bogart. 1997's Princess Mononoke (Mononoke-Hime) returns to the ecological and political themes of Nausica‹ of the Valley of the Wind. The plot centers on the struggle between the animal spirits who inhabit the forest and the humans who exploit the forest for industry. Both movies implicitly criticize the adverse impact of humans on nature, and portray the military in a negative light. Princess Mononoke is also noted as one of his most violent pictures. The film was a huge commercial success in Japan, where it became the highest grossing film of all time, until the later success of Titanic, and it ultimately won Best Picture at the Japanese Academy Awards. Miyazaki went into what would prove to be temporary retirement after directing Princess Mononoke. During this period of semi-retirement, Miyazaki spent time with the daughters of a friend, one of whom became his inspiration for Spirited Away (Sen to Chihiro no Kamikakushi, 2001). Spirited Away is the story of a girl, forced to survive in a bizarre spirit world, who works in a bathhouse for spirits after her parents are turned into pigs by the sorceress who owns it. Released in Japan in July 2001, the film broke attendance and box office records with ¢30.4 billion (approximately $300 million) in total gross earnings from more than 23 million viewings. It has received many awards, including Best Picture at the 2001 Japanese Academy Awards, Golden Bear (First Prize) at the 2002 Berlin Film Festival, and the 2002 Academy Award for Best Animated Feature. In July 2004, Miyazaki completed production on Howl's Moving Castle, a film adaptation of Diana Wynne Jones' fantasy novel. Miyazaki came out of retirement following the sudden departure of srcinal director Mamoru Hosoda. [11] The film premiered at the 2004 Venice International Film Festival and won the Golden Osella award for animation technology. On November 20, 2004, Howl's Moving Castle opened to general audiences in Japan where it earned ¢1.4 billion in its first two days. An English language version was later released in the US by Walt Disney. In 2005, Miyazaki received a lifetime achievement award at the Venice Film Festival. Later that year, Chinese media reported that Miyazaki's final film project would be I Lost My Little Boy, based on a Chinese children's book. [12] This later proved to be faked news. [13] In 2006, Miyazaki's son Gor€ Miyazaki completed his first film, Tales from Earthsea, based on several stories by Ursula K. Le Guin. Hayao Miyazaki had long aspired to make an anime of this work and had repeatedly asked for permission from the author, Ursula K. Le Guin. However, he had been refused every time. Instead, Miyazaki produced Nausica‹ of the Valley of the Wind and Shuna no tabi, ( The Journey of Shuna) as substitutes (some of the ideas from Shuna no tabi were diverted to this movie). When Le Guin finally requested that Miyazaki produce an anime adaptation of her work, he refused, because he had lost the desire to do so. The Author, Ursula K. Le Guin, remembers this differently: "In August 2005, Mr Toshio Suzuki of Studio Ghibli came with Mr Hayao Miyazaki to talk with me and my son (who controls the trust which owns the Earthsea copyrights). We had a pleasant visit in my house. It was explained to us that Mr Hayao wished to retire from film making, and that the family and the studio wanted Mr Hayao's son Goro, who had never made a film at all, to make this one. We were very disappointed, and also anxious, but we were given the impression, indeed assured, that the project would be always subject to Mr Hayao's approval. With this understanding, we made the agreement." Among fans of the nearly forty year old books, this film was mostly disappointing.

195

Hayao Miyazaki Throughout the film's production, Gor€ and his father were not speaking to each other, due to a dispute over whether or not Gor€ was ready to direct. [14] This movie was srcinally to be produced by Hayao Miyazaki, but he declined as he was already in the middle of producing Howl's Moving Castle (film). Ghibli decided to make Gor€, who had yet to head any animated films, the producer instead. In 2006, Nausicaa.net reported Hayao Miyazaki's plans to direct another film, rumored to be set in Kobe. Among areas Miyazaki's team visited during pre-production were an old cafƒ run by an elderly couple, and the view of a city from high in the mountains. The exact location of these places was censored from Studio Ghibli's production diaries. The studio also announced that Miyazaki had begun creating storyboards for the film and that they were being produced in watercolor because the film would have an "unusual visual style." Studio Ghibli said the production time would be about 20 months, with release slated for Summer 2008. In 2007, the film's title was publicly announced as Gake no ue no Ponyo, literally "Ponyo on a Cliff."[15] The story revolves around a five-year old boy, Sousuke, and the Princess goldfish, Ponyo, who wants to become human. Studio Ghibli President Toshio Suzuki noted that "70 to 80% of the film takes place at sea. It will be a director's challenge on how they will express the sea and its waves with freehand drawing." The film does not contain any computer generated imagery (CGI) in contrast to Miyazaki's other recent work. Ponyo was released in July 2008 in Japan, then in North America and the UK in 2009 and 2010, respectively. Hayao Miyazaki recently worked on a new film, titled Kokurikozaka kara (From up on Poppy Hill). The film is based on the 1980 two-volume manga of the same name written by Tetsur€ Sayama and drawn by Chizuru Takahashi. The film is a collaboration between Hayao Miyazaki, who wrote the screenplay, and his son Gor€, who directed the film. The story takes place in Yokohama and revolves around Umi Komatsuzaki, a high school student who is forced to fend for herself when her sailor father goes missing from the seaside town.

Television Miyazaki's work in television is less known than his films. In the 1970s he worked as an animator on the World Masterpiece Theater television animation series under Isao Takahata. His first directorial credit is for the television version of Lupin III in 1971; he was co-director (with Takahata) of the second half of the first television series, and director of two episodes of the second series. Miyazaki's most famous television work was his direction of Future Boy Conan (1978), an adaptation of the children's novel The Incredible Tide by Alexander Key. The main antagonist is the leader of the city-state of Industria who attempts to revive lost technology. The series also elaborates on the characters and events in the book, and is an early example of characterizations which recur throughout Miyazaki's later work: a girl who is in touch with nature, a warrior woman who appears menacing but is not an antagonist, and a boy who seems destined for the girl. The series also featured imaginative aircraft designs. Miyazaki also directed six episodes of Sherlock Hound, an Italian-Japanese co-production which retold Sherlock Holmes tales using anthropomorphic animals. These episodes were first broadcast in 1984 €85.

Manga Miyazaki has illustrated several manga, beginning in 1969 with Puss in Boots (Nagagutsu wo Haita Neko). His major work in this format is the seven-volume manga version of his tale Nausica‹ of the Valley of the Wind , which he created from 1982 to 1994 and which has sold millions of copies worldwide. Other works include Sabaku no Tami (砂漠é ! People of the Desert), Shuna no Tabi (r‡è é " The Journey of Shuna), The Notebook of Various Images (ŠØŠ„ ´ Zass€ N€to), which was the basis of his film Porco Rosso. In October 2006, A Trip to Tynemouth was published in Japan. Miyazaki based it on the young adult short stories of Robert Westall, who grew up in World War II England. The most famous story, first published in a collection called Break of Dark, is titled Blackham's Wimpy, the name of a Vickers Wellington Bomber featured in the story, whose nickname comes from the character J. Wellington Wimpy from the Popeye comics and cartoons (the Wellington was

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Hayao Miyazaki named for Arthur Wellesley, 1st Duke of Wellington, victor over Napoleon). In early 2009, Miyazaki returned with a new manga called Kaze Tachinu (T#Í $ The Wind Rises), telling the story of Mitsubishi A6M Zero fighter designer Jiro Horikoshi. The manga was published in two issues of the Model Graphix magazine, published on February 25 and March 25, 2009. [16]

Creation process and animation style Miyazaki takes a leading role when creating his films, frequently serving as both writer and director. He personally reviewed every frame used in his early films, though due to health concerns over the high workload he now delegates some of the workload to other Ghibli members.[17] In a 1999 interview, Miyazaki said, "at this age, I cannot do the work I used[18] to. If my staff can relieve me and I can concentrate on directing, there are still a number of movies I'd like to make." Miyazaki uses very human-like movements in his animation. In addition, much of the art is done using water colors. In contrast to American animation, the script and storyboards are created together, and animation begins before the story is finished and storyboards are developing. [19] [20] Miyazaki has used traditional animation throughout the animation process, though computer-generated imagery was employed starting with Princess Mononoke to give "a little boost of elegance". [17] In an interview with the Financial Times, Miyazaki said "it's very important for me to retain the right ratio between working by hand and computer. I have learnt that balance now, how to use both and still be able to call my films 2D." [21] Digital paint was also used for the first time in parts of Princess Mononoke in order to meet release deadlines. [22] It was used as standard for subsequent films. However, in his 2008 film Ponyo, Miyazaki went back to traditional hand-drawn animation for everything, saying "hand drawing on paper is the fundamental of animation."[23] Studio Ghibli's computer animation department was dissolved before production on Ponyo was started, and Miyazaki has decided to keep to hand drawn animation.[24]

Themes and devices Miyazaki's works are characterised by the recurrence of progressive themes, such as environmentalism, pacifism, feminism, and the absence of villains. [25] His films are also frequently concerned with childhood transition and a marked preoccupation with flight. Miyazaki's narratives are notable for not pitting a hero against an unsympathetic antagonist. In Spirited Away, Miyazaki states "the heroine [is] thrown into a place where the good and bad dwell together. [...] She manages not because she has destroyed the 'evil', but because she has acquired the ability to survive." [26] Even though Miyazaki sometimes feels pessimistic about the world, he prefers to show children a positive world view instead, and rejects simplistic stereotypes of good and evil [27] Miyazaki's films often emphasize environmentalism and the Earth's fragility.[28] In an interview with The New Yorker, Miyazaki claimed that much of modern culture is "thin and shallow and fake", and "not entirely jokingly" looked forward to an apocalyptic age in which "wild green grasses" take over. [29] Growing up in the Sh€wa period was an unhappy time for him because "nature • the mountains and rivers • was being destroyed in the name of economic progress."[30] Miyazaki is critical of capitalism, globalization and their impacts on modern life. [31] Commenting on the 1954 Animal Farm animated film, he has said that "exploitation is not only found in communism, capitalism is a system just like that. I believe a company is common property of the people that work there. But that is a socialistic idea." [32] Nonetheless, he suggests that adults should not "impose their vision of the world on children."[19]

Nausica‹, Princess Mononoke and Howl's Moving Castle feature anti-war themes. In 2003, when Spirited Away won the Academy Award for Best Animated Feature, Miyazaki did not attend the awards show personally. He later explained that it was because he "didn„t want to visit a country that was bombing Iraq". [33]

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Hayao Miyazaki Miyazaki has been called a feminist by Studio Ghibli President Toshio Suzuki, in reference to his attitude to female workers.[34] This is evident in the all-female factories of Porco Rosso and Princess Mononoke, as well as the matriachal bath-house of Spirited Away. Many of Miyazaki's films are populated by strong female protagonists that go against gender roles common in Japanese animation and fiction. [35]

Influences A number of Western authors have influenced Miyazaki's work, including Ursula K. Le Guin, Lewis Carroll, and Diana Wynne Jones. Miyazaki confided to Le Guin that Earthsea had been a great influence on all his works, and that he kept her books at his bedside. [36] Miyazaki and French writer and illustrator Jean Giraud (aka Moebius) have influenced of each other andtitled haveMiyazaki become et friends as a Deux result Artistes of their Dont mutualLesadmiration. MonnaieVie de (Two Paris Artists held an„s exhibition their work Moebius: Dessins Prennent Drawings Taking on a Life of Their Own) from December 2004 to April 2005. Both artists attended the opening of the exhibition.[27] [37] Moebius named his daughter Nausicaa after Miyazaki's heroine.[38] Miyazaki has been deeply influenced by another French writer, Antoine de Saint-Exupƒry. He illustrated the Japanese covers of Saint-Exupƒry's Night Flight (Vol de nuit) and Wind, Sand and Stars (Terre des Hommes), and wrote an afterword for Wind, Sand and Stars. In an interview broadcast on BBC Choice on 2002-06-10, Miyazaki cited the British authors Eleanor Farjeon, Rosemary Sutcliff, and Philippa Pearce as influences. The filmmaker has also publicly expressed fondness for Roald Dahl's stories about pilots and airplanes; the image in Porco Rosso of a cloud of dead pilots was inspired by Dahl's They Shall Not Grow Old. As in Miyazaki's films, these authors create self-contained worlds in which allegory is often used, and characters have complex, and often ambiguous, motivations. Other Miyazaki works, such as My Neighbor Totoro, Princess Mononoke, and Spirited Away, incorporate elements of Japanese history and mythology. Miyazaki has said he was inspired to become an animator by The Tale of the White Serpent, considered the first [39] animated film, was one of his earliest modern anime, 1958. He has also thatinThe Snow Queen , a Soviet inspirations, andinthat it motivated him said to stay animation production. Yuriy Norshteyn, a Russian animator, is Miyazaki's friend and praised by him as "a great artist."[40] Norshteyn's Hedgehog in the Fog is cited as one of Miyazaki's favourite animated films.[39] Miyazaki has long been a fan of the Aardman Studios animation. In May 2006, David Sproxton and Peter Lord, founders of Aardman Studios, visited the Ghibli Museum exhibit dedicated to their works, where they also met Miyazaki. [41]

Pete Docter, director of the popular films Up and Monsters Inc. as well as a co-creator of other Pixar works, has praised Miyazaki and described him as an influence. [42] Glen Keane, the animator for successful Disney films such as The Little Mermaid, The Rescuers Down Under, Beauty and the Beast, Aladdin, and Tangled, has also credited Miyazaki as a "huge influence" on his work and on Disney in general during the past two decades. [43] Miyazaki has also been cited as an influence on various role-playing video games. The creator of Square's Final Fantasy series, Hironobu Sakaguchi, cited Miyazaki as inspiration for elements such as the airships and chocobos featured in the series.[44] The post-apocalyptic setting of SNK's Crystalis was inspired by Miyazaki's Nausicaa of the Valley of the Wind, and Crystalis in turn influenced Square's Secret of Mana.[45]

198

Hayao Miyazaki

199

Family life Miyazaki's dedication to his work has often been reported to have impacted negatively on his relationship with his son Gor€.[46] He has expressed he does not wish to create a dynasty of animators and his son has to create a name for himself.[24]

Filmography Director, screenplay and storyboards Lupin III Part I, 1971€72 anime series (with Isao Takahata) Yuki's Sun, 1972 (Pilot film for a never-realized anime series) Future Boy Conan, 1978 anime series The Castle of Cagliostro, 1979 film Lupin III Part II, 1980 anime series (2 episodes in season 4 under the pseudonym Tsutomu Teruki) • Sherlock Hound, 1984 anime series

• • • • •

Films in the Studio Ghibli canon • • • • •

Nausica‹ of the Valley of the Wind, 1984 film Castle in the Sky, 1986 film My Neighbor Totoro, 1988 film Kiki's Delivery Service, 1989 film Porco Rosso, 1992 film

• Princess Mononoke, 1997 film • Spirited Away, 2001 film (winner, Academy Award for Best Animated Feature, 2002)

Miyazaki at the 2009 San Diego Comic-Con International

• The Cat Returns,2002 Film(release in Japan), 2003 Film (Release in United States) • Howl's Moving Castle, 2004 film (nominee, Academy Award for Best Animated Feature, 2005) • Ponyo, 2008 film Shorts

• • • • • • • • • •

"On Your Mark", 1995 music video for Chage and Aska "The Whale Hunt", 2001 (short film exclusive to the Ghibli Museum) "Koro's Big Day Out", 2001 (short film exclusive to the Ghibli Museum) "Mei and the Kittenbus", 2002 (short film exclusive to the Ghibli Museum) "Imaginary Flying Machines", 2002 (short film exclusive to the Ghibli Museum as a part of the exhibited material) "Ornithopter Story: Fly! Hiyodori Tengu Go!", 2002 (short film exclusive to the Ghibli Museum as a part of the exhibited material) "Monmon the Water Spider", 2006 (short film exclusive to the Ghibli Museum) "House-hunting", 2006 (short film exclusive to the Ghibli Museum) "The Day I Harvested A Planet", 2006 (short film exclusive to the Ghibli Museum) "Film Guruguru", (2001 €8 • short film exclusive to the Ghibli Museum as a part of the exhibited material) [47] [48]

• "Mr. Dough and the Egg Princess", 2010 (short film exclusive to the Ghibli Museum)

Hayao Miyazaki

Other work • • • • • • • • • • • • • • •

Hols: Prince of the Sun, 1968 film: Key animation, storyboards, scene design Puss 'n Boots, 1969 film: Key animation, storyboards, design Flying Phantom Ship, 1969 film: Key animation, storyboards, design Animal Treasure Island (%· û Ñ&‚ D€butsu Takarajima), 1971: Story consultant, key animation, storyboards, scene design Ali Baba and the Forty Thieves (³² ババと40'é () Aribaba to Yonj…biki no Tozuku), 1971 film: Organizer, key animation, storyboards Panda! Go, Panda!, 1972 short film: Concept, screenplay, storyboards, scene design, key animation ¸ Panda Kopanda: Panda! Go, Panda! and the Rainy-Day Circus (â Ý HÄ â Ý H *+µƒ„Û³é Amefuri S•kasu no Maki), 1973 short film: Screenplay, storyboards, scene design, art design, key animation Heidi, Girl of the Alps, 1974 anime series: Scene design, layout 3000 Leagues in Search of Mother, 1976 anime series: Scene design, layout Anne of Green Gables, Episodes 1-15, 1979 anime series: Scene design, layout Pom Poko, Executive Producer, Story concept Whisper of the Heart, 1995 film: Screenwriter, storyboards, executive producer, sequence director The Cat Returns, 2002 film: Executive Producer, Project Concept Designer The Secret World of Arrietty, 2010 film: Executive Producer, screenwriter, animation planning supervisor [49] From up on Poppy Hill, 2011 film: Planning, screenwriter

References [1] Morrison, Tim (2006-11-13). "Hayao Miyazaki: In an era of high-tech wizardry, the anime auteur makes magic the old way" (http:// web. archive.org/web/20110623060452/http:// www.time.com/time/asia/2006/heroes/at_miyazaki.html). Time Asia. Archived from the srcinal (http:/ / www.time.com/time/asia/2006/heroes/at_miyazaki.html) on 2011-06-23. . Retrieved 2007-02-19. [2] Lee, Stan (2005-04-18). "Hayao Miyazaki" (http:/ / www.time.com/time/subscriber/2005/time100/artists/100miyazaki.html). The Time 100 (Time). . Retrieved 2009-07-15. [3] A Neppu interview with Miyazaki Hayao (http:/ /www.ghibliworld.com/news.html#3103_02), 30th of November, [4] McCarthy, Helen (1999-09-01). Hayao Miyazaki: Master of Japanese Animation. United States: Stone Bridge Press. p. 26. ISBN 1-880656-41-8. [5] Feldman, Steven (1994-06-24). "Hayao Miyazaki Biography" (http://www.nausicaa.net/miyazaki/miyazaki/miyazaki_biography.txt) (plain text). Nausicaa.net. . Retrieved 2007-02-19. [6] McCarthy, Helen. pp. 27€28. [7] McCarthy, Helen. pp. 28€29. [8] McCarthy, Helen (1999-09-01). Hayao Miyazaki: Master of Japanese Animation. United States: Stone Bridge Press. ISBN 1-880656-41-8. [9] ï +² [,“ß-ý Î .# (http:/ / www.yomiuri.co.jp/entertainment/ghibli/cnt_eventnews_20050215a.htm) [10] Matsutani, Minoru, " Japan's greatest film director? (http:/ /search.japantimes.co.jp/cgi-bin/nn20080930i1.html)", Japan Times, 30 September 2008. [11] He is a director of Superflat Monogramwhich is the anime film for the shop promotion of Louis Vuitton, and "The Girl Who Leapt Through Time". [12] "/崎0Î123Œ 456Œ 的Zo78" (http:/ / ent.sina.com.cn/m/f/ 2005-04-08/1150697174.html) (in Chinese). . Retrieved 2008-08-03. [13] "/崎09>">:Zo7"?:;!" (http:// web.archive.org/web/20081202202105/http:// www.zhongman.com/Article_im7/Class1/ animdhpl/200504/7814.html) (in Chinese). Archived from the srcinal (http:/ / www.zhongman.com/Article_im7/Class1/animdhpl/ 200504/7814.html) on 2008-12-02. . Retrieved 2008-08-03. [14] "Coranto Archive: July 3, 2006 Hayao Miyazaki's Surprise Visit" (http:// nausicaa.net/miyazaki/newspro/ latestnews_headlines-archive-7-2006.html). Nausicaa.net. 2006-07-03. . Retrieved 2007-02-19. [15] "Ghibli World" (http:/ / www.ghibliworld.com/news.html#1903). 2007-03-19. . Retrieved 2007-03-19. [16] "Miyazaki Starts New Manga, Kaze Tachinu" (http:/ / www.animekon.com/news-792-Miyazaki-Starts-New-Manga-Kaze-Tachinu.html). Animekon. . Retrieved 2009-02-12. [17] Ng, Jeannette. "Japanese anime wrestles with use of computer graphics" (http:// www.japantoday.com/jp/feature/363). Japan Today. . Retrieved 2007-06-06. [18] The Making of Spirited Away, Nippon TV Special; as shown on the R2 English language Spirited Away DVD.

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Hayao Miyazaki [19] "Midnight Eye interview: Hayao Miyazaki" (http:// www.midnighteye.com/interviews/hayao_miyazaki.shtml). Midnight Eye. . Retrieved 2007-06-07. [20] "Drawn to oddness" (http:/ / www.theage.com.au/articles/2003/06/05/1054700334418.html). The Age. June 7, 2003. . Retrieved 2007-06-06. [21] Andrews, Nigel (2005-09-20). "Japan's visionary of innocence and apocalypse" (http:// www.ft.com/cms/s/ 698539fe-2974-11da-8a5e-00000e2511c8.html). Financial Times. . Retrieved 2007-06-06. [22] Toshio Uratani (2004). Princess Mononoke: Making of a Masterpiece (Documentary). Japan: Buena Vista Home Entertainment. [23] "New Ponyo details at tenth radio Ghibli" (http://www.ghibliworld.com/news.html). Ghibliworld. . Retrieved 2008-06-24. [24] Press conference with John Lasseter and Hayao Miyazaki at the Four Seasons Hotel 2009-09-28 (http:// www.youtube.com/ watch?v=rDc0oML8jXk) [25] McCarthy, Helen (1999). Hayao Miyazaki: master of Japanese animation: films, themes, artistry. Stone Bridge Press. pp. 79, 89. ISBN 1-880656-41-8. [26] Lu, Alvin, ed (2002). The Art Of Miyazaki's Spirited Away. introduction by Hayao Miyazaki. Viz Communications. p. 15. ISBN 1-56931-777-1. [27] Yves Montmayeur (2005). Ghibli The Miyazaki Temple (Documentary film). Paris. [28] Movies and Films Database - Movie Search, Guide, Recommendations, and Reviews - AllRovi (http:// www.allmovie.com/cg/avg. dll?p=avg&sql=2:167694~T1) [29] Talbot, Margaret (2005-01-10). "The Animated Life" (http:// web.archive.org/web/20060524092154/http:// www.newyorker.com/ online/content/?050117on_onlineonly01) (via the Internet Archive). The New Yorker. Archived from the srcinal (http:/ / www.newyorker. com/online/content/?050117on_onlineonly01) on 2006-05-24. . Retrieved 2007-06-07. "He's said, not entirely jokingly, that he looks forward to the time when Tokyo is submerged by the ocean and the NTV tower becomes an island, when the human population plummets and there are no more high-rises." [30] Schilling, Mark (2008-12-04). "An audience with Miyazaki, Japan's animation king" (http://search.japantimes.co.jp/cgi-bin/ ff20081204r2.html). The Japan Times. . Retrieved 2008-12-04. [31] (http:/ / www.ghibliworld.com/news.html#3103_02), 30th of November, A NEPPU INTERVIEW WITH MIYAZAKI HAYAO. [32] "Hayao Miyazaki interview on the 1954 Animal Farm animated film" (in Japanese). Neppu (Studio Ghibli•s monthly report magazine). November 2008.( Summary at GhibliWorld.com (http:// www.ghibliworld.com/news.html#3103_02)) [33] Alex, Pham (2009-07-24). "Comic-Con: Miyazaki breaks his silent protest of America's actions in Iraq with visit to the U.S." (http:// latimesblogs.latimes.com/herocomplex/2009/07/comiccon-miyazaki-breaks-his-boycott-of-us-.html). Los Angeles Times. . Retrieved 2009-07-24. [34] Birth of Studio Ghibli (from NausicaÑ DVD). Studio Ghibli. "Miyazaki is a feminist, actually. He has this conviction that to be successful, companies have to make it possible for their female employees to succeed too. You can see this attitude in Princess Mononoke. All characters working the bellows in the iron works are women. Then there's Porco Rosso. Porco's plane is rebuilt entirely by women. (Toshio Suzuki)" [35] Napier, Susan J. (2001). Anime from Akira to Princess Mononoke: Experiencing Contemporary Japanese Animation. Basingstoke: Palgrave. ISBN 978-0312238636. [36] (Japanese) "¢ £  <¹ YÄÚ ²ZEÝ タ·‡„ =—>?÷  Á ‡„ ƒ „ õ@?[[Category:Articles containing Japanese language text (http:/ /www.yomiuri.co.jp/entertainment/ghibli/cnt_interview_20051226_02.htm)]"]. Yomiuri Shimbun. 2005-12-26. . Retrieved 2007-02-19. [37] "Miyazaki Moebius • 2 Artistes Dont Les Dessins Prennent Vie" (http:// miyazaki-moebius.com/) (in French). . Retrieved 2008-01-29. [38] (in Japanese) Ghibli Museum diary (http:/ /www.ghibli-museum.jp/diary/004624.html). Tokuma Memorial Cultural Foundation for Animation. 2002-08-01. . Retrieved 2008-05-18. [39] Dibrov, Dmitry, ed. (October 22, 2005) (TV show), A remote conversation between Yuriy Norshteyn and Hayao Miyazaki (http:/ / video. google.com/videoplay?docid=-6754083829948706013), Russia: ProSvet, [40] Spirited Away (http:/ / www.theblackmoon.com/Deadmoon/spiritedaway2.html) (premi¤re press Q&A), USA: The Black Moon, [41] "宮崎駿X•„ タ„ q „ Ú XÁ E·ß Ú q³÷³…´Ý at¶Aé ¡ï +² ì Bz" (in Japanese). Animage 338: 13. August 2006. [42] Interview with Up Director Peter Docter (http:/ / www.kpbs.org/news/2009/may/29/interview-director-peter-docter/). By Beth Accomando. KPBS. Published May 29, 2009. [43] Michael J. Lee (October 24, 2010), AN EXCLUSIVE INTERVIEW WITH GLEN KEANE (http://movies.radiofree.com/interviews/ tangled_glen_keane.shtml), RadioFree.com [44] Rogers, Tim (March 27, 2006). " In Defense of Final Fantasy XII (http:// www.next-gen.biz/features/defense-final-fantasy-xii)". Next Generation. [45] "Console vs Handheld : Crystalis" (http:/ /www.1up.com/do/feature?cId=3133565). 1up.com. . Retrieved 2007-10-23. [46] Gor€ Miyazaki. "Translation of Gor€ Miyazaki's Blog, post 39" (http://www.nausicaa.net/miyazaki/earthsea/blog/blog39.html). Nausicaa.net. . Retrieved 2007-06-08. [47] Coranto Archive (http:/ / www.nausicaa.net/miyazaki/newspro/latestnews_headlines-archive-10-2006.html), NausicÑa.net, 2006-10, [48] "フÂ † ,Cþ Cþ " (http:// www.ghibli-freak.net/ghibli_museum/filmguruguru.html) (in Japanese). . Retrieved February 22, 2011. [49] GhibliWorld.com - The Ultimate Ghibli Collection Site - NEWS & UPDATES (http:// www.ghibliworld.com/news.html#1612)

201

Hayao Miyazaki

Further reading • Cavallaro, Dani (2006). The Anim‚ Art of Hayao Miyazaki (http://books.google.com/ books?id=N3e00UlzHjgC). Jefferson, NC: McFarland & Company, Inc. ISBN 978-0786423699. OCLC 62430842. • Miyazaki, Hayao (2009). Starting Point: 1979‚1996. Beth Cary and Frederik L. Schodt, trans. Foreword by John Lasseter. San Francisco: VIZ Media. ISBN 9781421505947. OCLC 290477195. • Miyazaki, Hayao (1996). Shuppatsuten, 1979‚1996 (Ø ªD•1979~1996). Tokyo: Studio Ghibli, Inc./Hatsubai Tokuma Shoten. ISBN 978-4198605414. OCLC 37636025. Original Japanese edition. • Odell, Colin, & Le Blanc, Michelle (2009). Studio Ghibli: The Films of Hayao Miyazaki and Isao Takahata. Harpenden, Hertfordshire, England: Kamera. ISBN 9781842432792. OCLC 299246656. • Schodt, Frederik L. (1996) Dreamland Japan

External links • • • • •

The Official Studio Ghibli Site (Japanese) (http:/ /www.ghibli.jp/) Miyazaki Information at Nausicaa.net (http:/ /www.nausicaa.net/miyazaki/miyazaki/) Profile at Japan Zone (http:/ /www.japan-zone.com/modern/miyazaki_hayao.shtml) Interview in The Guardian (http://film.guardian.co.uk/ interview/interviewpages/0,6737,1569689,00.html) August 1997 interview (http:/ /web.archive.org/web/20010211030138/www.acsys.com/~tallman/miya_e. html) -(Nikkei Entertainment) • Hayao Miyazaki (http:/ /www.animenewsnetwork.com/encyclopedia/people.php?id=51) at Anime News Network's Encyclopedia • Hayao Miyazaki (http:/ /www.imdb. com/name/nm0594503/) at the Internet Movie Database • Links from Miyazaki „s Laputa to the works of Jules Verne. (http:/ /www.mangauk.com/?p=french-connection)

202

Katsuji Matsumoto

203

Katsuji Matsumoto Katsuji Matsumoto Katsuji Matsumoto in an undated photograph Born

July 25, 1904 Kobe, Hy€go Prefecture, Japan

Died

May 13, 1986 (aged 81) Izu, Shizuoka, Japan

Nationality

Japanese

Area(s)

illustrator, comics creator, designer

Notable works Kurukuru Kurumi-chan

The Mysterious Clover

Katsuji Matsumoto (E„ý ÑF, 1904€1986) was a Japanese illustrator and sh€jo manga artist. [1] [2] Matsumoto's

16-page The Mysterious Clover (1934) is recognized as a pioneering work in the field of manga,[3] [4] but he is best known for his sh€jo manga Kurukuru Kurumi-chan, serialized from 1938 to 1940, and again from 1949 to 1954. [5] [6] His illustrations were popular from the 1930s through the 1950s, and he contributed illustrations to numerous popular girls' novels by some of the period's most famous authors, including Yasunari Kawabata and Nobuko Yoshiya.[7] [8] He was also a prolific illustrator of children's books and created merchandise for babies, small children, and girls.[7] [8] The Gallery Katsuji Matsumoto in Tokyo is managed by his surviving children. [9]

Early lifewasand Matsumoto bornprofessional in Kobe, the son debut of Toraji (G¨) and Ishi (¹

î ) Matsumoto, but moved with his family to Tokyo at the age of eight. [10] At the age of 13, he began attending what was then called Rikky€ (St. Paul's) Middle School.[11] Through the introduction of a teacher at Rikky€, Matsumoto began drawing illustrations for the magazine Shinseinen (tÊ Ë ?, "New Youth") at the age of 17. [10] Matsumoto withdrew from Rikky€ at the age of 18 and began attending the Kawabata ga gakk€ (¢H— y校?, "Kawabata Art School") .[10] During this time he contributed drawings to such magazines as Sh€jo sekai (~Æ ¢ £ ?, "Girls' World") and Sh€nen sekai (~Ë ¢ £ ?, "Boys' World") .[10] It was during this period that Matsumoto was inspired by illustrator K€ji Fukiya to become an illustrator in the field of girls' media. [12] (Matsumoto's younger sister, Ry€ko (eX), would eventually marry Fukiya.[13] ) Following the devastation of Tokyo, including its publishing industry, in the 1923 Great Kant€ earthquake, Matsumoto decided to try his fortunes overseas, and managed to obtain free passage to Shanghai.[10] His hope was to eventually make his way to Paris. In Shanghai, he earned money by contributing illustrations and articles to the Shanhai nichinichi shinbun (`[日日t@?, "Shanghai Daily Newspaper") , but when he turned twenty years of

age, he[10] was forced to return to Japan to report for the draft. He was rejected for military service because he was flat footed.

Katsuji Matsumoto

204

Early career and marriage Matsumoto's first forum for steady work was the magazine Sh€jo Gah€ (~Æ — ?, "Girls' Illustrated") , to which he contributed from 1928 to 1938.[10] Matsumoto first ventured into manga in Sh€jo Gah€, creating a series of illustrated narratives featuring a lively Chinese girl named Poku-chan, which was irregularly published between November 1930 and March 1934.[10] The Poku-chan strips were drawn in a stylized, almost abstract, Art Deco manner.[14] Matsumoto could draw in a wide range of styles, from the realistic to the near-abstract, but all of his work was distinguished by clean, almost geometrical lines and a strictly Modern sensibility. While he illustrated numerous dramatic girls' novels, his style was better suited to sunny, playful, or humorous work. In 1935, Matsumoto began to ?

work for the magazine that would become his primary forum, Sh€jo no tomo (~Æ é ü , "Girls' Friend") . Sh€jo no tomo, with its modern, stylish image, was the ideal magazine for Matsumoto. [15] In 1932, at the age of 28, Matsumoto was wed to Ayako Nimori ( Ü¡ú ¬X). They went on to have seven children (four boys, three girls) together. Because Ayako was an only child, the decision was made to have the firstborn male child legally adopted by her parents in order to carry on the Nimori name. On official records, therefore, Ki Nimori (Ü¡I, born 1933) is listed as the younger brother of Ayako, and therefore the brother-in-law of Matsumoto. [16] [9]

Major works The Mysterious Clover

In 1934, Matsumoto drew his first full-fledged manga, a 16-page story titled Nazo no kur€baa バ„ ?, "The Mysterious Clover") . Printed as an over-sized pamphlet with a sturdy cardboard (§äó Iåé…„ cover, and included as a premium in the April issue of Sh€jo no tomo, The Mysterious Clover was a variation on The Scarlet Pimpernel and Zorro. The protagonist of The Mysterious Clover is a young girl who protects the poor peasants from the cruel and greedy nobles.[4]This work is remarkable for its use of varying angles, including bird's-eye views, and variation in the size of panels. Sak€ Shishido (J3Kµ), influenced by American newspaper strips, had used similar techniques in his 1930 Supiido Tar€ (³ •„ Ú (Ó?, "Speed Tar€") , but in a far cruder drawing style than Matsumoto's.[17] The Mysterious Clover had been neglected for decades by manga scholars until it was displayed at a 2006 exhibition at the Yayoi Art Museum, where it caught the eye of Fusanosuke Natsume, who then wrote about it on his blog and in a newspaper column. [3] Kurukuru Kurumi-chan [18] [10] Matsumoto's most famous work is his manga Kurukuru Kurumi-chan (?þ ?þ…†ÅÍ ゃº ), which was serialized in Sh€jo no tomo from January 1938 until December 1940. Featuring the daily antics of a little girl named Kurumi (… † Å , meaning "walnut"), each episode was a self-contained story, usually running 4 pages and 22 panels. The strip rarely ventured far from everyday reality, and was characterized by a gradually building absurdity that rarely descended to simple slapstick. [5] [6] In the earliest episodes, Kurumi-chan is roughly four heads tall, and would seem to be roughly nine or ten years old.

Over the years, though, Kurumi's proportions changed, until by the 1950s she had become an extremely stylized character no more than two heads high, and of unknown age. [5] [6] The strip was revived after the war in the magazine Sh€jo ("Girl") under the title Kurumi-chan and ran from November 1949 to February 1954.[19]

Katsuji Matsumoto

Book illustrations While working on Kurukuru Kurumi-chan, Matsumoto continued to do freestanding illustrations, in both color and black and white, and also to illustrate girls' fiction and poetry. Matsumoto was one of the most popular and influential illustrators working in girls' media, and he continued to be a popular illustrator through the early 1950s.[20] [21] He worked with such prominent Japanese authors and poets as Nobuko Yoshiya and Yaso Saij€, and adapted many works by non-Japanese author's, including Katherine Mansfield's short story The Doll's House, to the short-lived genre of emonogatari (Ûæ ç ?, "picture stories") .[22] Although Matsumoto drew in a wide range of styles, certain features remain consistent. His characters have an air of intelligence without melancholy, and of cheerful optimism that is never saccharine. [15] Other popular illustrators of the day werepopular better Jun'ichi suited toNakahara the niches in uwhich Matsumoto notintelligent in his element. The but multi-talented enormously (>ˆ  ) drew girls whowas were and stylish, humor was and not his forte.[23] In the genre of sentimental melodrama, according to Akiko Hsrcuchi, no one was more popular than Hiroshi Katsuyama (L%½¾î ).[24] But in an age when print media of all kinds were becoming increasingly visual, there was plenty of work to go around. [25]

Children's books and infant merchandise In 1955, Matsumoto abandoned manga altogether. Although he continued to do illustration work in a variety of styles, his focus shifted to the kind of hyper-stylized, wryly adorable character epitomized by the later Kurumi-chan. His target audience accordingly shifted from preteen and low-teen girls to toddlers and young mothers. In addition to illustrating new and srcinal children's books, Matsumoto illustrated numerous classics, including Little Red Riding Hood (1955), Andrew Lang's Blue Fairy Book (1959, translated by Yasunari Kawabata), and various other collections of classic Japanese and European fairy tales. [26] In 1960, Matsumoto founded Katsu Productions ( M÷  H… rð Ý ), which specialized in illustrations for infants and toddlers and designing various infant merchandise. This merchandise was spectacularly popular. Amateur manga scholar and blogger "lacopen" commented that "When I was a child, [Matsumoto's baby] goods were all the rage, so much so that it is no exaggeration to say they were everywhere." [27] His designs for the infant merchandise company known srcinally as "Sanshin. Inc." were perhaps the mostly widely consumed and recognized, and it has been suggested that the company changed its name to Combi [28] (Ä Ý ·, which comes from the English "combination" and is used in Japanese to mean "duo") in response to the popularity of the infant duo, "Haamu" ( Æ„ ,) and "Monii" (’Õ„ ), created by Matsumoto and featured on a wide array of the company's products. [29]

Retirement and death In 1971, now in his late 60s, Matsumoto built an atelier, "Chijunb€" (NOP?, "Young Bamboo Shoot Studio") in Kamishiraiwa (`óQon the Izu Peninsula, where he turned his creative talents from the modern and cosmopolitan to the traditional and provincial. Using the bamboo that was so plentiful in the area, he designed a variety of toys and objects that could easily be reproduced by the local farmers to sell as souvenirs. For this work, Matsumoto was given a commendation by the Shizuoka Prefectural government.[30] Although these works seem strikingly at odds with Matsumoto's cosmopolitan image, he in fact had Bamboo figurines designed by Matsumoto at his rural atelier, Chijunb€ always had an eye for the traditional, and was particularly fond of collecting carefully selected Japanese and Korean pottery and furniture. Modern or traditional, Western or Eastern, the common thread that runs through Matsumoto's aesthetic sense, and his work, is an appreciation of that which is refined, simple, elegant, and unpretentious. [9] [31] [32]

205

Katsuji Matsumoto In 1986, Matsumoto suffered the last of a series of strokes, and was hospitalized, never to fully regain consciousness again. The stylish Matsumoto had been famously fastidious throughout his life, and his daughter, Meiko, has written that she was startled to notice that on his hospital bed, where Matsumoto lay unconscious and barely responsive, he had been using his remaining good hand to remove the pills that had formed on the old hospital blanket. Furthermore, although doctors said he had lost his sight, Matsumoto would open his eyes, and, as if looking in a mirror, would straighten the hairs of his mustache with his fingers as he had habitually done for years.[33] Matsumoto died at the age of 81. His cremated remains are interred in the Fuji Cemetery in Gotemba, Shizuoka, at the foot of Mount Fuji.[9]

Estate Matsumoto's children, in addition to Ki Nimori, are, in order of b irth: Ikki Matsumoto (E„ ;, born 1935, currently living in the U.S.A.); Rumi O'Brien ( €+ö E” Ý Rì , born 1937, also living in the U.S.A.); Motoi Matsumoto (E„S, born 1939); Ken Matsumoto (E„¾ , born 1941, deceased); Meiko Matsumoto ( E„ˆ X, born 1943); and Michie Utsuhara (¢TÛÌV, born 1945). Two of the first successful female sh€jo manga artists of the postwar period, Toshiko Ueda and Setsuko Tamura, were his apprentices. Michie, Matsumoto's youngest child, along with several of her siblings and Matsumoto's grandchildren, manages the Gallery Katsuji Matsumoto (Lャö ² „ まÑgとý ÑF), soon to be renamed the Katsuji Matsumoto Archives ( E„ý ÑFWXz), the official Katsuji Matsumoto website [34] and its on-line shop [35], and also writes "Kurumi-chan nikki [[Help:Installing Japanese character sets|? [36]] (…†ÅÍ ゃº 日² , "Kurumi-chan Diary") ]. The gallery is located at 4-14-18 Tamagawa, Setagaya-ku, Tokyo, 158-0094.[9]

Footnotes [1] Although he generally wrote his given name in hiragana, ý ÑF, his legal given name, pronounced the same, was written in kanji, L¨.Uchida, Shizue (_=ü Y), ed. (2006) Matsumoto Katsuji--Sh€wa no kawaii! o tsukutta irasutoreetaa (E„ý ÑF----¹ºé :W¹ !dÑ?M.Eö³´À„ タ„ ?, "Katsuji Matsumoto: The Illustrator Who Created the Showa Era's 'Cute!'") , p. 121. Kawade Shob€ Shinsha. ISBN 4-309-72751-4 [2] The Matsumoto Katsuji E„L¨ of this article should not be confused with animation director Matsumoto Katsuji E„ Lé who has worked on the Sailor Moonanime (note difference in the fourth kanji). [3] Natsume, Fusanosuke (ZÀP之) (2006) Hayakatta Matsumoto Katsuji no katsugeki hy€gen (<ý M.E„ý ÑFé œ劇[?, "Katsuji Matsumoto's Cutting-Edge Expression of Dramatic Action") Mainichi Shimbun, May 30. [4] Thorn, Matt (2008) "The Multi-Faceted Universe of Sh€jo Manga" (http://matt-thorn.com/shoujo_manga/colloque/index.php), presented at Le manga, 60 ans apr“s... (http:/ / www.mcjp.asso.fr/ pjanv2008/conferences/manga/index.html), Paris, March 15. [5] Matsumoto, Katsuji (1987) Kurukuru Kurumi-chan (?þ ?þ…†ÅÍ ゃº ) Vol. 1. Tokyo: Kokusho Kankoukai (:ß†µB), ISBN 9784336022776. [6] Matsumoto, Katsuji (1987) Kurukuru Kurumi-chan (?þ ?þ…†ÅÍ ゃº ) Vol. 2. Tokyo: Kokusho Kankoukai (:ß†µB), ISBN 9784336022783. [7] "Katsuji Matsumoto's World" (Matsumoto Katsuji no Sekai E„ý ÑFé ¢ £ ), the official web site maintained by the Matsumoto estate: http:// katsudi.com/katsudiinfo1.html.(Accessed September 2, 2008). [8] Thorn, Matt (2006) "Pre-World War II Sh€jo Manga and Illustrations." http:// matt-thorn.com/shoujo_manga/prewar_shoujo/index.html. (Accessed September 2, 2008). [9] Details regarding Matsumoto's parents, exact date of birth and date of death, education, children, publication history of Kurukuru Kurumi-chan, atelier activities, and personality and habits were provided to Matt Thorn in three personal e-mails from Matsumoto's daughter Michie Utsuhara (¢TÛÌV), dated July 22, 23, and 28, 2008. These facts can be verified by Ms. Utsuhara, who is President of Mastumoto Katsuji Art Promotion, Inc. The telephone/fax number is +81-3-3707-3503, and the address is 4-14-18 Tamagawa, Setagaya-ku, Tokyo, 158-0094, Japan. She can be reached by e-mail at [email protected] [10] Uchida, Shizue ( _=ü Y), ed. (2006) Matsumoto Katsuji--Sh€wa no kawaii! o tsukutta irasutoreetaa ? (E„ý ÑF----¹ºé :W¹ !dÑ?M.Eö³´À„ タ„ , "Katsuji Matsumoto: The Illustrator Who Created the Showa Era's 'Cute!'") , pp. 94, 121. Kawade Shob€ Shinsha. ISBN 4-309-72751-4 [11] The school is today known as Rikky€ (St. Paul's) Junior & Senior High School in Ikebukuro. It should be noted that in the prewar period, ch…gakk€ (>y校?, "middle school") referred to what would today be considered an academically elite high school or "prep school."Uchida, Shizue (_=ü Y), the Yayoi Museum ( \€ì Bz) (2005) Jogakusei tech€: Taish€/Sh€wa otome raifu (Æ •€å ƒV° ]q¹º ? ^Æ Î ¹ Î , "A Schoolgirl's Handbook: A Maiden's Life in the Taisho and Showa Periods") , pp. 18-19. Tokyo: Kawade Shob€ Shinsha

206

Katsuji Matsumoto

207

(_Ø ßPt® ) ISBN 4-309-72742-5. [12] Hiramatsu, Yoshiyuki ( 'E`µ), ed. (1985, revised 1996) Sh€jo no akarui yume o tsuiky…--Matsumoto Katsuji no sekai èdab„ „ E„ý ÑFé ¢ £ ?, "In Pursuit of the Cheerful Dreams of Girls: The World of Katsuji Matsumoto") , p. 19. (~Æéˆþ¹ Tokyo: Sanrio. [13] Uchida, Shizue ( _=ü Y), ed. (2006) Matsumoto Katsuji--Sh€wa no kawaii! o tsukutta irasutoreetaa (E„ý ÑF----¹ºé :W¹ !dÑ?M.Eö³´À„ タ„ ?, "Katsuji Matsumoto: The Illustrator Who Created the Showa Era's 'Cute!'") , p. 92. Kawade Shob€ Shinsha. ISBN 4-309-72751-4 [14] Thorn, Matt (2006-02-24). "Commercialization & the Loss of Innocence: Children„s Manga from the 1920s to the Present". Comics and Childhood: The Fourth Annual Conference on Comics (http:/ / www.english.ufl.edu/comics/2006/). University of Florida, Gainesville. [15] Endoh, Hiroko ( cèdX) (2004) "Sh€jo no tomo" to sono jidai: hensh…sha no y…ki Uchiyama Motoi (¯~Æ é ü°とé j)„ „ }ëÑé ef _%S, ?, "Sh€jo no tomoand Era: An Editor's Courage Motoi Uchiyama") pp. 55-59 Tokyo:Honnoizumisha („é C® ) ISBN 978-4880238210 [16] Under the Jap anese ie family system that was the law of the land prior to the end of World War II, it was common in cases where there was no male heir for a groom to be legally adopted by his bride's parents and become the successor to her family name. Since Katsuji was himself the eldest son of and successor to the Matsumoto family, this was not an option. [17] Shishido, Sakoh ( J3Kµ) (1988) Supiido Tar€ (³ •„ Ú (Ó?, "Speed Tar€") , Tokyo: San'ichi shob€ (¶ ßP), ISBN 978-4380885495 [18] "Kurukuru"--?þ ?þ --means "spinning" or "winding", "-chan"--Í ゃº --is a diminutive honorific that can be translated as "little" or "dear". [19] Uchida, Shizue ( _=ü Y), ed. (2006) Matsumoto Katsuji--Sh€wa no kawaii! o tsukutta irasutoreetaa ? (E„ý ÑF----¹ºé :W¹ !dÑ?M.Eö³´À„ タ„ , "Katsuji Matsumoto: The Illustrator Who Created the Showa Era's 'Cute!'") , p. 122. Tokyo: Kawade Shob€ Shinsha. ISBN 4-309-72751-4 [20] Kondoh, Tomie ( gèhY), supervising editor (1992) Taish€€Sh€wa sh€nen sh€jo zasshi meibamen shuu (° ]q¹º~Ë ~Æ Š‚ 名îÛë?, "A Collection of Memorable Scenes from Boys' and Girls' Magazines of the Taisho and Showa Periods") , p. 47. Tokyo: Gakken ( yi). [21] Takahashi, Yohji ( 高»jÜ), ed. (1984) Ehon II (Û„’?, "Picture Books II") , p. 36. Bessatsu Taiy€ (LM(·) series, Tokyo: Heibonsha ('k® ) ISBN 978-4582920470. [22] Hiramatsu, Yoshiyuki ( 'E`µ), ed. (1985, revised 1996) Sh€jo no akarui yume o tsuiky…--Matsumoto Katsuji no sekai (~Æéˆþ¹ èdab„ „ E„ý ÑFé ¢ £ ?, "In Pursuit of the Cheerful Dreams of Girls: The World of Katsuji Matsumoto") , pp. 34-48. Tokyo: Sanrio. ¬ó É .ý î

[23]noYanase, Takashi ( (1986) Yomigaere! noまdensetsu: joj€gaLyrical no r…tsu kara shinkankakuha tanj€ made (¼J/ãn ®l#),—supervising ì ~Æ é editor 伝ºVl #—é†„ Oý ÎJoj€ga--bish€jo tmn× é ë€ ©?, "Revive! Illustration--Legend of the beautiful girl: From the Roots of Lyrical Illustration to the Birth of Neo Sensualism") , p. 54. Tokyo: Sanrio ISBN 4-387-86065-0. [24] Horiuchi, Akiko ( o_ú ËX), ed. (2003) Otome no romansu tech€ (^Æ é  êÝ ³ å ƒ?, "A Maiden's Romance Handbook") , p. 36. Tokyo: Kawade Shob€ Shinsha ( _Ø ßPt® ). ISBN 4-309-72732-8 [25] Yonezawa, Yoshihiro (pqr« ), ed. (1991) Kodomo no Sh€wa-shi: Sh€jo manga no sekai I, Sh€wa 20 nen - 37 nen (Xoé ¹º_€€~Æ êÝ Ùé¢£ I ¹º20Ë V37Ë ?, "A Children's History of Showa-Era Japan: The World of Sh€jo Manga I, 1945-1962") , p. 36. Bessatsu Taiy€ (LM(·) series, Tokyo: Heibonsha ('k® ) ISBN 978-4582942392. [26] Hiramatsu, Yoshiyuki ( 'E`µ), ed. (1985, revised 1996) Sh€jo no akarui yume o tsuiky…--Matsumoto Katsuji no sekai èdab„ „ E„ý ÑFé ¢ £ ?, "In Pursuit of the Cheerful Dreams of Girls: The World of Katsuji Matsumoto") , pp. (~Æéˆþ¹ 81“89. Tokyo: Sanrio. [27] lacopen blog Òversion (http:/ / lacopen.cocolog-nifty.com/blog/2006/05/post_bdd0.html) [28] Combi Corporation (2004) Corporate History (http:// www.combi.co.jp/en/company/history_e.htm) Retrieved on August 26, 2008 [29] Uchida, Shizue ( _=ü Y), ed. (2006) Matsumoto Katsuji--Sh€wa no kawaii! o tsukutta irasutoreetaa ? (E„ý ÑF----¹ºé :W¹ !dÑ?M.Eö³´À„ タ„ , "Katsuji Matsumoto: The Illustrator Who Created the Showa Era's 'Cute!'") , pp. 68-69. Kawade Shob€ Shinsha. ISBN 4-309-72751-4 [30] Uchida, Shizue ( _=ü Y), ed. (2006) Matsumoto Katsuji--Sh€wa no kawaii! o tsukutta irasutoreetaa ? (E„ý ÑF----¹ºé :W¹ !dÑ?M.Eö³´À„ タ„ , "Katsuji Matsumoto: The Illustrator Who Created the Showa Era's 'Cute!'") 120. Tokyo: Shinsha. 4-309-72751-4 Y), ed. [31], p.Uchida, ShizueKawade ( _=ü Shob€ (2006) ISBN Matsumoto Katsuji--Sh€wa no kawaii! o tsukutta irasutoreetaa タ„ ?, "Katsuji Matsumoto: The Illustrator Who Created the Showa Era's 'Cute!'") (E„ý ÑF----¹ºé :W¹ !dÑ?M.Eö³´À„ , pp. 74-75. Kawade Shob€ Shinsha. ISBN 4-309-72751-4 [32] Katsuji no ai shita monotachi (ý ÑFé Wî .gé .Í [[Help:Installing Japanese character sets|? (http:/ / katsudi.com/katsudiinfo3.html)], The Objects Katsuji Loved) ] [[Help:Installing Japanese character sets|? [33] Matsumoto, Meiko ( E„ˆ X) (2008) Kurumi-chan nikki: Chichi no shi (…†ÅÍ ゃº 日²Vsé 死 (http:// kurumifriend.blog122.fc2.com/blog-entry-32.html)], "Kurumi-chan Diary: Father's Death") June 16.] [34] http:/ /katsudi.com/katsudiinfo1.html [35] http:/ /kurumifriend.ocnk.net/ [36] http:/ /kurumifriend.blog122.fc2.com/

Katsuji Matsumoto

References Further reading • Shimonaka, Kunihiko ( ÿ>tš), ed. (1979) Meisaku sashie zensh… dai yon kan: Sh€wa senzen sh€nen sh€jo hen (名‰uÛôë¨ >¸V¹ºÖ ~Ë ~Æ v?, "Complete Collection of Memorable Book Illustrations, Volume 4: Prewar Showa Period Boys' and Girls' Works") , Tokyo: Heibonsha ('k® ).

External links • Matsumoto Katsuji no Sekai ( E„ý ÑFé ¢ £ , "Katsuji Matsumoto's World"--Official web site maintained by the Matsumoto estate) (http://katsudi.com/katsudiinfo1.html) • Thorn, Matt (2006) " Pre-World War II Sh€jo Manga and Illustrations (http:/ /matt-thorn.com/ shoujo_manga/ prewar_shoujo/index.html)" matt-thorn.com

208

K€ichi Mashimo

209

K€ichi Mashimo K€ichi Mashimo (Ÿÿw ) Born

June 21, 1952 Tokyo, Japan

Nationality Japanese Alma mater

Sophia University

Occupation Anime director and screenwriter Employer Tatsunoko Production

Bee Train Victor Entertainment Production I.G Known for Bee Train animation studio

K€ichi Mashimo (Ÿÿ w Mashimo K€ichi, sometimes credited as Kouchi Mashimo or Kouichi Mashimo)

(born June 21, 1952) is a well-known Japanese anime director and the founder of the animation studio Bee Train. Since the creation of the studio, Mashimo directed or otherwise participated in (nearly) all its works, for example, as a member of art or sound department. The anime OVA Murder Princess was the first Bee Train production since 1999 which he had not directed.

Biography K€ichi Mashimo was born in Tokyo, Japan and from his early years showed interest in photography, admittedly under the influence of his father. Mashimo studied jurisprudence at Sophia University and during his fourth university year, he participated in the making of several television commercials. However, this was a rather disappointing experience, and on November 6, 1975, he applied for a position of Hiroshi Sasagawa's assistant director in Tatsunoko Production. The first anime series he worked on was Time Bokan (1975€76). In the mid-1980s, while still working for Tatsunoko, Mashimo survived a severe alpine skiing accident. During his stay in an intensive care unit, he came up with an idea of a "hospital for animators", an animation studio whose primary goal would be fostering and self-actualization of talented artists rather than commercial success and money. Some time after that, he founded a small freelance studio called Mashimo Jimusho that was mainly producing in-between animation for larger companies. In 1997, Mashimo presented his studio-as-hospital concept to Mitsuhisa Ishikawa, the president of Production I.G, who was so impressed with it that he immediately agreed to sponsor Mashimo. The new subsidiary has become known as Bee Train and in February 2006, it ended its relationship with I.G and became independent.

Approach andstoryboards style all the anime he directs. As one of the leading and only regular on-staff directors at Mashimo generally Bee Train, most series are fully directed by him. As Bee Train has expanded, more directors have been able to handle episode direction under Mashimo's supervision, such as Tsubasa Chronicle. Mashimo is known for frequently hiring Yuki Kajiura to compose for his projects. Their first project being Eat-Man, then going onto Noir, as well as .hack//Sign, Liminality, and Tsubasa Chronicle.[1] Besides Kajiura, many Mashimo and Bee Train's projects bring back seiy‚s and crew members. Some noted cast members include: Maaya Sakamoto (.hack//SIGN, Blade of the Immortal, Tsubasa Chronicle), Sanae Kobayashi (Madlax, .hack//Roots, .hack//Liminality),[2] as well as noted crew members such as character designer Minako Shiba, Satoshi Oshawa, and

K€ichi Mashimo

210

artist and director Koji Sawai, as well as writers such as Hiroyuki Kawasaki. Mashimo's approach to music is to have the music play a key role in the series. He feels music and animation should work and push each other to new heights all the time, and it should be seen as more than simple background. [3] Some of Mashimo's major projects have featured strong female protagonists. The famous "girls with guns" trilogy (Noir, Madlax, El Cazador de la Bruja) have all featured female characters in lead roles. One of his earlier films, The Weathering Continent, also featured a young woman who takes matters into her own hands to save her people. Some have also been known to contain subtle hints at lesbian relations, most notably in Madlax.[4] [5] Mashimo once remarked that he would like to have personally met the photographers Richard Avedon, Jeanloup Sieff, and Helmut Newton and film directors John Ford and Alfred Hitchcock. However, by the time the interview has been published, four of these were already dead [6] and Avedon died later that year. Mashimo is particularly fond of the French movie Les (1967, IMDB ) and has even named a character in Madlax after the protagonist Aventuriers of that film.[7]

Filmography Ye a r

A nime

J ob

1970s 1975

Time Bokan

assistant director

1978 Kagaku Ninja-Tai Gatchaman II

director

1979 Kagaku Ninja-Tai Gatchaman F

director 1980s

1981

Golden Warrior Gold Lightan

1982

GoldenWarriorGoldLightan

Chief Director, episode director, storyboards Chiefdirector

1985 Night on the Galactic Railroad

script

1986 Ai City

director

1987 Dirty Pair: Project Eden

director, general superintendent

1988 F

director, script

Dominion: Tank Police 1989 Dragon Warrior

director, script script 1990s

1990 Robin Hood no Daiboken

director

1992 The Weathering Continent

director, script

1993 The Irresponsible Captain Tylor

director, script, supervisor, storyboard

1996 Sorcerer Hunters

director

1997 Eat-Man

director

1998 Xenogears

animation movie producer

1999 PoPoLoCrois

director, script

Wild Arms: Twilight Venom

director, planning

K€ichi Mashimo

211 2000s

2001 Noir

director, storyboard, sound director, music director

2002 .hack//Sign

director, script, sound director, soundtrack supervisor

.hack OVAs: .hack//Intermezzo, .hack//Unison, .hack//Gift

director

.hack//Liminality

director, soundtrack supervision, animation director

.hack//Infection

staff member: Bee Train

.hack//Mutation


.hack//Outbreak

staff member: Bee Train director

2003 Avenger

.hack//Legend of the Twilight

director, general superintendent

.hack//Quarantine


Immortal Grand Prix

director, script

2004 Madlax

Ginyuu Mokushiroku Meine Liebe 2005 Tsubasa Chronicle (firstseason) 2006 Ginyuu Mokushiroku Meine Liebe wieder

.hack//Roots

director, script, storyboards director, script director,storyboards planner director, supervision, soundtrack supervision, consulting producer

.hack//G.U. vol. 1//Rebirth

staff member: Bee Train (G.U. grand design)

.hack//G.U. vol. 2//Reminisce


Spider Riders Tsubasa Chronicle (second season)

director, storyboards director (co-director: Hiroshi Morioka)

2007 .hack//G.U. vol. 3//Redemption


El Cazador de la Bruja

director

Spider Riders: Yomigaeru Taiyou

director

Murder Princess 2008 .hack//G.U. Returner

Blade of the Immortal Batman Gotham Knight:FieldTest 2009 Phantom ~Requiem for the Phantom~

planner director director, storyboard artist segmentproducer director, storyboards (ending animation #2)

2010

Halo Legends

segment executive producer and director: "Homecoming" (co-director Koji [8] Sawai)

2011

Hyouge Mono

director, storyboard, episode director

K€ichi Mashimo

References Specific [1] [2] [3] [4] [5] [6] [7]

"K‰ichi Mashimo" (http:/ / www.imdb.com/name/nm0556325/). Internet Movie Database. . Retrieved 2008-05-29. K‰ichi Mashimo (http:/ / www.imdb.com/WorkedWith?name=Mashimo,+K‰ichi&as=e&with=b) Wong, Amos ( March 2005 (http:/ / www.newtype-usa.com/issues/index.php?itemid=71)). "Inside Bee Train". Newtype USA: 8€15. "Shoujo-Ai Archive: Madlax Fanfiction" (http:// www.shoujoai.com/fanfics/?series=madlax). ShoujoAi.com. . Retrieved 2007-06-14. Friedman, Erica (2004-06-29). "Okazu: Madlax" (http:// okazu.blogspot.com/search/label/Madlax). . Retrieved 2007-06-14. http:// www.imdb.com/title/tt0061376/ K€ichi Mashimo (2004) [DVD 2005] (inse rt leaflet Staff Talk #1 (Shigeru Kitayama)). Madlax Volume 1: Connections (http:/ / www. advfilms.com/CatalogFilms_Detail.asp?ID=4177) (Liner notes). Houston, Texas: ADV Films. DMAD/001. [8] "Halo Legends" (http:/ /halo.xbox.com/en-us/halolegends#video_1). . Retrieved 2009-10-26.

General • Katoh, Hidekazu et al. "Tsubasa - Reservoir Chronicle". (May 2007) Newtype USA. pp. 26€33. • Yuki, Masahiro. "The Official Art of .hack//Roots". (May 2007) Newtype USA. pp. 101€107.

External links • K€ichi Mashimo (http:/ /www.animenewsnetwork.com/encyclopedia/people.php?id=372) at Anime News Network's Encyclopedia • K€ichi Mashimo (http:/ /www.beetrainfan.org/wiki/index.php?title=Mashimo_K€ichi) at the Bee Train Fan Wiki • K€ichi Mashimo (http:/ /www.imdb.com/name/nm0556325/) at the Internet Movie Database • Koichi Mashimo (http:/ /www.anime-wiki.org/index.php/Koichi_Mashimo) at Anime-Wiki

212

Leiji Matsumoto

213

Leiji Matsumoto Leiji Matsumoto

Leiji Matsumoto in 2008 Birth name Akira Matsumoto (E„ x Matsumoto Akira) Born

January 25, 1938 Kurume, Fukuoka, Japan

Nationality Japanese Field

character design, illustration

Works

Space Battleship Yamato, Captain Harlock, Galaxy Express 999

Awards

Order of the Rising Sun#4th Class, Gold Rays with Rosette

Leiji Matsumoto (E„ y< Matsumoto Reiji, born Akira Matsumoto January 25, 1938 in Kurume, Fukuoka, Japan) is a well-known creator of several anime and manga series. His wife Miyako Maki (z ì iX Maki Miyako) is also known as a manga artist. [1]

Space opera Matsumoto is famous for his space operas such as Space Battleship Yamato. His style is characterized by tragic heroes; tall, slender, fragile-looking heroines with strong wills and in some cases, god-like powers; and a love of analog gauges and dials in his spacecraft.

Career Matsumoto made his debut under his real name, Akira Matsumoto, in 1953. His wife is sh€jo manga artist Miyako Maki (better known as the creator of the doll, Licca-chan, the Japanese equivalent of Barbie). Matsumoto had his big break with Otoko Oidon, a series that chronicled the life of a r€nin (a young man who was preparing himself for entrance examinations to universities and colleges), in 1971. Around the same time he started a series of unconnected short stories set during World War II, Senjo Manga Series, which would eventually become popular under the title The Cockpit. He was involved in Space Battleship Yamato (1974) and the debut of the highly popular series Captain Harlock and Galaxy Express 999 (both 1977). In 1978, he was awarded the Shogakukan Manga Award for sh€nen for Galaxy Express 999 and Senjo Manga Series.[2] Animated versions of Captain Harlock and Galaxy Express 999 are set in the same universe, which spanned several spin offs and related series, most notably Queen Emeraldas and Queen Millennia. Matsumoto supervised the creation of several music videos for the French house group Daft Punk, set to tracks from their album Discovery. These videos were issued end-to-end (making a full-length animated movie) on a DVD

Leiji Matsumoto release titled Interstella 5555: The 5tory of the 5ecret 5tar 5ystem. About two dozen bronze statues • each perhaps four feet tall • of characters and scenes from Space Battleship Yamato and Galaxy Express 999 were erected in the downtown area of Tsuruga in 1999.[3] Each statue includes a plaque at its base explaining the character, and featuring Matsumoto's signature. Matsumoto worked with Yoshinobu Nishizaki on Space Battleship Yamato (known outside Japan under various names but most commonly as Star Blazers).[4] [5] Matsumoto created a manga loosely based on the series, and the Yamato makes cameo appearances (sans crew) in several of his works including the Galaxy Express 999 manga. A recent work by Matsumoto called Great Yamato featuring an updated Yamato had to be renamed Great Galaxy due to legal issues with Nishizaki.[6] [7] [8] [9] As of 2009, Matsumoto and Nishizaki were working on Himiko, a water bus of Tokyo Cruise Ship designed by Leiji Matsumoto independent anime projects featuring the acclaimed Space Battleship Yamato, with the conditions that Matsumoto cannot use the name Yamato or the plot or characters from the srcinal, and Nishizaki cannot use the conceptual art, character or ship designs of the srcinal. [10] Since Nishizaki's death in 2010, it is uncertain whether these restrictions will continue to apply.

List of works • • • • • • • • • • • • • • •

Arei no Kagami (1985) Fairy Hotaruna Space Battleship Yamato (1974) Planet Robot Danguard Ace (part of the U.S. Force Five anthology series, as Dangard Ace; 1977€1978) Galaxy Express 999 (1977€1981) Captain Harlock (1977€1979) Starzinger (part of the Force Five anthology series, as Spaceketeers) (1978-1979) Queen Millennia (aka Queen of 1000 Years) Arcadia of My Youth Arcadia of My Youth: Endless Orbit SSX The Cockpit Maeterlinck's Blue Bird: Tyltyl and Mytyl's Adventurous Journey Queen Emeraldas Tiger-Striped Mii The Ultimate Time Sweeper Mahoroba (manga)

• • • • • • • • •

Fire Force DNAsights 999.9 Harlock Saga Der Ring des Nibelungen Maetel Legend Cosmo Warrior Zero Gun Frontier (1972€1975) Great Galaxy (formerly Great Yamato) Space Pirate Captain Herlock: The Endless Odyssey Pu Pu (1974) Submarine Super 99

214

Leiji Matsumoto • • • • • • • • • •

Interstella 5555: The 5tory of the 5ecret 5tar 5ystem (2003) (In cooperation with Daft Punk) The Galaxy Railways Great Yamato #0 Space Symphony Maetel Submarine Super 99 (1964) Kousoku Esper (1968€1970) Sexaroid (1968€1970) Machinner series (1969€1970) Mystery Eve (1970€1971) Dai-yojo-han series (1970€1974)

• • • •

Otoko Oidon (1971€73) Senjo Manga series (1973€1978) Insect (1975) Saint Elmo - Hikari no Raihousha

References [1] allcinema zì iX まËqJ¬Ì (http:/ / www.allcinema.net/prog/show_p.php?num_p=117225) [2] "Zyz– — S{²)¿SÑ[[Category:Articles containing Japanese language text (http:// comics.shogakukan.co.jp/mangasho/rist. html)]"] (in Japanese). Shogakukan. . Retrieved 2007-08-19. [3] http:// www.starblazers.com/html.php?page_id=371 Yamatour 2009: Matsumoto Symbol Road [4] "Leiji Matsumoto 1978 Interview" (http:/ / www.starblazers.com/html.php?page_id=305). StarBlazers.com. . Retrieved 2009-09-01. [5] "Leiji Matsumoto 1976 Interview" (http:/ / www.starblazers.com/html.php?page_id=303). StarBlazers.com. . Retrieved 2009-09-01. [6] "¢£¤‘ê´ 事Ä|ç" (http:/ /www.law.co.jp/cases/yamato.htm). law.co.jp. . Retrieved 2008-07-20.(Japanese) [7] "Yamato dispute arises again" (http:/ / www.animenewsnetwork.com/news/2003-08-08/yamato-dispute-arises-again). Anime News Network. 2008-07-10. . Retrieved 2009-09-01. [8] "Cosmoship Yamato Part 1: The Leiji Matsumoto Manga" (http:// www.starblazers.com/html.php?page_id=171).StarBlazers.com. . Retrieved 2008-10-02. [9] "Cosmoship Yamato Part 2: The Leiji Matsumoto Manga" (http:// www.starblazers.com/html.php?page_id=173).StarBlazers.com. . Retrieved 2008-10-02. [10] "Leiji Matsumoto: A Tribute" (http:/ /www.starblazers.com/html.php?page_id=301). StarBlazers.com. . Retrieved 2009-09-01.

External links • (Japanese) Leiji Matsumoto Official Home Page (http:/ /www.leiji-matsumoto.ne.jp/ ) • Leiji Matsumoto (http:/ /www.animenewsnetwork.com/encyclopedia/people.php?id=3138) at Anime News Network's Encyclopedia • Leiji Matsumoto (http:/ /www.imdb.com/ name/nm0559535/) at the Internet Movie Database

215

Osamu Tezuka

216

Osamu Tezuka In this Japanese name, the family name is "Tezuka".

Osamu Tezuka Born

Tezuka Osamu (å } ¨) November 3, 1928 Toyonaka, Osaka

Died

February 9, 1989 (aged 60) Tokyo

Nationality

Japanese

Area(s)

Writer, Penciller, Inker, Animator, Producer, Manga Artist, Medical Doctor, actor, pianist

Notable works Astro Boy

Kimba the White Lion Phoenix Black Jack Spouse

Etsuko Okada

Osamu Tezuka (å } ¨~, born å } ¨ Tezuka Osamu, November 3, 1928 € February 9, 1989) was a Japanese cartoonist, manga artist, animator, producer, activist and medical doctor, although he never practiced medicine. Born in Osaka Prefecture, he is best known as the creator of Astro Boy, Kimba the White Lion and Black Jack. He is often credited as the "Godfather of Anime", and is often considered the Japanese equivalent to Walt Disney, who served as a major inspiration during his formative years.[1] His prolific output, pioneering techniques, and innovative redefinitions of genres earned him such titles as "the father of manga", "the god of comics"[2] and "kamisama of

manga".[3] His grave is located in Tokyo's Souzen-ji Temple Cemetery.

Early life Osamu was born, as the eldest son of three children of Tezuka family, on November 3, 1928, in Toyonaka City, Osaka.[4] [5] His nickname was gashagasha-atama (gashagasha is slang for messy, atama means head). His mother often comforted him by telling him to look to the blue skies, giving him confidence. His mother's stories inspired his creativity as well. Tezuka grew up in Takarazuka City, Hy€go and his mother often took him to the Takarazuka Theatre. The Takarazuka Revue that performed at the theatre is made up in its entirety of women, and so male characters are also played by women. The Takarazuka Revue is known for its romantic musicals usually aimed at a female audience, thus having a large impact on the later works of Tezuka, including his costuming designs. He has said that he has a profound "spirit of nostalgia" for Takarazuka. [6] His animation production company was named Mushi (insect) Production.[7] He started to draw comics around his second year of elementary school. Around his fifth year he found a bug named "Osamushi". It so resembled his name that he adopted osamushi as his pen name. He came to the realization that he could use manga as a means of helping to convince people to care for the world. After World War II, he created his first piece of work (at age 17), Diary of Ma-chan and then Shin Takarajima (New Treasure Island), which began the golden age of manga, a craze comparable to American comic books at the time.[8] Japanese manga artists call him "Manga-no-kami sama" [the god of manga].

Osamu Tezuka

Works The distinctive "large eyes" style of Japanese animation was invented by Tezuka, [9] drawing inspirations on cartoons of the time such as Betty Boop and Walt Disney's Bambi and Mickey Mouse. As an indication of his productivity, the Complete Manga Works of Tezuka Osamu (å }¨~– — ôë, published in Japan) comprises some 400 volumes, over 80,000 pages; even so, it is not comprehensive. His complete oeuvre includes over 700 manga with more than 150,000 pages.[10] [11] However, the vast majority of his work has never been translated from the srcinal Japanese and is thus inaccessible to people who do not read Japanese. When he was younger, Tezuka's arms swelled up and he became ill. He was treated and cured by a doctor which made him want to be a doctor. However, he began his career as a manga artist while a university student, drawing his first professional work while at school. At a crossing point, he asked his mother whether he should look into doing manga full time or whether he should become a doctor. At the time, being a manga author was not a particularly rewarding job. The answer his mother gave was: "You should work doing the thing you like most of all." Tezuka decided to devote himself to manga creation on a full-time basis. He graduated from Osaka University and obtained his medical degree, but he would later use his medical and scientific knowledge to enrich his sci-fi manga, such as Black Jack.[11] [12] His creations include Astro Boy (Tetsuwan Atomu in Japan, literally translated to "Iron-armed Atom"), Black Jack , Princess Knight, Phoenix (Hi no Tori in Japan), Kimba the White Lion, Adolf and Buddha. His "life's work" was Phoenix • a story of life and death that he began in the 1950s and continued until his death. [13] In January 1965, Tezuka received a letter from Stanley Kubrick, who had watched Astro Boy and wanted to invite Tezuka to be the art director of his next movie 2001: A Space Odyssey. Tezuka could not afford to leave his studio for an entire year to live in England, so he refused the invitation. Though he could not work on it, he loved the movie, and would play its soundtrack at maximum volume in his studio to keep him awake during the long nights of work.[14] [15] Tezuka headed the[7]animation production studio Mushi Production ("Bug Production"), which pioneered TV animation in Japan. The name of the studio derives from one of the kanji ( ~ - Japanese reading: mushi, English meaning: bug,insect) used to write his name. Many young manga artists once lived in the apartment where Tezuka lived, Tokiwa-so. (As the suffix -so indicates, this was probably a small, inexpensive apartment.) The residents included Shotaro Ishinomori; Fujio Akatsuka; and Abiko Motou and Hiroshi Fujimoto (who worked together under the pen name Fujiko Fujio). [16] [17] He was a personal friend (and apparent artistic influence) of Brazilian comic book artist Mauricio de Sousa. Tezuka died of stomach cancer on February 9, 1989, at the age of 60. [2] His death came about one month after the death of Hirohito, the Sh€wa Emperor of Japan. In an afterword written by Takayuki Matsutani, president of Mushi Productions, that was published in Viz Media's English language release of the Hi no Tori manga, it is said that his last words were, "I'm begging you, let me work!" The city of Takarazuka, Hy€go, where Tezuka grew up, opened a museum in his memory. [5] Stamps were issued in his honor in 1997. Also, beginning in 2003 the Japanese toy company Kaiyodo began manufacturing a series of figurines of Tezuka's creations, including Princess Knight, Unico, the Phoenix, Dororo, Marvelous Melmo, Ambassador Magma and many others. To date three series of the figurines have been released. A separate Astro Boy series of figurines has also been issued, and continuing popularity for fans throughout Japan are annual Tezuka calendars with some of Tezuka's most famous artwork. His legacy has continued to be honored among Manga artists and animators and many artists including Hayao Miyazaki (Spirited Away), Akira Toriyama (Dragon Ball), and Kazuki Takahashi (Yu-Gi-Oh!) have cited Tezuka an inspiration for their works.

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Osamu Tezuka

Style Tezuka is known for his imaginative stories and stylized Japanese adaptations of western literature. He loved reading novels and watching films that came from the West. Tezuka's early works included manga versions of Disney movies such as Bambi.[18] His work, like that of other manga creators, was sometimes gritty and violent. However, he stayed away from graphic violence in some titles such as Astro Boy.

Awards • 1958 Shogakukan Manga Award for Manga Seminar on Biology and Biiko-chan[19] • 1975 Bungeishunj‚ manga Award • • • • • • • • • • •

1975 Japan Mangaka Association Award • Special Award 1977 Kodansha Manga Award for Black Jack and The Three-Eyed One[20] 1983 Shogakukan Manga Award for Hidamari no Ki[19] 1984 Animafest Zagreb Grand Prize for Jumping 1985 Hiroshima International Animation Festival for Onboro-Film 1986 Kodansha Manga Award for Adolf[20] 1989 Nihon SF Taisho Award - Special Award 1989 Zuih€sho 3rd class 2004 Eisner Award for Buddha (vols. 1 €2) 2005 Eisner Award for Buddha (vols. 3 €4) 2009 Eisner Award for Dororo

Selected manga and anime For a more complete list, see List of Osamu Tezuka manga and List of Osamu Tezuka anime The years cited beside each title refer to the period of manga serialization. • Metropolis, 1949. One of Tezuka's early science fiction works, about a private detective, Higeoyaji, who tries to take care of Mitchy, a gender switching robot, after its creator is killed. It would be made into a 2001 animated film. The 2001 film was heavily influenced by the Fritz Lang film Metropolis, as well as Tezuka's manga. It is said that Tezuka never even saw the 1927 film but was inspired by the poster of the film. • Jungle Taitei (Jungle Emperor), 1950€54. Better known by these other names in the English speaking world as Kimba the White Lion, this manga established one of Tezuka's most iconic creations. His first full-scale long serial, Jungle Taitei follows the adventures of Leo the white lion as he seeks to succeed his father, killed by a hunter, as king of the jungle. In 1965, Tezuka's Mushi Productions, financed by NBC Enterprises, produced a 52-episode anime series loosely based on the manga. [7] This was followed immediately by a 26-episode sequel, produced by Mushi Productions alone. This sequel was dubbed into English in 1984 under the title Leo the Lion. A full-length animated film based on the last half of Tezuka's srcinal manga was released theatrically in 1997 under the title Jungle Emperor Leo. A New 30 minute short was shown on Fuji TV on September 5, 2009. It was directed by Goro Taniguchi creator of Code Geass and Planetes. • Tetsuwan ATOM (Astro Boy), 1952€68. A sequel to Captain ATOM (1951), with Atom (Atomu in Japanese, renamed Astro Boy in the U.S.) [21] as its main character. Eventually, Astro Boy would become Tezuka's most famous creation. He created the nuclear-powered, yet peace-loving, boy robot first after being punched in the face by a drunken GI.[21] In 1963, Astro Boy made its debut as the first domestically produced animated program on Japanese television. The 30-minute weekly program (of which 193 episodes were produced) led to the first craze for anime in Japan.[22] In America, the TV series (which consisted of 104 episodes licensed from the Japanese run) was also a hit,[23] [24] becoming the first Japanese animation to be shown on U.S. television, although the U.S. producers downplayed and disguised the show's Japanese srcins. [25] [26] Several other Astro Boy series have

218

Osamu Tezuka been made since, as well as a 2009 CGI-animated feature film Astro Boy. • Ribon no Kishi (Princess Knight), 1953€56. A gender-bending adventure drama about Princess Sapphire, a girl who must pretend to be a boy •and whose body, in fact, has two human hearts; a boy's and a girl's. The manga was inspired by the themes and styles of musicals by the all-girl Takarazuka Revue, which Tezuka had watched in his youth. Ribon no Kishi itself established many of the themes and styles of later sh€jo manga (girls' manga), such as its affinity for androgynous heroes, and is sometimes referred to as "the Mother of all sh€jo manga." It was made into an anime TV series in 1967, and the anime has been dubbed into English and sporadically broadcast on TV in the United States and other English-speaking countries; also known in English as Choppy and the Princess. The series was the first anime produced in color, and the quality of the show's art is still impressive, even today. In spite of the series' obscurity in the United States due to legal and distribution problems, the series has turned out to be one of Tezuka's most popular creations practically everywhere else. It's known in Spanish-speaking countries as La princesa caballero, in Germany as Choppy und die Prinzessin, in Italy as La Principessa Zaffiro, in Portugal and Brazil as Princesa e o Cavaleiro, in France as "Prince Saphir" and in Poland under no less than five different titles, including Czopi i Ksi”niczka. A new musical version of Princess Knight was performed in August 2006 starring the members of the all-female pop group Morning Musume. An excerpt from the manga will be published in the June 19, 2007 issue of Shojo Beat from VIZ. The entire manga had previously been released in bilingual (English/Japanese) volumes from Kodansha Bilingual Comics. As of 2011, Vertical acquired the rights to Princess Knight for the North American market. [27] • Hi no Tori (Phoenix), 1956€89. Tezuka's most profound and ambitious work, dealing with man's quest for immortality, ranging from the distant past to the far future. The central character is the Phoenix, the physical manifestation of the cosmos, who carries within itself the power of immortality; either granted by the Phoenix or taken from the Phoenix by drinking a small amount of its blood. Other characters appear and reappear throughout the series; usually due to their reincarnation. The work remained unfinished at the time of Tezuka's death in 1989. Phoenix has been filmed several times, most notably as Phoenix 2772 (1980). • Twin Knight, 1958. Twin Knight was a sequel to Princess Knight, and takes place several years after the end of the srcinal series. In Twin Knight Princess Sapphire is now Queen Sapphire and is married to Frantz, her love interest in the srcinal series. The main characters in Twin Knight are the twin children of Sapphire and Frantz, Prince Daisy and Princess Violetta. In keeping with the theme of the srcinal series, following Prince Daisy's kidnapping, Princess Violetta must pretend to be both of them, all the while trying to discover the whereabouts of her brother. Although Twin Knight was srcinally published under the same Ribon no Kishi title during its short run, the title was changed in 1960 when the series was collected into a single volume. Ever since then it has been regarded as a separate series. No television version has ever been produced. • Kureopatora (Cleopatra: Queen of Sex), 1970. The movie told the story of Cleopatra and her numerous romantic encounters with Julius Caesar and the other men in her life. When the film was released in the United States, American distributors released it under the title Cleopatra: Queen of Sex with an X rating in an attempt to cash in on the success of Fritz the Cat. In actuality, the film had not been submitted to the MPAA, and it is considered to be highly unlikely that it would have received an X rating if it had been submitted. One critic described it as "kid stuff with naked breasts.."[28] The film was not a success in Japan (partly due to financial troubles Tezuka's film company was having at the time), and is rarely seen today. • Black Jack, 1973€83. The story of Black Jack, a talented surgeon who operates illegally, using radical and supernatural techniques to combat rare afflictions. Black Jack received the Japan Cartoonists' Association Special Award in 1975 and the Koudansha Manga Award in 1977. Three Black Jack TV movies were released between 2000-01. In fall 2004, a TV anime was aired in Japan with 61 episodes, releasing another movie afterward. A new series, titled Black Jack 21, started broadcasting on April 10, 2006. In September 2008, the first volume of the manga had been published in English by Vertical Publishing and more volumes are being published to this day. [1] Tezuka Osamu Monogatari, 1992, published by Tezuka Productions.

219

Osamu Tezuka [2] Patten, Fred (2004). Watching Anime, Reading Manga: 25 Years of Essays and Reviews. Stone Bridge Press. p. 198. ISBN 1880656922. [3] •€? (2009-11-03). "é)±é 名‚ƒå }¨~}(1)" (http:// sankei.jp.msn.com/culture/academic/091103/acd0911030313001-n1. htm). sankeishimbun. . Retrieved 2009-11-03. [4] Patten, Fred (2004). Watching Anime, Reading Manga: 25 Years of Essays and Reviews. Stone Bridge Press. p. 145. ISBN 1880656922. [5] Galbraith, Patrick W. (2009). The Otaku Encyclopedia: An Insider's Guide to the Subculture of Cool Japan. Kodansha International. pp. 220€221. ISBN 978-4770031013. [6] Gravett, Paul (2004). Manga: 60 Years of Japanese Comics. Harper Design. p. 77. ISBN 1-85669-391-0. [7] Foster, Melanie. "Osamu Tezuka, Animation Pioneer" (http:// web.archive.org/web/20071024152609/http://www.clas.ufl.edu/users/ jmurphy/JPT3500file/JPT.Projectfile/Jpt/Mickey.html). Archived from the srcinal (http:/ / www.clas.ufl.edu/users/jmurphy/ JPT3500file/JPT.Projectfile/ Jpt/Mickey.html) on 2007-10-24. . Retrieved 2008-02-08. [8] Wells, Dominic (2008-09-13). "Osamu Tezuka the master of mighty manga" (http:// entertainment.timesonline.co.uk/tol/ arts_and_entertainment/film/article4723984.ece). The Times (London). . Retrieved 2010-05-20. [9] Patten, Fred (2004). Watching Anime, Reading Manga: 25 Years of Essays and Reviews. Stone Bridge Press. p. 144. ISBN 1880656922. [10] Katayama, Lisa (2007-05-31). "Museum Show Spotlights Artistry of Manga God Osamu Tezuka" (http://www.wired.com/culture/ culturereviews/news/2007/05/astroboy). Wired. Condƒ Nast Publications. . Retrieved 2007-07-18. [11] "The Story of Tezuka, Osamu" (http:/ / en-f.tezuka.co.jp/osamu/story/index.html). TezukaOsamu@World. . Retrieved 2007-07-18. [12] Santiago, Ardith. "Tezuka: God of Comics " (http:/ / web.archive.org/web/20070716014936/http://www.hanabatake.com/research/ tezuka.htm#_ednref11). Hanabatake.com. Archived from the srcinal (http:/ / www.hanabatake.com/research/tezuka.htm#_ednref11) on 2007-07-16. . Retrieved 2007-07-18. [13] Patten, Fred (2004). Watching Anime, Reading Manga: 25 Years of Essays and Reviews. Stone Bridge Press. p. 199. ISBN 1880656922. [14] "Osamu Star Annals: 1960s at TezukaOsamu@World" (http://en.tezuka.co.jp/osamu/annals/1960.html). TezukaOsamu@World. Tezuka Productions. . Retrieved 2007-08-11. [15] "Tezuka Osamu" (http:/ / www.japan-zone.com/modern/tezuka_osamu.shtml). Japan Zone. . Retrieved 2007-08-11. [16] Tchiei, Go (1998). "Tezuka Osamu and the Expressive Techniques of Contemporary Manga" (http:// www.dnp.co.jp/museum/nmp/ nmp_i/articles/manga/manga3-2.html). Dai Nippon Printing. . Retrieved 2007-07-18. [17] Gerow, Aaron (1996-03-28). "Drawn to a Legend" (http:// pears2.lib.ohio-state.edu/Markus/Review/Films96/Tokiwa.html). Yomiuri Shimbun. . Retrieved 2007-07-18. [18] Patten, Fred (2004). Watching Anime, Reading Manga: 25 Years of Essays and Reviews. Stone Bridge Press. p. 234. ISBN 1880656922. [19] "Zyz– — S: ²)¿SÑ" (http:/ / comics.shogakukan.co.jp/mangasho/rist.html) (in Japanese). Shogakukan. . Retrieved 2007-08-19. [20] Hahn, Joel. "Kodansha Manga Awards" (http:/ /web.archive.org/web/20070816031310/http:// www.hahnlibrary.net/comics/awards/ kodansha.shtml). Comic Book Awards Almanac. Archived from the srcinal (http:/ /www.hahnlibrary.net/comics/awards/kodansha.shtml) on 2007-08-16. . Retrieved 2007-08-21. [21] "Mighty Tezuka!" (http:/ /www.bluefat.com/0910/Mighty_Tezuka.htm) Bluefat, January 2001 [22] Company Profile, 1963 (http:/ / tezukaosamu.net/en/productions/trans.html) [23] (http:/ / www.awn.com/mag/issue1.5/articles/deneroffladd1.5.html) [24] Ladd, Fred (2009). Astro Boy and anime come to the Americas: an insider's view of the birth of a pop culture phenomenon. McFarland & Company, Incorporated Publishers. p. 6. ISBN 9780786438662. [25] Schodt, Frederik L. "Introduction." Astro Boy Volume 1 (Comic by Osamu Tezuka). Dark Horse Comics and Studio Proteus. Page 3 of 3 (The introduction section has 3 pages). ISBN 1-56971-676-5. [26] Ladd, Fred (2009). Astro Boy and anime come to the Americas: an insider's view of the birth of a pop culture phenomenon. McFarland & Company, Incorporated Publishers. p. 21. ISBN 9780786438662. [27] (http:/ / www.animenewsnetwork.com/news/2011-01-27/vertical-adds-princess-knight-drops-of-god-manga) [28] Barrier, Michael (1972/73). "The Filming of Fritz the Cat" (http:/ /www.michaelbarrier.com/Funnyworld/FritzPartOne/FritzOne.htm). Funnyworld Nos. 14 and 15. . Retrieved 2007-01-15.

Museum The Osamu Tezuka Manga Museum (&}í#å }¨~²„z, Takarazuka's Tezuka Osamu Memorial Hall) was inaugurated on April 25 of 1994 and has three floors (15069.47 ftÓ). In the basement there is an "Animation Workshop" in which visitors can make their own animations, and a mockup of the city of Takarazuka and a replica of the table where Osamu Tezuka worked. On the ground floor on the way before the building's entrance, are imitations of the hands and feet of several characters from Tezuka (as in a true walk of fame) and on the inside, the entry hall, a replica of Princess Knight's furniture. On the same floor, is a permanent exhibition of manga and a room for the display of anime. The exhibition is divided into two parts: Osamu Tezuka and the city of Takarazuka and Osamu Tezuka, the author.

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Osamu Tezuka On the first floor are held several exhibitions and are available a Manga Library, with five hundred works of Tezuka (some foreign editions are also present), a video library and a lounge with a decor inspired by Kimba the White Lion. There is also a center of glass that represents the planet Earth and is based on a book written by him in his childhood called "Our Earth of Glass".

Personal life Tezuka was a fan of Superman and was made honorable chairman of the Superman Fan Club in Japan. [1] His son Makoto Tezuka, would later become a film and anime director. [2] He gave guidance to many known cartoonists such as Shotaro Ishinomori and Go Nagai. Tezuka enjoyed bug collecting, entomology, Walt Disney, baseball, and licensed the "grown up" version of his character Kimba the White Lion as the logo for the Seibu Lions of the Nippon Professional Baseball League. [2] [3] Tezuka met Walt Disney in person, who wanted to hire Tezuka. Tezuka is a descendent of Hattori Hanzo[4] , a famous ninja and samurai who faithfully served Tokugawa Ieyasu during the Sengoku period in Japan.

References [1] "About Osamu Tezuka" (http:/ / www.tezukaosamu.net/en/about/1980.html). . [2] Biography for Osamu Tezuka (http:/ / www.imdb.com/name/nm856804/bio) at the Internet Movie Database [3] Japan, Hockey, Baseball, etc., "The Four Lions of Asia", Accessed 2011-09-22 (http://jhockey.wordpress.com/2008/10/18/ the-four-lions-asia-series/) [4] Tezuka Osamu Permanent Exhibition, Birth, Accessed 2011-10-18 (http://tezukaosamu.net/en/museum/permanent_1.html)

External links • • • • • • • • • • •

TezukaOsamu.net (http:/ /tezukaosamu.net/) Official site in Japanese and English Tezuka in English (http:/ /tezukainenglish.com/) (works, characters, bibliography, and fan index) Osamu Tezuka (http:/ /www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=7738125) at Find a Grave Osamu Tezuka (http:/ /www.imdb. com/name/nm0856804/) at the Internet Movie Database Osamu Tezuka (http:/ /www.animenewsnetwork.com/encyclopedia/people.php?id=883) at Anime News Network's Encyclopedia Osamu Tezuka (http:/ /www.anime.com/ Osamu_Tezuka/) at Anime.com Tezuka Osamu Manga Museum (http:/ /tezukaosamu.net/en/museum/index.html) Information page at TezukaOsamu.net The Osamu Tezuka Manga Museum (http:/ /www.city.takarazuka.hyogo.jp/tezuka/index.htm) Information page on city of Takarazuka municipal site (Japanese) Based on Osamu Tezuka movies or mangas [ sic] (http://www.uvlist.net/groups/ info/osamutezuka) at Universal Videogame List (Video games based on Osamu Tezuka works) Interview: Osamu Tezuka speaks at Hartford (http:/ /web.archive.org/web/20050220082952/home.comcast. net/~hasshin/tezukaint.html) at web.archive.org Osamu Tezuka, A Japanese Godfather of Modern Day Manga (http:/ /www.yementimes.com/defaultdet. aspx?SUB_ID=34059)

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Rakuten Kitazawa

Rakuten Kitazawa Yasuji Kitazawa (…q Jé 20 July 1876 ‚ 25 August 1955), better known by the pen name Rakuten Kitazawa (…q 5 Kitazawa Rakuten), was a Japanese manga artist and nihonga artist. He drew many editorial cartoons and comic strips during the years from the late Meiji era through the early Showa era. He is considered by many historians to be the founding father of modern manga because his work was an inspiration to many younger manga artists and animators. He was the first professional cartoonist in Japan, and the first to use the term "manga" in its modern sense. [1]

Biography Rakuten was born in 1876 in the Kita Adachi district of Šmiya in Saitama Prefecture. He studied western-style painting under Šno Yukihiko and Nihonga under Inoue Shunzui. He joined the English-language magazine Box of Curios in 1895, and started drawing cartoons under Frank Arthur Nankivell, an Australian artist who later emigrated to America and became a popular cartoonist for Puck magazine. In 1899, Rakuten moved to Jiji Shimpo, a daily newspaper founded by Yukichi Fukuzawa. From January 1902, he contributed to Jiji Manga, a comics page that appeared in the Sunday edition. His comics for this page were inspired by American comic strips such as Katzenjammer Kids, Yellow Kid, and the work of Frederick Burr Opper. In 1905, Rakuten started a full-color satirical magazine called Tokyo Puck, named after the American magazine. It was translated into English and Chinese and sold in not only Japan but also in the Korean peninsula, Mainland China, and Taiwan. He worked for this magazine until 1915 (with the exception of a short period around 1912, during which he published a magazine of his own called Rakuten Puck), and then returned to Jiji Shimpo , where he remained until his retirement in 1932. In 1929, the Rakuten heldd'honneur. a private During exhibition in Paris recommendation andKai was awarded Legion World War on II, the he was the chairmanofofthetheFrench , a Nihonambassador, Manga H€k€ cartoonists society organized by the government to support the war effort.

222

Rakuten Kitazawa

Influence Both before and after his retirement, Rakuten trained many young manga artists and animators, including Hekoten Shimokawa, creator of Japan's first cartoon animation. Along with Ippei Okamoto, he was one of the favorite cartoonists of the young Osamu Tezuka. [2]

Notable works • Rakuten drew many political cartoons for Jiji Shimp€ and Tokyo Puck. His early style was critical of the government, but after the High Treason Incident it became more conservative. • Many of Rakuten's most popular comic strips were published in Jiji Manga. • Tagosaku to Mokub„ no T€ky€-Kenbutsu (=†‰と‡ˆ‰é GHŠæ ,, "Tagosaku and Mokube's Sightseeing in Tokyo") - started 1902. The story of two country bumpkins on a sightseeing trip in Tokyo. Knowing nothing about modern culture, they behave foolishly (for example, by separately eating lumps of sugar for coffee). • Haikara Kidor€ no Sippai (‹Œ—3Óé 5,, "The Failures of Kidoro Haikara") - started 1902. The story of a young man who boasts of his imperfect knowledge of the West but ends up embarrassing himself. His name can be read "Mr. European style affected man". • Chame to Dekob€ (ŽÀと,, "Chame and Dekobo") - Stories about two mischievous boys, Tagosaku to Mokub„ no T€ky€-Kenbutsu (1902) counterparts of the Katzenjammer Kids in Japan. The characters Chame and Dekobo appeared as dolls and on playing cards in one of the first examples of character merchandising in Japan. • Teino Nukesaku (Q{‘‰,, "Nukesaku Teino") - started 1915. The story of a wooden-head man, Nukesaku Teino, whose name can be read "Mr. Foolish Wooden-head". He was a popular character during the Taish€ era in Japan. • Tonda Haneko J€ (とº «ÿ ´X嬢,, "Miss Haneko Tonda") - started 1928. The story of a tomboyish girl, Haneko Tonda, whose name can be read "Hopping-jumping girl". Haneko was the first girl protagonist in manga and influenced early sh€jo manga like Machiko Hasegawa's Nakayoshi Tech€.

223

Rakuten Kitazawa

Notes [1] The first cartoonist to use the term "manga" in the narrower sense of "caricature" was probably Ippy€ Imaizumi, Rakuten's predecessor as political cartoonist at the Jiji Shimpo, in 1892. See Shinbun Manga (1) (http:/ / newspark.jp/newspark/data/pdf_siryou/c_15.pdf) (Newspaper Manga (1), in Japanese). The Japan Newspaper Museum. Retrieved on 03 January 2009. [2] Osamu Tezuka, Tezuka Osamu Manga no Ougi (Secrets of Osamu Tezuka manga), pp. 16-27, ISBN 4-06-175991-4

References • Isao Shimizu, Manga Tanj€ (Birth of manga), ISBN 4-642-05475-8 • Isao Shimizu, Zusetsu Manga no Rekishi (Illustrated history of manga), ISBN 4-309-72611-9

External links • Rakuten Kitazawa in Lambiek Comiclopedia (http:/ /lambiek.net/artists/ k/kitazawa_rakuten.htm)

224

Shotaro Ishinomori

225

Shotaro Ishinomori Shotaro Ishinomori Born

January 25, 1938 Tome, Miyagi Prefecture, Japan

Died

January 28, 1998 (aged 60)

Occupation

Manga artist

Language

Japanese

Period

1954-1998

Genres

Science fiction

Notable work(s) Super Sentai

Cyborg 009 Kamen Rider Ganbare!! Robocon

Shotaro Ishinomori (’Š¡ u(Ó Ishinomori Sh€tar€ , January 25, 1938 € January 28, 1998) was a Japanese

manga artist who became an influential figure in manga, anime, and tokusatsu, creating several immensely popular long-running series such as Cyborg 009 and Himitsu Sentai Goranger, what would go on to become part of the Super Sentai series, and the Kamen Rider Series. He was twice awarded by the Shogakukan Manga Award, in 1968 for Sabu to Ichi Torimono Hikae and in 1988 for Hotel and Manga Nihon Keizai Nyumon.[1] He was born and named Shotaro Onodera (Z{‡ u(Ó Onodera Sh€tar€) in Tome, Miyagi, and was also known as Shotaro Ishimori (’¡ u(Ó Ishimori Sh€tar€) before 1986, when he changed his family name to Ishinomori with " Š".

Body of work Cyborg 009, created in 1963, became the first superpowered hero team created in Japan, featuring nine cybernetic warriors. That same year, Kazumasa Hirai and Jiro Kuwata created Japan's first android superhero, 8 Man (which predated Ishinomori's Kikaider by nine years). The success of the tokusatsu superhero TV series Kamen Rider, produced by Toei Company Ltd. in 1971, led to the birth of the "Transforming" (henshin) superhero (human-sized superheroes who transform by doing a pose, and use martial arts to fight henchmen and the weekly monster), and resulted in many sequel shows to this day. Ishinomori then created many similar superhero dramas, which were once again all produced by Toei or in Sarutobi Ecchan's case Toei Animation, including Android Kikaider, Henshin Ninja Arashi, Inazuman, Robotto Keiji, Himitsu Sentai Gorenger (the first Super Sentai series), Kaiketsu Zubat, Akumaizer 3, Sarutobi Ecchan, the Toei Fushigi Comedy Series and countless others. He even created popular children's shows such as Hoshi no Ko Chobin (Chobin, Child of the Stars, 1974, a co-production with Studio Zero which was a major success on Italian television), and Ganbare!! Robokon. Ishinomori's art is quite reminiscent of that of his mentor, Osamu Tezuka. The true story of his first meeting with Tezuka was illustrated in a short four-page tale drawn up as supplementary material for the 1970s Astro Boy manga reprints. Around 1955, Ishinomori submitted work to a contest seeking new talent in the magazine, Manga Sh€nen . Tezuka was impressed by his drawings and asked Ishinomori to help him with Astro Boy. In the American release, this story can be seen in Volume 15, along with Ishinomori's earliest work on the "Electro" story arc. Ishinomori also illustrated a comic adaptation of the Super NES video game The Legend of Zelda: A Link to the Past, which was produced for the American publication Nintendo Power. The comic consisted of 12 chapters, which were serialized from January 1992 (Volume 32) to December 1992 (Volume 43). The comic was republished as a graphic novel collection in 1993.

Shotaro Ishinomori

226

Later life At the end of 1997, Kazuhiko Shimamoto, a young and up and coming manga artists was contacted by an increasingly ill Shotaro Ishinomori and asked if he would do a continuation (though more along the lines of a remake) of his 100-page, one-shot manga from 1970, Skull Man (the manga that became the basis for Kamen Rider). Ishinomori, who had been one of Shimamoto's boyhood heroes, faxed him copies of the proposed story and plot notes. Shimamoto was astounded that he had A bronze statue of Ishinomori's hand outside of the Mangattan Museum

been chosen to work on his idol's final, great work.

Shimamoto had already been involved in the revival of one of Ishinomori's other earlier works (including Kamen Rider) but little did he dream that, as only one of many whom Ishinomori had inspired, he would be chosen for the final collaboration and resurrection of Skull Man. It was also recently adapted into an anime in 2007.

Death Ishinomori died of heart failure on January 28, 1998 just 3 days after his 60th birthday. His final work was the tokusatsu superhero TV series, Voicelugger, televised a year later. Two years later, the Kamen Rider Series would be revived with Kamen Rider Kuuga. All of the series made in the Heisei period credit Ishinomori as the creator. The Ishinomori Museum named in hisinhonor Miyagi in Manga 2001.[2] Special trains the opened Sensekiin Ishinomaki, Line were commissioned featuring his artwork generally leading to the museum. His work posthumously awarded him the Guinness World Record for most comics published by one author, totaling over 128,000 pages. [3]

One of the Mangattan Liners on the Senseki Line decorated with images of the eponymous character of Ganbare!! Robocon

References [1] "Zyz– — S: ²)¿SÑ" (http:/ / comics.shogakukan.co.jp/mangasho/rist.html) (in Japanese). Shogakukan. . Retrieved 2007-08-19. [2] "Sightseeing in Ishinomaki" (http:/ / www.city.ishinomaki.lg.jp/EN/sightseeing.jsp). . Retrieved 2009-08-29. [3] "A Rinkya Blog: Japanese Manga Writer Wins Guinness World Record" (http://rinkya.blogspot.com/2008/01/ japanese-manga-artist-wins-guinness.html). . Retrieved 2008-01-28.


Ishimori Production Inc. (http:/ /www.ishimoripro. com/index2.php) - Official website (Japanese) Ishimori Production Inc. (http:/ /en.ishimoripro. com/index2.php) - Official website Ishimori Production Inc. (http:/ /fr. ishimoripro.com/index2.php) - Official website (French) Mangattan Museum website (http:/ /www.man-bow.com/manga/) (Japanese) Shotaro Ishinomori Complete Comic Works (http:/ /www.ishinomori. com/top.html) (Japanese) Shotaro Ishinomori Memorial Museum (http:/ /www.city.tome.miyagi.jp/kinenkan/index1.htm) - Official website (Japanese)

Toshio Suzuki

227

Toshio Suzuki Toshio Suzuki Born

August 19, 1948 Nagoya, Aichi, Japan

Occupation Producer

Studio Executive Spouse

Yes

Children

Mamiko (daughter)

Toshio Suzuki (=— >? Suzuki Toshio, born August 19, 1948) is a film producer of anime and a long-time

colleague of Hayao Miyazaki, as well as the current CEO of Studio Ghibli. Suzuki is renowned as one of Japan's most successful producers after the enormous box office success (in Japan) of many Ghibli films. According to Miyazaki, "If it were not for Mr. Suzuki, there wouldn't have been Studio Ghibli." [1] Suzuki started out at Tokuma Shoten joining the company shortly after graduating. He worked on Asahi Geino magazine before becoming editor of Animage in 1978, where he met Hayao Miyazaki who had created the Nausica‹ of the Valley of the Wind manga. He convinced Miyazaki to turn Nausica‹ into a film, he later helped establish Studio Ghibli after the film. He served on production committees on My Neighbor Totoro and Grave of the Fireflies before officially joining the studio in 1991 as a producer. He graduated from Keio University with a degree in literature.

Filmography Producer • • • • • • • • • • • • • • • • • • • • •

Angel's Egg, 1985, Tokuma Shoten Digital Devil Monogatari Megami Tensei, 1987, Tokuma Shoten The Heroic Legend of Arslan, 1991, Kadokawa Shoten Porco Rosso - (õé “ Kurenai no Buta), 1992 Pom Poko - ('˜ ”Æº Ì Heisei Tanuki Gassen Ponpoko), 1994 Whisper of the Heart - (–dまÉ m Mimi wo Sumaseba), 1995 On Your Mark - (€Ý q¤³qê„ … On Yua MÌku) Princess Mononoke - (gé é š — Mononoke Hime), 1997 My Neighbors the Yamadas - (ホ„ ホdà ð とó µ é %=?º H€hokekyo Tonari no Yamada-kun), 1999 Shiki-Jitsu, 2000, Studio Kajino Ghiblies, 2000, (TV short film) Spirited Away - (IとI}é - ˜î Sen to Chihiro no Kamikakushi), 2001 The Cat Returns - (™é š›î Neko no Ongaeshi) 2002 Ghiblies Episode 2, 2002, (shown in theaters with The Cat Returns) Howl's Moving Castle - (ÆK† é ?œ Hauru no Ugoku Shiro), 2004 Innocence: Ghost in the Shell, 2004, Production I.G Doredore no Uta, 2005 Tales from Earthsea - (ÄÚ ² Gedo Senki), 2006 Ponyo on the Cliff by the Sea - (é `é eÕð Gake no Ue no Ponyo), 2008 The Secret World of Arrietty - (žµ CÎ î é ³² ” ß テÂ Kari-gurashi no Arietti), 2010 From up on Poppy Hill - (Ä…²Ä Ÿý Î Kokuriko-zaka kara), 2011

Toshio Suzuki

Associate Producer • Kiki's Delivery Service - (§Æ é ¡¢ Majo no Takkyuubin), 1989

Production Committee • • • •

Nausica‹ of the Valley of the Wind - (Té £é è KrÛ , Kaze no Tani no Naushika), 1984, Topcraft Castle in the Sky - Laputa: The Castle in the Sky (5Yé œö •‡タ, Tenkuu no Shiro Rapyuta), 1986 Grave of the Fireflies -(火¤þ é ¥, Hotaru no Haka), 1988 , Tonari no Totoro), 1987 My Neighbor Totoro - (とóµé´´

Appearance • Whisper of the Heart (1995) - as a friend of Shirou Nishi • Princess Mononoke (1997) • Killers: .50 Woman (2003) - as Wicked producer • Tachiguishi-Retsuden (2006) - as Hiyashi Tanuki no Masa (Cold Badger Masa)

References [1] http:// www.nausicaa.net/miyazaki/whoswho/#suzuki

External links • Miyazaki Quote (http:/ /www.nausicaa.net/ miyazaki/whoswho/#suzuki) from Nausicaa.net (an extensive English language source on Ghibli's films and other related anime works.) • The Birth of Studio Ghibli (Documentary), Studio Ghibli Collection (http:/ /www.studioghiblidvd. co.uk/ about_studio_ghibli.html): NausicaÑ of the Valley of the Wind (UK DVD Release), Optimum Releasing Asia, 2005 • Toshio Suzuki (producer) (http://www.animenewsnetwork.com/encyclopedia/people.php?id=1186) at Anime News Network's Encyclopedia

228

229

Year 24 Group Year 24 Group Year 24 Group (24Ë ³ Nij…yo-nen Gumi) refers to one of two female manga artist groups which are considered to

have revolutionized sh€jo manga (girls' comics).[1] Their works often examine "radical and philosophical issues", including sexuality and gender issues,[2] and many of their works are now considered "classics" of sh€jo manga.[3] Many of those in the first group, Year 24 Flower Group (Eé 24Ë ³ Hana no Nij…yo-nen Gumi), also known as the Forty-Niners, were born in Sh€wa 24 (1949).[4] The exact membership is not precisely defined, but includes Yasuko Aoike, Moto Hagio, Riyoko Ikeda, Yumiko Šshima, Keiko Takemiya, Toshie Kihara, Ryoko Yamagishi, Minori Kimura, Nanae Sasaya, and Mineko Yamada.[4] [5] A second group, known as Post Year 24 Group (e³ ´ 24Ë ³ Posuto Nij…yo-nen Gumi), includes Wakako Mizuki, Michi Tarasawa, Aiko It€, Yasuko Sakata, Shio Sat€, and Yukiko Kai. The Year 24 Group significantly contributed to the development of subgenres in sh€jo manga,[6] and marked the first major entry of women artists into manga. [7] [8] Thereafter, sh€jo manga would be drawn primarily by women artists for an audience of girls and young women. [4] [8] [9] The Year 24 Group used bildungsroman genre conventions in their works.[10] Stylistically, the Year 24 Group created new conventions in panel layout by departing from rows of rectangles that were the standard of the time and using panel shape and configuration to convey emotion, and softening or removing panel borders.[11] At around the same time as the year 24 group were creating manga, sh€jo manga magazines began serialising on a weekly basis. [12] Moto Hagio and Keiko Takemiya lived in the same apartment in Šizumi in Nerima, Tokyo from 1970 to 1973, in a situation similar to Osamu Tezuka's Tokiwa-so. Takemiya's friend Norie Masayama lived nearby and was described by Moto Hagio as Takemiya's "brain staff". Masayama was not a manga artist herself, but she introduced Takemiya to male homosexuality for women via Barazoku and Les amiti‚s particuli“res, which inspired Takemiya and Hagio to create sh€nen-ai works.[13] Until that time, sh€jo manga was written mainly by male manga artists, such as Osamu Tezuka with his Princess Knight, and their attempts by female manga artists to write manga for girls were relatively new. Fortunately their manga were welcomed by girls, women, and men. Their actions and success paved the way for the appearances of many female manga artists like Rumiko Takahashi. Comiket, the world's largest comic convention, was started by the dojinshi circle Meikyu ( $宮), which began as a group for studying the works of Moto Hagio. Works by Hagio and Sat€ were included in the sh€jo manga anthology Four Sh€jo Stories, published in North America by Viz Communications in 1996.[14]

Year 24 Group

References [1] Thorn, Matt (February 1996). "Introduction". Four Sh‡jo Stories. Viz Communications. ISBN 1-56931-055-6. "These women revolutionized the genre." [2] Kan, Satoko (10 March 2007). ""Kawaii" … The Keyword of Japanese Girls „ Culture" (http:/ /teapot.lib.ocha.ac.jp/ocha/handle/10083/ 3451) (in Japanese). YÞ¦と§¨Zé é¢ )ÆÇ²„ H„ é ©˜ : Yª‹ú þ ° y«教©ZEÕr³テÂ + (おŽé Æ X° yYª‹ú þ ° y«教©ZEÕr³テÂ +• ® ¬事") '˜ 18Ë ®œ¯ß : [¥i°事A}: 200€202. NCID BA79052646. . [3] Suzuki, Kazuko. 1999. "Pornography or Therapy? Japanese Girls Creating the Yaoi Phenomenon". In Sherrie Inness, ed., Millennium Girls: Today's Girls Around the World . London: Rowman & Littlefield, p.247 ISBN 0847691365, ISBN 0847691373. [4] Thorn, Matt (2001). "Sh‰jo Manga •Something for the Girls" (http:/ / www.matt-thorn.com/shoujo_manga/japan_quarterly/index.html). The Japan Quarterly 48 (3). . Retrieved 2007-12-16. [5] Thorn, Matt (2005). "A History of Manga" (http:/ / www.matt-thorn.com/mangagaku/history.html). Animerica: Anime & Manga Monthly 4 (2,4, & 6). . Retrieved 2007-12-16. [6] http:// www.csuchico.edu/%7Emtoku/vc/Articles/toku/Power_Girls_Comics.html [7] Gravett, Paul (2004) Manga: Sixty Years of Japanese Comics. NY: Harper Design. ISBN 1-85669-391-0. p. 8. [8] Schodt, Frederik L. 1986. Manga! Manga! The World of Japanese Comics. Tokyo: Kodansha. ISBN 978-0870117527. [9] Toku, Masami, editor. 2005. "Shojo Manga: Girl Power!" Chico, CA: Flume Press/California State University Press. ISBN 1-886226-10-5. See also http:/ / www.csuchico.edu/pub/cs/spring_06/feature_03.html.Accessed 2007-09-22. [10] Matsui, Midori. (1993) "Little girls were little boys: Displaced Femininity in the representation of homosexuality in Japanese girls' comics," in Gunew, S. and Yeatman, A. (eds.) Feminism and The Politics of Difference, pp. 177€196. Halifax: Fernwood Publishing. [11] Gravett, Paul (2004) Manga: 60 Years of Japanese Comics (Harper Design, ISBN 1-85669-391-0) page 79 [12] Women in Science Fiction and Fantasy: Overviews, Robin Anne Reid (http:// books.google.com.au/books?id=jKr0jWY8FLkC& pg=PA129&dq=Riyoko+Ikeda&hl=en&ei=lMzwTNDLDIvcvQObmbTxDQ&sa=X&oi=book_result&ct=result&resnum=10& ved=0CE4Q6AEwCQ#v=onepage&q=Riyoko Ikeda&f=false) [13] http:/ /matt-thorn.com/shoujo_manga/hagio_interview.php [14] Nishi, Keiko; Moto Hagio; and Shio Sato (February 1996). Four Sh€jo Stories. Viz Communications. ISBN 1-56931-055-6.

Keiko Takemiya Keiko Takemiya (±宮 ²X Takemiya Keiko, born February 13, 1950 in Tokushima, Tokushima Prefecture) is a Japanese manga artist. She is included in the Year 24 Group. She resides in Kamukura, Kanagawa Prefecture. [1] Takemiya was one of the female authors who in the early 1970s pioneered a genre of girls' comics about love between young men; in December 1970 she published a short story, "In the Sunroom", in Bessatsu Sh€jo Komikku , which is possibly the first sh€nen-ai manga published and contains the earliest known male-male kiss in sh€jo manga.[2] Among her most noted works are the manga Toward the Terra and Kaze to Ki no Uta, which are noted for being pioneering series of the 1970s and 1980s. She received the 1979 Shogakukan Manga Award for sh€jo manga and sh€nen manga respectively for Kaze to Ki no Uta and Terra e...,[3] and the prestigious Seiun Award for science fiction manga in 1978 for Terra e....[4] She is regarded as "one of the first successful crossover women artists" to create both sh€jo and sh€nen manga. [5] Many of her series have been adapted into anime, including Terra e... in 1980 and 2007, Natsu e no Tobira in 1981, and Kaze to Ki no Uta in 1987. In 1983, she served as special designer to the Sunrise theatrical film Crusher Joe: The Movie, alongside other noted manga artists Yumiko Igarashi, Fujihiko

Hosono, Rumiko Takahashi, Hideo Azuma, Hisaichi Ishii, Katsuhiro Otomo, Miki Tori, Shinji Wada and Akira Toriyama.[6] Since 2000, Takemiya has taught at Kyoto Seika University's Faculty of Manga and is its current dean. [7] [8] [9] In 2009, she was a member of the selection committee for the Tezuka Osamu Cultural Prize. [10]

230

Keiko Takemiya

Selected bibliography • • • • • •

Ringo no Tsumi (µ º ごé ³ Ringo no tsumi, 1968) In the Sunroom (ƒÝ†„ ,õf, 1970) Natsu e no Tobira (Z±é ´ Natsu e no tobira, 1975) Kaze to Ki no Uta (Tと—é Ã Kaze to ki no uta, 1976€1984) To Terra... (Ì|±” Terra e..., 1977€1980) (published in English by Vertical) F Andromeda stories, 1980-1982) (published in English by Andromeda Stories (³Ý Ú  メHq³´„²„ Vertical, Story by Sci Fi author Ryu Mitsuse) • Tenma no Ketsuzoku (5œé 9¬ Tenma no ketsuzoku, 1992€2000)

References [1] "MAJORING IN MANGA: University Teaches Students How to Produce Comics" (http:/ /web-japan.org/trends01/article/020619sci. html). Japan Information Network. 2002-08-14. . Retrieved 2009-03-29. [2] Deppey, Dirk (March 27, 2007). "Mar. 27, 2007: The first draft of history (some revisions may be necessary)" (http:// archives.tcj.com/ journalista/?p=321). Journalista. The Comics Journal. . Retrieved September 11, 2009. [3] "Zyz– — S{²)¿SÑ" (http:/ /comics.shogakukan.co.jp/mangasho/rist.html) (in Japanese). Shogakukan. . Retrieved 2007-08-19. [4] "日„SFフŒÝá†„÷ µÆB¶{.雲S² ³ ´ " (http:/ / www.sf-fan.gr.jp/awards/list.html) (in Japanese). . Retrieved 2008-12-31. [5] http:// www.suvudu.com/2009/09/365-days-of-manga-day-2-andromeda-stories.html [6] "Crusher Joe - Anime Liner Notes - AnimEigo (Japanese Animation)" (http:// www.animeigo.com/Liner/CRUSHERJOE.t). AnimEigo. . Retrieved 2009-03-28. [7] " A Faculty of Manga (http:/ / www.nhk.or.jp/cooljapan/previous/index.html)". Cool Japan. NHK World, BS1, NHK BS-Hi Vision. 2009-02-04. [8] Takemiya the teacher (http:/ / thestar.com.my/lifestyle/story.asp?file=/2008/2/24/lifebookshelf/20355872&sec=lifebookshelf) [9] A Lifetime of Shojo Manga (http:/ / www.shojobeat.com/interviews/10/239.php) [10] "13th Tezuka Osamu Cultural Prize Nominees Announced" (http://www.animenewsnetwork.com/news/2009-03-05/ 13th-tezuka-osamu-cultural-prize-nominees-announced). Anime News Network. 2009-03-05. . Retrieved 2009-03-29.

External links • tra-pro.com (http:/ /www.tra-pro.com/ index/) - Keiko Takemiya's personal website (Japanese) • Interview: Keiko Takemiya (http:/ /manga.about.com/od/mangaartistswriters/a/KeikoTakemiya.htm)

231

Minori Kimura

232

Minori Kimura Minori Kimura Birth name ·¸ Jé µ Born

11 November 1949 Saitama Prefecture, Japan


Sh€jo manga

Minori Kimura (·¸ Jé µ Kimura Minori) is a female Japanese manga artist, born 11 November 1949 in Saitama Prefecture, Japan.[1] She is often counted among the Year 24 Group, a nebulous group of female manga artists considered to have revolutionized sh€jo manga. [2] She made her professional debut in 1964 at the age of 14 with her story Picnic,[1] [3] [4] serialized in the Spring Special issue of Ribon, published by Shueisha. From that point, she continued writing stories during her school breaks which were published in magazines such as COM and Ribon Comic . During the 1960s and early 1970s, the settings for her stories were varied, including places like Auschwitz, Vietnam, and the slums of Rio de Janeiro, and they covered topics interesting to young girls, elaborately drawing out the feelings and motivations of her characters.

After graduating from college, she took a short break from publishing before returning with Gift (öµ æ Okurimono), published by Shogakukan in Bessatsu Sh€jo Comic in 1974. The story discussed the struggles of elementary school life. She then published This Side of the Rape Blossom Field (¹é EºéÌÍÎ » Nanohana Hatake no Kochiragawa), the story of four young college girls living together. This story caused her to gain popularity, and from that point she generally published in sh€jo, seinen, and ladies manga magazines from Akita Shoten and Kodansha. In recent years, she has published fewer works, with most of her releases being reprints of older works. She has also create several health-related manga. One of her works finished its run in 2008 in Mugenkan, a magazine published by Asahi Shimbun Shuppan.

Reception Kimura has been called "one of the most brilliant and largely forgotten members of the Fabulous Fortyniners" by Matt Thorn,[5] an anthropologist noted for his work on sh€jo manga.

Works • Picnic (1964, Ribon, Shueisha) • Rain (* Ame) (December 1966, Ribon, Shueisha) • Little Brother (おと· と Ot€to) (September 1969, COM, Mushi Pro) ¼½é a¾é 日

Thethe First of Liberation ( Kaih€ no,Saish€ no Hi) (May€June 1970, COM, Mushi Pro) To SeaDay ([ ± Umi e) (September 1970, Ribon Comic Shueisha) Carnival (Û † è バ† Karunabaru) (October 1970, Ribon Comic, Shueisha) Winter Fireworks (¿é E火 Fuyu no Hanabi) (February 1971, Ribon Comic, Shueisha) The Flying Box Which Couldn't Fly (ÀÁó ¹ とNÂ Tobenai Tobihako) (May 1971, Ribon, Shueisha, collected in Seasons in My Pocket (edß ´ é >é ÃÄ Poketto no Naka no Kisetsu)) • Big Sister's Wedding (お´ã¸ º é °Å Oneesan no Kekkon) (September 1971, COM, Mushi Pro) • Happy Talk (Ì · Î?ó ¦ K€fuku na Hanashi) (December 1971, COM, Mushi Pro)

•• • • •

Minori Kimura • Letter from Uruguay (K† á ³EýÎéå Æ Uruguai kara no Tegami) (May 1973, Monthly Funny, Mushi Pro, collected in Seasons in My Pocket 2 (edß ´ é >é ÃÄ2 Poketto no Naka no Kisetsu Ts…)) • Gift (October 1974, Bessatsu Sh€jo Comic, Shogakukan • Unseen Autumn (Šãó ¹ Ê Mienai Aki) (November 1974, Bessatsu Sh€jo Comic, Shogakukan) • Rape Blossoms (¹é E Nanohana) (January 1975, Bessatsu Sh€jo Comic, Shogakukan) • Wingless Bird (翼é ó ¹ î Tsubasa no Nai Tori) (April€May 1975, Bessatsu Sh€jo Comic, Shogakukan) • Sick Day (Çfé 日 By€ki no Hi) (August 1975, Ribon Comic, Shueisha) • Our Beginning (-.î .Í é iまµ Watashi-tachi no Hajimari) (September 1975, Bessatsu Sh€jo Comic, Shogakukan) • This Side of the Rape Blossom Field (November 1975-January 1976, Bessatsu Sh€jo Comic, Shogakukan) • Early Spring (<ˆ S€shun) (Spring 1976, Ribon Deluxe, Shueisha) • The People Living in the Stars (.õÈ’• Nと Hoshi ni Sumu Hitobito) (November 1976, Bessatsu Sh€jo Comic, Shogakukan) • That and This Side of the Rape Blossom Field (¹é Eºé ’Ì · とÌ Í Î Nanohana Hatake no Muk€ to Kochira) (March 1977, Bessatsu Sh€jo Comic, Shogakukan) • My Alien (-.î é ¢£• Watashi no Uch…jin) (1 May 1977, Big Comic Original, Shogakukan) • If the Rape Blossom Field Is also Clinging to the Night (¹é Eºÿ ¨g/Î Nanohana Hatake wa Yoru mo Sugara) (October 1977, Bessatsu Sh€jo Comic, Shogakukan) • Suitable Maidens (ÛßÄ„é É.Í Kakk€ no Musume-tachi) (April, June 1978, Mimi, Kodansha) • Dog Dog Dog Tales (Èqš º qdÝ æ ç Ken Ken Ken Monogatari) (May€June, September 1978, Princess, Akita Shoten) • Many Thanks for Supporting "Nanohara Hatake" (¹é Eºÿ žÊËÌ Nanohara Hatake wa Man'in Onrei) (December 1978, Bessatsu Sh€jo Comic, Shogakukan) • Flight (April 1979, Seventeen, Shueisha) • Marta and Leeza (ê† タと² „ p Maruta to R’za) (December 1979 - February 1980, Manga Sh€nen, Asahi Sonorama) • Kain of the Beach ([Íé Û EÝ Umibe no Kain) (June, August, November 1980 and January, March 1981, Mimi, Kodansha) • Bad Girl (Î¹ X Warui Ko) (August 1980, Petit Comic, Shogakukan) • John B's Summer (ïð„Ý qÏé Z) (Summer 1980, Petit Flower, Shogakukan) • a revised version of this story was published in the 1 July 1981 issue of The Boys and Girls SF Manga Complete Collection (~Ë ~Æ ÐÑêÝ Ù° ôë Sh€nen Sh€jo Esuefu Manga Daizensh…) • Py…gurumun (•‡„ á † ,Ý ) (January - March 1981, Petit Comic, Shogakukan) • Azami's Flower (ú ざJé E Azami no Hana) (August, December 1981, February 1982, Comic Tom, Ushio Publishing) • Warped Mirror (Òº «Ó Yuganda Kagami) (Early Spring Special 1982, Bonita, Akita Shoten) • Mother's Daughters (¿ Ôé É.Í ) (January - June 1984, Bonita Eve, Akita Shoten) • Takako Doi Graffiti (ÕÈ.ýÌáö フテÂ Doi Takako Gurafuti) (December 1989, Scola Magazine, ) • An Outside View series (r² „ FqÖý Î é ×¸ Shir’zu: Yokokara no K€zu) (October 1990 - August 1992, Human Sexuality) • Their Crimes (ØÎ é Ù³ Karera no Hanzai) (December 1992, Rosa) • Parents Kill (Ô/qÐ Oya ga Korosu) (March 1993, Rosa) • The Entrance to Dreams (èé Úµ & Yume no Iriguchi) (September 1993, Bell Rosa) • Toward a World Without Sexual Harrassment (… r‡³† qÆö ³ メÝ´éó¹¢£ ± Sekushuaru Harasumento no Nai Sekai e) (May 2000, Tokyo Women's Foundation) • After Seeing You Off (ŠÛµ é ý© Miokuri no Ato de) (2006, Mugenkan, Asahi Shimbun Shuppan) • The People Living in the Stars (2007, Mugenkan, Asahi Shimbun Shuppan, remake of her 1976 series)

233

Minori Kimura [6]

Sources:

References [1] "·¸Jéµ÷ フÂ „ † " (http:/ / homepage3.nifty.com/sintaro-puropera/mk001.htm) (in Japanese). ·¸JéµÁ„ タÜ „ ³ . . Retrieved 2009-03-31. [2] Thorn, Matt (July €September 2001). "Sh‰jo Manga•Something for the Girls" (http:/ / www.matt-thorn.com/shoujo_manga/ japan_quarterly/index.php). The Japan Quarterly. . Retrieved 2009-03-31. ] [3] "Minori Kimura Profile ( ·¸Jéµ÷ フÂ „ † Kimura Minori Purof’ru (http:/ /www.mangav.com/ki/kimuraminori.html) )"] (in Japanese). – — V. 2005. . Retrieved 2009-04-01. [4] This site shows a scan of the first page of the story as well as the cover of the magazine. "Jinb€-ch€ Urad€ri Nikki (- JKÜ4µ 日² (http:// www.kudan.jp/nikki/nikki0812.html)])"] (in Japanese). Kudan Shob€. 2008-12-27. . Retrieved 2009-04-01. [5] Thorn, Matt (2008-12-22). "Manga Recon Roundtable: Personality Quiz" (http:// www.popcultureshock.com/manga/index.php/features/ manga-recon-roundtable-personality-quiz/). PopCultureShock (http:/ / www.popcultureshock.com/). . Retrieved 2009-03-31. タÜ „ ³ . . [6] "Ô·¸Jé µ ‰r² ³ ´ Ô" (http:/ / homepage3.nifty.com/sintaro-puropera/mk002.htm) (in Japanese). ·¸JéµÁ„ Retrieved 2009-03-31.

234

Moto Hagio

235

Moto Hagio Moto Hagio ÝÞ ß“

Born

Moto Hagio circa 2008. May 12, 1949 Šmuta, Fukuoka, Japan

Nationality

Japanese

Area(s)

Writer, Manga Artist,

No ta ble wo rk s ' They Were Eleven Poe no Ichizoku

Moto Hagio (ÝÞ ß“ Hagio Moto) is a manga artist born on May 12, 1949 in Šmuta, Fukuoka Prefecture, Japan, though she currently lives in Saitama Prefecture. She is considered a "founding mother" of modern sh€jo manga, especially sh€nen-ai. She is also a member of the Year 24 Group. [1] She has been described as "the most beloved sh€jo manga artist of all time."[2] In addition to being an "industry pioneer", her body of work "shows a maturity, depth and personal vision found only in the finest of creative artists". [3]

Publishing career Moto Hagio made her professional debut in 1969 at the age of 20 with her short story "Lulu to Mimi" in Nakayoshi.[4] Nakayoshi's publisher Kodansha wanted "bright and lively" works, and rival publisher Shoga kukan sought her out.[5] Keiko Takemiya introduced Hagio to Takemiya's editor, Junya Yamamoto, who acc epted all of Hagio's works that Kodansha had rejected. [6] When Hagio began drawing manga, she cut large sheets of "manga paper" to B4 size, and she still uses a G-Pen and a Mar u-Pen. When she began drawing manga, she used India ink and a brush, but now uses Copic markers.[7] Later, for Shogakukan Publishing, she produced a series of short stories for various magazines. Two years after her debut, she published Juichigatsu no Gimunajiumu 11gé L,è ï K, (The November Gymnasium), a short story that dealt openly with love between two boys at a boarding school. The story was part of a larger movement by female manga artists at the time that pioneered sh€nen-ai, a genre of girls' comics about love between young men. In 1974, Hagio developed this story into the longer Thomas no Shinz€ (The Heart of Thomas). She was awarded the Shogakukan Manga Award in 1976 for her science fiction classic Juichinin Iru! (They Were Eleven) and her epic tale Poe no Ichizoku (The Poe Family).[8] In the mid 1980s, Hagio wrote her first long work - Marginal.[9] [10] Prior to writing Iguana Girl in 1991, Hagio had not set her works in contemporary Japan.[11] Moto Hagio had a role in the 2008 film Domomata no Shi (Death of Domomata ).[12] On June 11, 2009, a party was held in Moto Hagio's honor, "celebrating her 40th year as a professional manga artist". Approximately 200 people attended.[13] In 2011, Joshibi University of Art and Design appointed Hagio as a guest professor. [14]

Moto Hagio

Personal life Hagio is a science fiction fan, and considers Isaac Asimov, Arthur C. Clarke, and Robert Heinlein to have influenced her,[5] and she has adapted Ray Bradbury's short story "R is for Rocket" into manga format. [15]

Works • • • •

Ruru to Mimi, 1969 Seireigari, 1971€1974 11-gatsu no Gymnasium, 1971 Poe no Ichizoku, 1972€1976

• • • • • • • • • • • • • •

Tottemo Shiwase Moto-chan, 1972€1976 Thomas no Shinzou, 1973€1975 They were Eleven, 1975€1976 Alois, 1975 Hyaku Oku no Hiru to Sen oku no Yoru, 1977€1978 Star Red, 1978€1979 Mesh, 1980€1984 Houmonsha, 1980 A-A', 1981 Hanshin, 1984 Marginal, 1985€1987 Flower Festival, 1988€1989 Aoi Tori, 1989 Umi no Aria, 1989€1991

•• • •

Roma no Michi Abunaie Oke no Ie,, 1990 1992€1994 Zankokuna Kami ga Shihai suru, 1993€2001 Barbara Ikai, 2002€2005

Works in English Few of her works appear in English, but here are some that do: • A, A', which is currently out of print and includes three stories titled A, A' (A, A Prime), 4/4 (Quatre-Quarts), and X+Y parts one and two (all srcinally published in 1981). • They Were Eleven (srcinal date of publication 1975), which was part of the 1996 anthology Four Sh€jo Stories. They Were Eleven is available on DVD as an anime, in both dubbed and subtitled formats. Like most anime based on manga, there are various minor changes and omissions. • Hanshin (srcinal date of publication 1984), a short story, which was published in issue 269 of The Comics Journal alongside an interview with Moto Hagio conducted by Matt Thorn.

A, A' and They Were Eleven have science fiction settings, and both They Were Eleven and X+Y include transgender elements. The science fiction aspects in particular have led to Hagio's work appealing to manga readers who do not generally like sh€jo manga. A 2010 anthology, A Drunken Dream and Other Stories, collects the following stories: [16] • • • •

‚Biancaƒ (1970) ‚Girl on Porch with Puppy ƒ (1971) ‚Autumn Journeyƒ (1971) ‚Mariƒ, Ten Years Laterƒ (1977)

236

Moto Hagio • • • • • •

‚A Drunken Dreamƒ (1980) ‚Hanshinƒ (1984) ‚Angel Mimicƒ (1984) ‚Iguana Girlƒ (1991) ‚The Child Who Comes Homeƒ (1998) ‚The Willow Treeƒ (2007)

These were selected by translator Matt Thorn to be a representative sample of her whole career, [17] with the input of a mixi fan club for Hagio. [7] [18]

Video game Moto Hagio did theworks character designs for Quintet's video game Illusion of Gaia. Awards 1976: 21st Shogakukan Manga Award for Poe no Ichizoku and They Were Eleven[8] 1980: 11th Seiun Award for Star Red[19] 1983: 14th Seiun Award for Gin no Sankaku[19] (Silver Triangle) 1985: 16th Seiun Award for X+Y[19] 1997: 1st Osamu Tezuka Cultural Prize (Award for Excellence) for Zankoku na kami ga shihai suru[20] (A Cruel God Reigns) • 2006: 27th Nihon SF Taisho Award for Barbara Ikai[21] (Otherworld Barbara) • 2010: Comic-Con's Inkpot Award [22] • 2011: 40th Japan Cartoonists Association Awards: The Minister of Education, Culture, Sports, Science and Technology Award[23] • • • • •

References [1] Thorn, Matt (2005). "A History of Manga" (http:/ / www.matt-thorn.com/mangagaku/history.html). Animerica: Anime & Manga Monthly 4 (2,4, & 6). . Retrieved 2008-01-02. [2] Thorn, Matt (February 1996). "Introduction". Four Sh€jo Stories. Viz Communications. ISBN 1-56931-055-6. [3] Deppey, Dirk. "The Comics Journal #269: Editor's Notes" (http://archives.tcj.com/269/e_own2.html). The Comics Journal 269. Archived from the srcinal (http:/ / www.tcj.com/269/e_own2.html) on 2010-08-05. . Retrieved 2009-07-21. [4] Randall, Bill (2003-05-15). Three by Moto Hagio (http:// archives.tcj.com/index.php?option=com_content&task=view&id=283& Itemid=48). The Comics Journal. . Retrieved 2010-08-05. [5] "Moto Hagio Focus Panel - San Diego Comic-Con 2010" (http://www.animenewsnetwork.com/convention/2010/ moto-hagio-focus-panel). Anime News Network. 2010-08-01. . Retrieved 2010-08-05. [6] http:// manga.about.com/od/mangaartistinterviews/a/ Interview-Moto-Hagio_5.htm [7] Santos, Carlos. "A Conversation With Moto Hagio" (http:/ / www.animenewsnetwork.co.uk/interview/2010-08-04/ a-conversation-with-moto-hagio). Anime News Network. . [8] "Zyz– — S{²)¿SÑ" (http:/ /comics.shogakukan.co.jp/mangasho/rist.html) (in Japanese). Shogakukan. . Retrieved 2007-08-19. [9] Thorn, Matt. "The Hagio Moto Interview by Matt Thorn" (http://matt-thorn.com/shoujo_manga/hagio_interview.htm). Matt-thorn.com. . Retrieved 2010-08-05. [10] Ebihara, Akiko (2002). Japan's Feminist Fabulation Reading Marginal with Unisex Reproduction as a Key Concept (http:/ / www.genders. org/g36/g36_ebihara.html). 36. Genders.org. . Retrieved 2010-08-05. [11] Kawakatsu Miki. "Iguana Girl Turns Manga Legend" (http:// www.jpf.go.jp/JF_Contents/GetImage/img_pdf/jbn63. pdf?ContentNo=9&SubsystemNo=1&FileName=img_pdf/jbn63.pdf) (PDF). Japanese Book News Vol. 63. . Retrieved 2010-06-03. [12] "Manga Creator Moto Hagio Makes Film Acting Debut" (http:// www.animenewsnetwork.com/news/2008-06-24/ manga-artist-moto-hagio-makes-film-acting-debut). Anime News Network. 2010-08-01. . Retrieved 2010-08-05. [13] Thorn, Matt (2009-06-20). "Matt Thorn's Blog Ž Moto Hagio Party, Handley update" (http:// matt-thorn.com/wordpress/?p=375). Matt-thorn.com. . Retrieved 2010-08-05. [14] "Manga Creator Moto Hagio to Teach at Joshibi U." (http:// www.animenewsnetwork.co.uk/news/2011-06-06/ manga-creator-moto-hagio-to-teach-at-joshibi-u). Anime News Network. .

237

Moto Hagio [15] Thorn, Matt (2010-07-30). "Matt Thorn's Blog Ž Comic-Con 2010 Report" (http:// matt-thorn.com/wordpress/?p=459). Matt-thorn.com. . Retrieved 2010-08-05. [16] Thorn, Matt (2010-03-09). "Matt Thorn's Blog Ž Moto Hagio collection, Takako Shimura„s ‚Wandering Sonƒ" (http:/ /matt-thorn.com/ wordpress/?p=415). Matt-thorn.com. . Retrieved 2010-08-05. [17] Garrity, Shaenon (27 July 2010). "An Interview with Moto Hagio" (http:// www.tcj.com/manga/an-interview-with-moto-hagio/). The Comics Journal. . Retrieved 27 July 2010. [18] http:/ /matt-thorn.com/wordpress/?p=415 [19] "日„SFフŒÝá†„÷ µÆB¶{.雲S² ³ ´ " (http:/ / www.sf-fan.gr.jp/awards/list.html) (in Japanese). . Retrieved 2007-12-31. [20] Manga Award for Excellence: Hagio Moto "Zankoku na kami ga shihai suru" Exhibition (http://en.tezuka.co.jp/tomm/contents/ project_ex/no12/cat03.html) [21] "Nihon SF Taisho Award Winners List" (http:/ / www.sfwj.or.jp/list.html). Science Fiction and Fantasy Writers of Japan. . Retrieved 2010-08-05. [22] "Moto Hagio Receives Inkpot Award from Comic-Con Int'l" (http:// www.animenewsnetwork.com/news/2010-07-23/ moto-hagio-receives-inkpot-award-from-comic-con-intl). Anime News Network. July 23, 2010. . Retrieved July 23, 2010. [23] "40th Japan Cartoonist Awards Honor Moto Hagio" (http:/ /www.animenewsnetwork.co.uk/news/2011-05-10/ 40th-japan-cartoonist-awards-honors-moto-hagio). Anime News Network. .

External links • Moto Hagio Titles (http:/ /www.callenreese.com/lothagio.html) - list of works • Moto Hagio (http:/ /www.animenewsnetwork.com/encyclopedia/people.php?id=3479) at Anime News Network's Encyclopedia • Cafe Bleu (http:/ /www.cafebleu.net/hagio/)

238

Riyoko Ikeda

239

Riyoko Ikeda Riyoko Ikeda à= á)X

Riyoko Ikeda at 2008 Taipei International Book Exhibition B or n

R i y o k oI k e d a

December 18, 1947 Osaka, Japan Nationality

Japanese

Area(s)

Writer, Penciller, Inker

Notable works

The Rose of Versailles Oniisama e

Riyoko Ikeda (à= á)X Ikeda Riyoko , born December 18, 1947 in Osaka, Japan) is a Japanese manga artist and singer. She is included in the Year 24 Group. [1] She was one of the most popular Japanese comic artists in the 1970s, being best known for The Rose of Versailles.

Biography Ikeda has written and illustrated many sh€jo manga, many of which are based on historical events, such as the French Revolution or the Russian Revolution. Her use of foreign settings and androgynous themes made The Rose of Versailles and Orpheus no Mado "enormous successes".[2] Her most famous manga is The Rose of Versailles also known as Lady Oscar in Europe. This manga, loosely based on the French Revolution, has been made into several Takarazuka musicals and into an anime series and a live-action film. After Rose of Versailles concluded, Ikeda wrote articles for Asahi Shimbun. In the 2000s Ikeda studied at a music school and became a singer. Her voice is in the soprano range. [3] She made a comeback to the comic industry as a scenarist in 1999. Her recent manga includes Der Ring des Nibelungen. It is a manga version of the opera written by Richard Wagner. In 2008 she received France's Ordre national de la Lƒgion d'honneur for her contribution to Japan's cultural awareness of France,[4] and she will be a guest of the 2011 AngoulÕme International Comics Festival. [3]

Riyoko Ikeda

Works • • • • • • • • • • • • • • •

Bara Yashiki no Sh€jo Soyo Kaze no Mary The Rose of Versailles Sh€ko no Etude Claudine Oniisama e Orpheus no Mado Jotei Ecatherina Eikou no Napoleon ‚ Eroica Der Ring des Nibelungen Spring Snow (Haru no Yuki) Ten no Hate Made - Poland Hishi Ayako Epitaram: A Wedding Song Taiyou Shijinki

References [1] Thorn, Matt (2005). "A History of Manga" (http:/ / www.matt-thorn.com/mangagaku/history.html). Animerica: Anime & Manga Monthly 4 (2,4, & 6). . Retrieved 2008-01-02. [2] HalldÖr StefÉnsson (1994). "Foreign myths and sagas in Japan: the academics and the cartoonists" in Beyond Boundaries: Understanding, Translation and Anthropological Discourse, p. 88, edited by GÇsli PÉlsson. Berg Publishers. ISBN 1-85973-021-3 [3] Fallaix, Olivier (November 17, 2010). "Riyoko Ikeda au festival d'AngoulÕme" (http:// www.animeland.com/news/voir/2135/ Riyoko-Ikeda-au-festival-d-Angouleme) (in French). Animeland. . Retrieved November 22, 2010. [4] "Rose of Versailles „ Ikeda Receives France's Top Honor" (http:/ / www.animenewsnetwork.com/news/2009-03-12/ rose-of-versailles-ikeda-receives-france-top-honor). Anime News Network. 2009-03-12. . Retrieved 2009-07-11.

External links • Riyoko Ikeda's Official Site (http:/ /www.ikeda-riyoko-pro.com/)

240

Ryoko Yamagishi

241

Ryoko Yamagishi Ryoko Yamagishi (%Ø âX Yamagishi Ry€ko, born 1947 in Hokkaid€) is a female Japanese manga artist. She is considered to be one of the Year 24 Group.[1] [2] She studied ballet as a child, which plays a part in many of her works. When she read the manga of Machiko Satonaka in 1964, she decided to pursue becoming a manga artist. Although her parents did not agree with this, in 1966 she entered a competition in Sh€jo Friend and was a semi-finalist. She applied to Kodansha and sent some short stories to COM. In 1968, after completing her art studies in Hokkaido, she moved to Tokyo and applied for Shuiesha. The next year, she made her debut with "left< And >right " À フ´ ³Ý Ú ö E´ , a short story which ran in Ribon. In 1983, she won the Kodansha Manga Award for [3]

sh€jo manga for Hi Izuru Tokorono Tenshi. In 2007 she won the Grand Prize for the 11th Annual Tezuka Osamu Cultural Prize for Maihime –—˜™š›œ˜ (The Dancing Girl; Terpsichore)[4] Her works normally have occult themes, although her most popular are Arabesque, about Russian ballet, and Hi Izuru Tokorono Tenshi.[5] According to Yoshihiro Yonezawa, Yamagishi's style is influenced by Art Nouveau. [6]

Bibliography • • • • • • • •

Arabesque (³öÜ³… ) Ten-nin Kara Kusa (5• ã˜) Yo-u-sei-Ou (89ë ) "The Faerie King" Banshee (バÝ r„ äËÆ ) Sphinx (³ •Ý … ³ ) Hi Izuru Tokorono Tenshi (日Ø µé 5X) Kyoufu no amaimono ikka (ÙÚé å¹ æ  家) Ki Rai Gou (0æç)

• • • • • • • • • •

Yasha Gozen (¨ÉËÖ ) Happyaku Bikuni (è¤ éêë) Tokijiku no Kaku no Konomi (jÈ ?é ì(ý ?)é —é í) Konohana Sakuya Hime (—Eîïðñ) Tut-ankh-amen (OタÝ Û „ メÝ ) Isis (Er³ ) Haku Gan Shi (ó1X) –—˜™š›œ˜ (テÀ ÷ rÄ „ ö ) Shiroi Heya no Futari (ó¹ #;é Î.µ ) Phaethon or Faeton (1988), freely available at [7]

References [1] Thorn, Matt (2001). "Sh‰jo Manga •Something for the Girls" (http:/ / www.matt-thorn.com/shoujo_manga/japan_quarterly/index.html). The Japan Quarterly 48 (3). . Retrieved 2007-12-16. [2] 4Thorn, "A History of Manga" (http:/ / www.matt-thorn.com/mangagaku/history.html). Animerica: Anime & Manga Monthly (2,4, &Matt 6). .(2005). Retrieved 2007-12-16. [3] Joel Hahn. "Kodansha Manga Awards" (http:/ / web.archive.org/web/20070816031310/http:// www.hahnlibrary.net/comics/awards/ kodansha.shtml). Comic Book Awards Almanac. Archived from the srcinal (http:/ /www.hahnlibrary.net/comics/awards/kodansha.shtml) on 2007-08-16. . Retrieved 2007-08-21. [4] "11th Annual Tezuka Cultural Prize Winners Announced" (http://www.animenewsnetwork.com/news/2007-05-10/ 11th-annual-tezuka-cultural-prize-winners-announced). . Retrieved 2009-07-03. [5] http:// www.matt-thorn.com/shoujo_manga/girls_stuff/gs93-11-10.html [6] http:// books.google.com/books?id=dvaR1-9HE7YC&pg=PA126&dq=Ryoko+Yamagishi&lr=&ei=GwvQSor4NpWGlATPsfGUDg& client=safari#v=onepage&q=Ryoko%20Yamagishi&f=false [7] http:// usio.feliseed.net/paetone/_SWF_Window.html

Ryoko Yamagishi

242

Further reading • Amano, Masanao; Julius Wiedemann (2004). Manga Design. Taschen. ISBN 3822825913.

External links • Ryoko Yamagishi (http:/ /www.animenewsnetwork.com/encyclopedia/people.php?id=45609) at Anime News Network's Encyclopedia • Profile at The Ultimate Manga Guide (http:/ /users.skynet.be/ mangaguide/au2079.html)

Shio Sat€ Chiyoko "Shio" Sat€ (îè _€ Sat€ Shio) (born December 6, 1952 • died April 4, 2010) was a Japanese manga artist. Sat€ was a member of the Post Year 24 Group, a group of female manga artists considered influential in the development of sh€jo manga. She also wrote under the pen name Sugar Salt (砂ò ó Sat€ Shio). She made her professional debut in 1977 with the publication of Koi wa Ajinomono!? in Bessatsu Sh€jo Comic. Her definitive works include Yumemiru Wakusei (The Dreaming Planet) and One Zero.[1] Her stories were usually serious science fiction drawn in a "subdued" style. [2] Her short story, The Changeling, in addition to being published in the English-language anthology Four Sh€jo Stories, was serialised in Animerica.[3]

Sat€ died from brain cancer on April 4, 2010, aged 57. [4]

Works .·?

• Kinseiki ( ) (1979, Kis€tengaisha) (1992, reprint plus one new story, Shinchosha) [5] • Haru wo Yumemishi (ˆdèŠî ?) (1980, Shinshokan)[6] • Yumemiru Wakusei (èJþ ô.?) (1982€1984, serialized in Petit Flower, Shogakukan)[7] [8] (1996, bunkaban reprint, Shogakukan)[9] [10] .めé õjö?)

• Shiniseru ‰jo no Tame no Pavane (死ÉþëÆé (1983, Shinshokan)

• Ah€sen (÷øù?) (1984, Shinshokan)[11] inspired by Ship of Fools by Sebastian Brant • Tatsu no Yume, Sono Hoka no Yume (æé è é úé è?) (1984, Shinshokan)[12] • Kono Mazushiki Chij€ ni ( (1985, Shinshokan)[13]

Ì é ûî ËÌ`õ

?

)

• One Zero (£Ý qゼ ?) (1985€1986, Shogakukan)[14] [15] (1996, bunkoban reprint, Shogakukan)[16] [17] • Dakagura (ü5?) (1987, Shogakukan)[18] • Kichij€ Kajin (ÒýE• ?) (1987, Hakusensha)[19]

Shio Sat€

243

• Rary€-‰ (þÿë ?) (1988, Hakusensha)[20] ?

• Changeling (チsÝï²Ýá (1989, Shogakukan)[21]

)

• Yadoriki (¬%µ —?) (1988, Shinshokan)[22] • Sh€ry€-‰ (9霊ë ?) (1989, Shogakukan)[23] ?

• Oni ou mono (0a· gé ) (1995, Shogakukan)[24] • Shinz€ no Nai Kyojin (心臓é ó ¹ 巨• ?) (1999, serialized in Petit Flower, Shogakukan)[25] • Majutsushi Sagashi (§B)¸ /î ) (2000, Shogakukan)[26]

Anthologies These are anthology works in which one or more stories by Sat€ appeared: • New Fantasy Comic World (Õ‡„ qフŒÝ タï „ qÄÅß…é¢£ (1982, Sanrio)[27]

?

)

• Alice Book I (³² ³ q+ß … I?) (1991, Shinchosha)[28] • Alice Book II (³² ³ q+ß … II?) (1991, Shinchosha)[29] • Four Sh€jo Stories (1996, Viz Media)[30]

References [1] Matt Thorn, ed (1996). Four Sh€jo Stories. Viz Communications. pp. Introduction. ISBN 1-56931-055-6. [2] Thorn, Matt (April 8, 2010). ""Changeling" Creator Shio Satoh Passes Away" (http://matt-thorn.com/wordpress/?p=438). . Retrieved April 9, 2010. [3] Garrity, Shaenon (2007). Thompson, Jason. ed. Manga: The Complete Guide. Del Rey. p. 110. ISBN 978-0345485908. [4] "Y£Ý qゼ Z– — 家qîè_€¸ º 死去 [Manga artist of "One Zero", Sat€ Shio died]" (http:// www.yomiuri.co.jp/entertainment/ news/20100406-OYT1T00706.htm) (in Japanese). Yomiuri Shinbun. April 6, 2010. . Retrieved April 6, 2010. [5] ".·…SF短vë (tÄÅß… …Alice„s book) (´µ„)" (http:/ / www.amazon.co.jp/dp/4106030322/) (in Japanese). Amazon. . Retrieved April 8, 2010. [6] "ˆdèŠî " (http:// books.rakuten.co.jp/rb/item/76077/) (in Japanese). Rakuten. . Retrieved April 8, 2010. [7] "èJþ ô. 1 (÷ チフö £„ÄÅß…³ ) (´µ„)" (http:// www.amazon.co.jp/dp/4091783619/) (in Japanese). Amazon. . Retrieved April 8, 2010. èJþ ô.

[8] April " 8, 2010. (4) (PF

·ßáÄÅß…³

´µ„

)(

)" (http:// www.amazon.co.jp/dp/4091783643/) (in Japanese). Amazon. . Retrieved

[9] "èJþ ô. 1" (http:/ / www.shogakukan.co.jp/comics/detail/_isbn_4091911110) (in Japanese). Shogakukan. . Retrieved April 8, 2010. [10] "èJþ ô. 3" (http:/ / www.shogakukan.co.jp/comics/detail/_isbn_4091911137) (in Japanese). Shogakukan. . Retrieved April 8, 2010. [11] "÷øù" (http:// books.rakuten.co.jp/rb/item/140036/) (in Japanese). Rakuten. . Retrieved April 8, 2010. [12] "æé èé úé è…èJþ ô.Š„ ´ (^„ â „ ,„ÝÄÅß…³ ) (´µ„)" (http:// www.amazon.co.jp/dp/4403610579/) (in Japanese). Amazon. . Retrieved April 8, 2010. [13] "Ì é ûî ËÌ`õ (Paper moon comics)" (http:/ / www.amazon.co.jp/dp/4403610676/) (in Japanese). Amazon. . Retrieved April 8, 2010.

Shio Sat€ [14] "£Ý qゼ 〔PF〕 1" (http:/ / www.shogakukan.co.jp/comics/detail/_isbn_4091785417) (in Japanese). Shogakukan. . Retrieved April 10, 2010. [15] "£Ý qゼ 〔PF〕 4" (http:/ / www.shogakukan.co.jp/comics/detail/_isbn_4091785441) (in Japanese). Shogakukan. . Retrieved April 10, 2010. [16] "£Ý qゼ 1" (http:/ / www.shogakukan.co.jp/comics/detail/_isbn_4091911145) (in Japanese). Shogakukan. . Retrieved April 10, 2010. [17] "£Ý qゼ 3" (http:/ / www.shogakukan.co.jp/comics/detail/_isbn_4091911161) (in Japanese). Shogakukan. . Retrieved April 10, 2010. [18] "ü5 (PF·ßáÄÅß…³ 691) (tß)" (http:/ / www.amazon.co.jp/dp/409178691X/) (in Japanese). Amazon. . Retrieved April 8, 2010. [19] "ÒýE• (ï sß OÄÅß…³ ) (ÄÅß… )" (http:/ / www.amazon.co.jp/dp/4592131126/) (in Japanese). Amazon. . Retrieved April 8, 2010. [20] "þÿë (ï sß OÄÅß…³ 120) (tß)" (http:// www.amazon.co.jp/dp/4592131207/) (in Japanese). Amazon. . Retrieved April 8, 2010. …SPACE OPERA (÷ チフö £„ÄÅß…³ [21] "チsÝï²Ýá ) (tß)" (http:/ / www.amazon.co.jp/dp/4091786928/) (in Japanese). Amazon. . Retrieved April 8, 2010. [22] "¬%µ — (^„ â „ ,„ÝÄÅß…³ ) (´µ„)" (http:// www.amazon.co.jp/dp/4403611494/) (in Japanese). Amazon. . Retrieved April 8, 2010. [23] "9霊ë (PFÄÅß…³ ) (tß)" (http:/ / www.amazon.co.jp/dp/4091786936/) (in Japanese). Amazon. . Retrieved April 8, 2010. [24] "0a· gé 1" (http:/ / www.shogakukan.co.jp/comics/detail/_isbn_4091722113) (in Japanese). Shogakukan. . Retrieved April 10, 2010. [25] "心臓é ó ¹ 巨• 1" (http:// www.shogakukan.co.jp/comics/detail/_isbn_4091722121) (in Japanese). Shogakukan. . Retrieved April 8, 2010. [26] "§B)¸ /î " (http:/ / www.shogakukan.co.jp/comics/detail/_isbn_409172213X) (in Japanese). Shogakukan. . Retrieved April 8, 2010. [27] "Õ‡„ qフŒÝ タï „ qÄÅß…é¢£ (1982Ë ) [¦ß (http:/ / www.amazon.co.jp/dp/B000J7DKMY/)"] (in Japanese). Amazon. . Retrieved April 10, 2010. [28] "³² ³ q+ß … 1 t‰ë (tÄÅß… ) (´µ„)" (http:/ / www.amazon.co.jp/dp/4106030268/) (in Japanese). Amazon. . Retrieved April 10, 2010. [29] "³² ³ q+ß … 2 t‰ë (tÄÅß… ) (´µ„)" (http:/ / www.amazon.co.jp/dp/4106030276/) (in Japanese). Amazon. . AprilStories 10, 2010. [30]Retrieved "Four Shojo (Paperback)" (http:/ / www.amazon.com/dp/1569310556/). Amazon. . Retrieved April 10, 2010.

External links • îè_€Á „ タÜ „ ³ (http://ww1.tiki.ne.jp/~quelmal/shio_sato.html) (Japanese)

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Toshie Kihara

Toshie Kihara Toshie Kihara (—ˆ>2 Kihara Toshie , born 1948-02-14 in Tokyo, Japan) is a Japanese sh€jo manga artist and member of the Year 24 Group.[1] She made her professional debut in 1969 with Kotchi muite Mama! in Bessatsu Margaret, and has since written mainly historical manga. She is best known for her series Mari to Shingo (published in Hana to Yume from 1979€1984) about a romance between two young men in the early Sh€wa era. She received the 1985 Shogakukan Manga Award for sh€jo for Yume no Ishibumi, a multi-volume collection of short stories with sh€nen-ai themes.[2]

In 1998, Kihara adapted Torikaebaya monogatari, a Heian-era tale, into a manga volume called Torikaebaya Ibun. Her manga was then adapted as a Takarazuka Revue musical.[3] In 1999, Kihara won the Shimada Prize for Yubi no tankyu: Kano Tan'yu ron.[4]

Manga • Yume no Ishibumi ( èé 碑) • Angelique ( ³Ý ï s² … ) • An adaptation of Anne Golon's Angelique. • • • • • •

Ten made Agare! ( 5ま©ú /n!) Suish€ to Velvet ( 晶と5鵞絨) Iwa wo Makura ni Hoshi wo Daki ( Qd枕õ.d抱Ë) Junkin no D€wa ( 純é !¦) Tsue to Tsubasa ( 杖と翼) Ginsh€sui ( ¹晶)

• • • • • • • • • • • • • • • • • • • • • • •

Gin'iro no Romance ( ¹色é  êÝ ³ ) Itoshiki Gen Tsukushiteyo ( Wî Ë‚Ñ?î f¼) Diamond Gozzilaan ( HE‘’Ý Ú qÞïö„Ý ) 47 Moji (47 Characters) ( >ä ©  ^) Šji-sama ga ×no! ( ë X¸ ま/¹ ¹ é !) Emerald no Kaizoku ( ” メö†Úé [)) Kihara Toshie Zensh‚ (Complete Works of Toshie Kihara) ( —ˆ>2ôë) Furufuru ( Îþ Îþ ) Mugonka ( R‚C) Kadentha ( E伝OŒ) Shiroi Mori (White Forest) ( ó¹ ¡) Hinata e Hikage eno Romance ( 日ó .±日ý G±é  êÝ ³ ) Odeai Asobase ( おØ Æ¹ ú mÉ ) Mugen Kaden ( è×E伝) Hana no Na no Himegimi ( Eé 名é —君) Sieglinde no Komoriuta (Sieglinde's Lullaby) ( ï„…²ÝÁé X守C) D€shitano Daisy? ( %· î .é Á Eï „ §) Last Tango ( ö ³ ´ タÝ Þ ) Øra Waga Tono! ( ú -Î -/殿!) Ginga Sou Nano! ( ¹_荘ó é !) Bernstain ( Ü † Ý r‡タEÝ ) Torikaebaya Ibun ( とµ ý ãm¬異@) Nue ( 鵺)

245

Toshie Kihara • • • • • • • • •

246

フŒ² ) Classic na Safari ( … ö rß…óƒ Chitose no Saikai ( Iœ é 再B) Ugetsu Monogatari ( *gæ ç ) Šeyama Kaden ( ° 2%E伝) Taish€ Roman Tanteitan ( ° ]浪– 探偵譚) Tasogare no Cinderella ( ”昏é rÝÁÀö ) Fuchi to Narinu ( 渕とó µ $) F‚renki ( Tf²) Mari to Shingo (Mari and Shingo) ( 摩利とt†)

References [1] Thorn, Matt (2001). "Sh‰jo Manga •Something for the Girls" (http:/ / www.matt-thorn.com/shoujo_manga/japan_quarterly/index.html). The Japan Quarterly 48 (3). . Retrieved 2007-12-16. [2] "Zyz– — S{²)¿SÑ" (http:/ /comics.shogakukan.co.jp/mangasho/rist.html) (in Japanese). Shogakukan. . Retrieved 2007-08-19. [3] "– — ˆ‰ë—&}C劇 ‰.½ÛチャÝ Ž† —タÛ ö ヅÛ q³ Û Eq³ テ„ ï " (http:/ / www.skystage.net/program/07/ 11_manga.html) (in Japanese). . Retrieved 18 February 2009. [4] http:// search.japantimes.co.jp/cgi-bin/fa20021120a1.html

External links • Profile (http:/ /users.skynet.be/ mangaguide/au819.html) at The Ultimate Manga Guide • Toshie Kihara Database (http:/ /homepage2.nifty.com/dozi2/) (Japanese) - fan site

Yasuko Aoike Yasuko Aoike (Ê à JX Aoike Yasuko) is a Japanese manga artist, born on July 24, 1948 in Shimonoseki, Yamaguchi.[1] Most of her works are sh€jo manga, predominantly focused on romance, adventure, and light comedy, and many of them contain elements of sh€nen-ai. She is included in Year 24 group. [2] She made her professional debut in the Ribon magazine 1963 Winter Special Edition with the short story Sayonara Nanette.[3] Her short works appeared in Shoujo Friend and other Kodansha publications through the mid-1970s. She began writing serial works primarily for Akita Shoten, starting with Miriam Blue's Lake in the January 1975 issue of Princess.[4] Her work has also appeared in Shueisha's Monthly Seventeen Magazine in the late 1970s (most notably El Alcon and Seven Seas, Seven Skies) and Hakusensha's Lala magazine in the 1980s (Z).[5]

She is best known for From Eroica with Love, which has been serialized by Akita Shoten since 1976 and has produced several spinoff series. It is licensed in English by CMX, which began publishing them in 2004.

Selected works [6]

Yasuko Aoike has worked on various stand-alone manga and short stories that are included in other volumes: • Greenhill Story (story by Keiko Nagita) • Miriam Blue's Lake (story by Keiko Nagita) • From Eroica with Love (”  EÛ ¼µ WdÌ めf Eroika yori Ai wo Komete) • Sons of Eve (E+é 息X.Í Ibu no Musuko-tachi) • Seven Seas, Seven Skies (© Ñé [© Ñé Y Nanatsu no Umo Nanatsu no Sora) • El Alcon (” † q³†ÄÝ - A - Eru Arukon - Taka) • Ivy Navy (IVY NAVY) • Trafalgar (´ ö フŒ† Ù„ Torafarug•)

Yasuko Aoike • • • • • • • • • •

Z (Z - Osß ´ - Tsetto - Tsetto -) Der Freischžtz (§弾é 射å Madan no Shashu) Alcasar (³†Ûƒ† -ë œ- Arukasaru-‰j€-) The Tale of a Priest and a Doctor 日 Saradin no Hi) The Day of Saladin (ƒöÁÂÝé Richard, the Lion-Hearted Brother Falco (°道<フŒ† Ä Sh…d€shi Faruko) The Temptation of Scarlet (緋色é !ô Hiiro no Y…waku) The Carthaginian Fantasy The Melancholy of Her Majesty

• The Knight of Drachen (Ú ö ß ŒÝ é ;< Dorahhen no Kishi) • Plus Ultra (collection of pictures) • Aoike Yasuko Official Character Guide Book

References [1] Yasuko Aoike (http:/ / www.animenewsnetwork.com/encyclopedia/people.php?id=26978) at Anime News Network's Encyclopedia [2] Thorn, Matt (2005). "A History of Manga" (http:/ / www.matt-thorn.com/mangagaku/history.html). Animerica: Anime & Manga Monthly 4 (2, 4, & 6). . Retrieved 2 January 2008. [3] "Aoike Yasuko Official Website" (http:/ / www.aoikeyasuko.com/list/60.html). . Retrieved 2010-05-09. [4] "Aoike Yasuko Official Website" (http:/ / www.aoikeyasuko.com/list/70.html). . Retrieved 2010-05-09. [5] "Aoike Yasuko Official Website" (http:/ / www.aoikeyasuko.com/list/80.html). . Retrieved 2010-05-09. [6] Further details, including publication dates, publisher, format, ISBN, and a brief synopsis, is available at "From Eroica With Love" (http:// www.eroicafans.org/). . Retrieved 2006-03-21.

External links • Official website (http:/ /aoikeyasuko.com/) (Japanese) • From Eroica With Love (http:/ /www.eroicafans.org/) - fan page

247

Yasuko Sakata

248

Yasuko Sakata Yasuko Sakata Ÿ= " X Born

25 February 1953 Osaka Prefecture, Japan


Manga

Movement Yaoi Awards Agency for Cultural Affairs Media Arts Festival Grand Prize (Manga Division, 1997)

[1] Yasuko Sakata Ÿ= "X is a manga artist who belongs to the Post Year 24 Group. She was born on the 25th of February, 1953 in Osaka, Japan. Her official debut was with the work Saikon Kyousou Kyoku 再Å2#$,

published in Hana to Yume in 1975.[2] In the late 1970s and early 1980s, she was involved in the yaoi doujinshi movement, having co-coined the term "yaoi" with Akiko Hatsu. One of Sakata's doujinshi, Loveri, was amongst the very first to be described as "yaoi". [3] [4] Her best known works are Jikan wo Warerani, Basil Shi no Yuuga na Seikatsu (The Elegant Life of Mr Basil), about a 19th century British aristocrat, and Yamiyo no Hon. She won the Agency for Cultural Affairs Media Arts Festival Grand Prize in the Manga Division in 1997. Most of her work is short stories - as of 2003, one catalogue listed over 40 of her stories. The type of stories she tells include traditional Japanese ghost stories, science fiction, mysteries, and Western and Chinese stories. She is marked for her talent at "casually portraying" everyday life.[2]

Works 再Å2#$ Saikon Kyousou Kyoku

• • • • •

%gë Yami Gatsuoo バï † &é '(ó €œ Basil Shi no Yuuga na Seikatsu (The Elegant Life of Mr Basil) ê„ ÙÀ ß ´ とごk• é )‘š *道> maagaretto togo shujin no sokonuke chindouchuu チ‡„ ?º とÆEÍ ゃº chuu-kun to hai chan

References [1] http:// www.matt-thorn.com/shoujo_manga/hagio_interview.php#footnote34 [2] Masanao Amano, Julius Wiedemann (2004). Manga Design (http:// books.google.com/books?id=XiZ-SXfp50cC&pg=RA4-PT50& lpg=RA4-PT50&dq=Yasuko+Sakata&source=web&ots=mEyOEHuzET&sig=Fv6jf3jScs1N8BsMUv0JaYrwc5M&hl=en& ei=2ribSZG9HoHasAOv17ivAg&sa=X&oi=book_result&resnum=1&ct=result#PRA4-PT48,M1). Taschen. pp. 242€245. ISBN 9783822825914. . [3] http:// www.csuchico.edu/~mtoku/vc/Articles/toku/Wil_Toku_BoysLove.html [4] Kotani Mari, foreword to Sait€ Tamaki (2007) "Otaku Sexuality" in Christopher Bolton, Istvan Csicsery-Ronay Jr., and Takayuki Tatsumi ed., page 223 Robot Ghosts and Wired Dreams University of Minnesota Press ISBN 978-0-8166-4974-7 "Around 1980, the female manga artists Sakata Yasuko and Hatsu Akiko coined this word to describe the male-male sex manga they were publishing in the magazine Rappori."

External links • SAKATA Box - Official website (http:/ /www2u.biglobe.ne.jp/~ysakata/) (Japanese)

Yumiko Šshima

249

Y um i ko „ s h i m a Yumiko „ shima Born

August 31, 1947

Nationality Japanese Occupation Manga artist

Yumiko „ shima (° ‚+X ‰shima Yumiko, born August 31, 1947) is a female Japanese manga artist and a [1] [2]

member of Year 24 group. She made her debut in 1968 with Paula's Tears in Weekly Margaret.[3] She received the 1973 Japan Cartoonists Association Award for excellence for Mimoza Yashiki de Tsukamaete. She received the 1978 Kodansha Manga Award for sh€jo for The Star of Cottonland,[4] and the 2008 Tezuka Osamu Cultural Prize Short Story Award for "Cher Gou-Gou...mon petit chat, mon petit ami," a short story in the ongoing series G…-g… datte Neko de aru .[5] She is credited with popularizing the kemonomimi (catgirl) character type through her creation of Chibi-neko from The Star of Cottonland.[6]

Selected works • • • • • • • • • • • • • • • •

Paula no Namida (e„ ö é ,, "Paula's Tears"), 1968 Tanj€ (ë€), 1970€1971 Sakura Jikan (-j“, "Cherry Blossom Time"), 1972 Mimoza-yakata de Tsukamaete (Å ’pz©Ñý まãf), 1973 Joka e ("To Joker") (1973) - An allegorical love triangle involving a boy who is accidentally transformed into a girl Nazuna yo Nazuna (ó Ôó ¼ó Ôó ), 1974 Ichigo Monogatari (¹ Í ごæ ç , "Strawberry Story"), 1975 Freud-shiki Ranmaru (FA.P), 1975 Shichigatsu Nanoka ni (© g© 日õ), 1976 ), 1977€1978 - A story about a sensitive young Banana Bread no Pudding (バè è +ÀßÚé÷ÁÂÝá woman, Ira Miura, who wishes to have a gay boyfriend The Star of Cottonland (/é :. Wata no Kuni Hoshi), 1978€1987 - A story about a kitten, Chibi-neko, who thinks she is a little girl Akasuika Kisuika (0¹ ý ”¹ ý ), 1979 Kinpatsu no S€gen (1é ˜ˆ), 1983 Mainichi ga Natsuyasumi (2日/Z3J), 1989 Koi wa Newton no Ringo (fÿ Õ‡„´Ýé²ÝÞ ), 1990 Christmas no Kiseki (… ² ³ ê³ é ñ 4), 1995

• G…-g… datte Neko de aru (á„á„

«Mf™©ú þ ), 1996€ongoing

Yumiko Šshima

References [1] Thorn, Matt (2005). "A History of Manga" (http:/ / www.matt-thorn.com/mangagaku/history.html). Animerica: Anime & Manga Monthly 4 (2,4, & 6). . Retrieved 2008-01-02. [2] Thorn, Matt (2001). "Sh‰jo Manga •Something for the Girls" (http:/ / www.matt-thorn.com/shoujo_manga/japan_quarterly/index.html). The Japan Quarterly 48 (3). . Retrieved 2008-01-02. [3] Masanao Amano, Julius Wiedemann (2004). Manga Design (http:// books.google.com/?id=XiZ-SXfp50cC&pg=RA2-PA1979& dq=Yumiko+Oshima). Taschen. pp. 1979€1982. ISBN 9783822825914. . [4] Joel Hahn. "Kodansha Manga Awards" (http:/ / web.archive.org/web/20070816031310/http:// www.hahnlibrary.net/comics/awards/ kodansha.shtml). Comic Book Awards Almanac. Archived from the srcinal (http:/ /www.hahnlibrary.net/comics/awards/kodansha.shtml) on 2007-08-16. . Retrieved 2007-08-21. [5] "12th Tezuka Osamu Cultural Prize Winners Announced" (http:// www.animenewsnetwork.com/news/2008-05-11/ 12th-tezuka-osamu-cultural-prize-winners-announced). Anime News Network. 2008-05-11. . Retrieved 2008-08-21. [6] Jaqueline Berndt (1995) (in German). Ph‹nomen Manga : Comic-Kulture in Japan. Berlin: Edition q. p. 111. ISBN 3-86124-289-3.

External links • Yumiko Šshima (http:/ /www.animenewsnetwork.com/encyclopedia/people.php?id=7038) at Anime News Network's Encyclopedia • Profile (http:/ /users.skynet.be/ mangaguide/au1477.html) at The Ultimate Manga Guide • List of works (http:/ /www.callenreese.com/lotooshima.html) at Mangayomi

250

251

Fandom Anime and manga fandom Anime and manga fandom is a worldwide community of fans of anime and manga.

Otaku is a Japanese term for people with obsessive interests, including anime, manga, or video games. In its srcinal Otaku context, the term otaku is mildly offensive, implying that a person is somewhat socially inept. Otaku can be seen as being similar to the English terms geek or nerd. However, the term started to be used by anime and manga fans themselves in a positive way, and today it is often used by those outside of the fandom to refer to fans of anime or manga. Although those new to the fandom may use it in this sense also, those more experienced know its srcinal negative connotations and would not usually use it to refer to themselves. Other fans, typically the newier fanbase, have used the term to describe themselves with pride. History of the fandom Although there have always been those with an interest in anime, the fandom as a community started in the 1970s. One early instance of fans uniting themselves as a fandom came with the anime Space Battleship Yamato; when it stopped airing on Japanese television, the fans banded together to get it back on the air. [1] In Japan, anime and manga are referred to collectively as the content industry: anime, video games, manga, and other related merchandise are different types of media focused around the same content. [2] However, the manga market in Japan is beginning to decline. In 2007, the manga industry showed a 4% decrease in sales from the previous year, its fifth consecutive year of decline. Japanese and American researchers have proposed that this may be due to the decrease in the young population in Japan and a lack of interest in reading. The manga critic and translator Matt Thorn stated that there was a growing dissatisfaction with the lack of srcinality found in many manga.[3] Al Kahn, CEO of 4Kids Entertainment, stated that "Manga is a problem because we are in a culture that is not a reading culture" and that "Manga is dying in Japan." [4] Liza Coppola, vice president of Viz Media, said that the widespread availability of cell phones and ability to view anime and manga on cell phones is likely the cause of decline in demand for anime and manga. [5]

In the United States In the United States, the fandom began as an offshoot of science fiction fandom, with fans bringing imported copies of Japanese manga to conventions.[6] Before anime began to be licensed in the U.S., fans who wanted to get a hold of anime would leak copies of anime movies and subtitle them, thus marking the start of fansubs. By 1994, anime had become more common in the U.S., and had begun being translated into English and shown on television, most commonly sh€nen series such as Pokemon and Astro Boy. Gilles Poitras identifies "generations" or "waves" of anime fans in his Anime Essentials book.[7] According to Mike Tatsugawa, the founder and CEO of the Society for the Promotion of Japanese Animation, the first milestone for anime in the U.S. was in the 1980s with the advent of the Internet. With the Internet, fans were able to more easily communicate with each other and thus better able to exchange fan-subtitled tapes and higher quality versions of anime.[8] Some experts, such as Susan Napier, a Professor of Japanese Language and Literature, say that Akira marked the first milestone.[9] However, most experts agree that the next milestone was in 1992 when

Anime and manga fandom U.S. Renditions, a film importer, released the first English-subtitled anime videotape that year, entitled Gunbuster. According to Tatsugawa, the success of Gunbuster triggered a flurry of releases. [8] Due to the localization process, many people who grew up watching anime did so not realizing that it srcinated in Japan. After the success of Power Rangers (which first aired in 1993), U.S. television companies began broadcasting Sailor Moon and Dragonball Z in 1995 and 1996 respectively. However, due to the relative failure of the latter two (both shows brought success when aired at a later time on Cartoon Network), anime did not seem like it would become mainstream.[2] However, the anime boom in the U.S. began with the airing of the anime series Pok‚mon[2] in syndication in 1998, which served as proof to U.S. broadcasters and distributors that Japanese media could succeed in the U.S. market. It was only after Pok‚mon and Power Rangers left the mainstream that U.S. audiences became aware of anime's Japanese srcins. [2]

Appeal of anime and manga One major appeal of anime is its artwork; some fans claim that its visual quality is superior to that found in most cartoons made in the United States[8] and many ignore all non-Japanese animation. One fan described enjoying anime because "there is no dividing line between special effects and what is real...it's just the way somebody imagined it." Another fan has also said that "only Japan can write a good story." [10] The content editor of Anime Fringe, Holly Kolodziejczak, described being amazed by anime's depth that was unlike the cartoons she had seen before: "the characters had real personalities, their own feelings and motivations for their actions, strengths and flaws that enhanced their characters. They were more like real people, and thus people could much more readily identify with them."[11] Larry Green of Nausicaa.net agreed and added that anime discusses subjects for both adults and children whereas in the United States animation is traditionally for children. He also stated that any viewer would be able to find something to their liking due to anime's large scale of production. [12] Susan J. Napier, a Professor of Japanese Language and Literature, stated that anime fans "find refuge in a culture that diverges fromhas theexisted typical since American way of life." She pointed out thatanfascination with by Japanese not a new concept and the mid-19th century. For example, 1876 painting Claudeculture Monetisentitled La Japonaise depicts Monet's wife wearing a kimono, with Japanese hand fans shown in the background. Napier described this interest in Japan as an "escape from the Industrial Revolution ... a pastoral utopia" for many Europeans.[9]

Fan service Although fan service usually refers to sexually provocative scenes, [13] it also refers more generally to events of little plot value designed to excite viewers or simply make them take notice, such as big explosions and battle scenes.[14] When anime and manga are translated into English by U.S. companies, the srcinal work is often edited to remove some of the fan service to make it more appropriate for U.S. audiences. Mike Tatsugawa explained this change as a result of a difference between cultural values of Japan and the U.S. [7] [8] In fact, some anime seem to feature little else other than fan service as their selling point.[15] However, some believe that the prevalence of fan service indicates a lack of maturity within the fandom; an editor of Del Rey Manga joked that manga Negima!, which contained fan service, should be rated as "for immature readers 16+" rather than for "mature readers 16+". [13]

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Learning about Japan Language Anime and manga have stimulated many young people to learn the Japanese language. In the 1970s, Naoka Takaya's Saskatoon Japanese Language School was founded with a student body consisting of primarily Japanese-Canadians interested in polishing their language skills for their return to Japan.[16] However, popularity for the language began to rise; the Japanese Language Proficiency Test was first held in 1984 in response to growing demand for standardized Japanese language certification.[17] Yuki Sasaki, who works for the Japanese language program at the University of Georgia, noted that when she first started in the program in 1994, most students were interested in Japanese for internal business majors; however, in 2004, students are more interested in "translating Japanese pop-song lyrics and talk excitedly about the Japanese cartoon character Card Captor Sakura."[18] Echoing this sentiment, Takaya also stated that about 60% of her students are studying Japanese because of anime. [16] Despite some fansubbers declaring (due to fansubbing's illegality) that they will stop distribution once a series is licensed, many fansubbed versions of anime are produced because of the stiff localization process in official translations.[2] According to one survey only 9% of fans prefer dubbing over subs; some fans believe that the localization process degrades the quality of anime and thus look to fansubs for the purer form of Japanese culture, feeling that something is lost in translation.[2] Most hardcore fans are motivated by the desire not to miss the jokes and puns present in Japanese anime and manga. [16] In fact, most people interested in anime express at least a passing desire to learn Japanese, but usually choose not to, due to either time constraints or rumours about the difficu lty involved in learning Japanese.[2] Japanese terms are so well integrated into the anime and manga fan culture that during a Fanime convention, a newcomer expressed confusion at some of the announcements because she was unable to understand the Japanese words used. [2] As fans become more proficient at Japanese; they often also become more critical toward the quality of various translations; some critique the different translations of a single series by different fansub groups.[2] Some fans even decide to translate professionally. In fact, fluent English speakers who know sufficient Japanese are often preferred for translating over fluent Japanese speakers who know sufficient English, as the syntax of the latter group tends to be stiff. Del Rey Manga's editor finds much of their talent through conventions. [19] Culture Anime and manga have also inspired many young people to learn about Japanese culture, and the anime fan community in fact encourages people to do so. Fans often learn about Japanese honorifics from anime and manga. Companies such as Del Rey Manga and GoComi add explanatory notes describing honorifics and other words and concepts that do not translate well between languages.[13]

Technology and the Internet Developments on the Internet have had profound effects on the anime fan community and the way in which anime is consumed. Additionally, fan interest in anime has inspired many developments in technology. [2] Roughly 68% of fans obtain anime through downloading from the Internet or through their friends, a much larger proportion than in any other medium.[2] As a result, fans have made some of the most sophisticated advances in peer-to-peer software in order to make searching for and downloading anime online faster. [2] VirtualDub, a video capture and processing utility, was first created for use on an anime film adaptation of Sailor Moon.[20] The desire to simulate all forms of media that anime and manga comes in has caused PyTom to create Ren'Py, an open-source software engine that allows for the creation of visual novels without the need for a programming background. [21] Several online communities have been formed where fans can come together to share and interact. Sites that offer file sharing services are popular and influential where people can gain easy access to anime and manga. Fandom has also resulted in the creation of anime and manga fan communities on sites where people can share fan art, one of the

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most common ways for fans to express their love of anime. [21] These communities tend to do more than just share files. Like most forums on the internet, they discuss topics that they are interested in and want to know more about. These anime forums are becoming places for people to discuss the plot, characters, and styles of anime and manga.[22]

Sightseeing in Japan Many anime fans dream of one day visiting Japan.[23] A large number of well-known travel agencies from Japan have begun offering anime tours.[24] In 2003, the company Pop Japan Travel was founded to help customers experience Japan's content industry (including anime, games, food, and fashion) by allowing them to visit studios [25]

and meet otherAnimation activities.Museum Manyindifferent museums dedicated the industry existin throughout Japan, suchartists, as theamong Suginami Tokyo and the Tezuka Osamuto Manga Museum the Hyogo Prefecture. Other popular locations include places where people can enjoy anime-related activities, such as shopping for related merchandise or singing anime theme songs. Additionally, fans enjoy visiting real-life locations that serve as settings for some anime, and locations where live-action movies were filmed. [26] For example, the popularity of Lucky Star brought many of its fans to the real-life settings of the anime, beginning in April 2007. [27] A popular location for anime fans to visit is Akihabara, located in Tokyo. Known as the Electric Town, it is a major shopping area where people can buy manga, anime, and other assorted otaku merchandise. [28] The Tokyo Anime Center is one of the most popular spots in Akihabara, where a diverse set of events take place, such as the display of new anime films, related exhibitions, talk shows featuring voice actors, and public recordings of radio programs. [26]

References [1] "An Overview of Yamato Fan History, Part 1" (ht tp:/ /starblazers.com/html.php?page_id=260& PHPSESSID=53ad571dd98998f6e351cf607ccd182b). Voyager Entertainment. . Retrieved May 10, 2009. [2] Manion, Annie (2005). "Discovering Japan: Anime and Learning Japanese Culture." (http:// www.chanpon.org/archive/manionthesis.pdf) (PDF). East Asian Studies Center, USC. . Retrieved April 27, 2009. [3] "Quantcast Manga Sales in Japan Decline for Fifth Consecutive Year" (http:// www.animenewsnetwork.com/news/2007-10-20/ manga-sales-in-japan-decline-for-fifth-consecutive-year). Anime News Network. October 20, 2007. . Retrieved April 28, 2009. [4] Kahn, Al (December 7, 2007). "Sparks Fly at ICv2 Anime/Manga Conference" (http:// www.icv2.com/articles/home/11741.html). ICv2. . Retrieved April 28, 2009. [5] "Interview with Liza Coppola, Part 3" (http:/ / www.icv2.com/articles/home/11741.html). ICv2. December 7, 2007. . Retrieved April 28, 2009. [6] Bennett, Jason H.. "A Preliminary History of American Anime Fandom" (http:// a-kon.com/bm/bm~doc/prelim_history.pdf) (PDF). University of Texas at Arlington. . Retrieved May 10, 2009. [7] Poitras, Gilles (December 1, 2000). Anime Essentials: Every Thing a Fan Needs to Know. Stone Bridge Press. ISBN 1880656531. [8] Gardiner, Debbi (January 2003). "Anime in America" (http:/ / www.japaninc.com/article.php?articleID=972). J@pan Inc Magazine (Japan Inc Communications). . Retrieved May 1, 2009. [9] Rogers, Carter (February 23, 2009). "Professor of Japanese speaks about anime fandom" (http:/ / www.tuftsdaily.com/ professor-of-japanese-speaks-about-anime-fandom-1.1568757). The Tufts Daily. . Retrieved May 4, 2009. [10] "Anime Otaku: Japanese Animation Fans Outside Japan" (http:/ / bad.eserver.org/issues/1994/13/newitz.html). Bad Subjects. April 1994. . Retrieved 2009-05-15. [11] Kolodziejczak, Holly (December 2005). "So, this is Point B? - Looking Back, Going Forward" (http:// www.animefringe.com/magazine/ 2005/12/special/04.php). . Retrieved 2009-05-16. [12] Green, Larry (March 2006). "JAPANESE ANIMATION PAGE (THEATRICAL & TV)" (http:// www.nausicaa.net/~lgreenf/anime. htm). Nausicaa.net. . Retrieved 2009-05-21. [13] O'Connell, Margaret. "San Diego Comic Con: The Manga Tsunami Multiplies" (http:// www.sequentialtart.com/archive/oct04/ art_1004_3.shtml). Sequential Tart. . Retrieved April 29, 2009. [14] Harcoff, Pete (May 23, 2003). "Anime Glossary" (http:// www.animecritic.com/resources/glossary.html). The Anime Critic. . Retrieved May 1, 2009. [15] Santos, Carlo (January 26, 2005). "2004 Year in Review" (http://www.animenewsnetwork.com/feature/2005-01-26/4). Anime News Network. . Retrieved May 1, 2009. [16] "Anime-loving youngsters learning Japanese" (http://www.cbc.ca/ canada/saskatchewan/story/2006/02/15/anime-saskatoon060215. html). CBC News. February 15, 2006. . Retrieved April 27, 2009.

Anime and manga fandom [17] "Introduction" (http:/ / www.jlpt.jp/e/ about/index.html). The Japan Foundation. . Retrieved May 1, 2009. [18] Parker, Ginny (August 5, 2004). "Learning Japanese, Once About Resumes, Is Now About Cool" (http:// online.wsj.com/article/ SB109165598536883167.html?mod=googlewsj). Dow Jones & Company. . Retrieved April 27, 2009. [19] Manning, Shaun. "Translation Roundtable at New York Anime Festival" (http:/ /www.comicbookresources.com/?page=article& id=12122). Comic Book Resources. . Retrieved April 29, 2009. [20] "VirtualDub history" (http:/ / www.virtualdub.org/virtualdub_history.html). . Retrieved April 28, 2009. [21] Lin, Maria (December 2005). "Returning the Love: Three Fans Taking the Next Step" (http:// www.animefringe.com/magazine/2005/12/ special/05.php). Anime Fringe. . Retrieved 2009-05-16. [22] Aboxcafe: Your Entertainment Forum (http:/ /www.aboxcafe.com), an example forum that does more than share files. [23] Luscik, Josephy (July 2005). "Joey Goes Tokyo: Week 1" (http:// www.animefringe.com/magazine/2005/07/special/03.php). Anime Fringe. . Retrieved 2009-05-16. [24] "Tours in Japan" (http:/ / www.digi-promotion.com/tokyo-info/info-attractions-tours.html). digi-escape. . Retrieved April 28, 2009. [25] "About: Pop Japan Travel" (http:/ / www.popjapantravel.com/aboutus/). Digital Manga. . Retrieved April 28, 2009. [26] "Visit Anime Spots" (http:/ / www.att-japan.net/modules/tinyd1/rewrite/ tc_84.html). Att.JAPAN (45): 9. March 2009. . Retrieved April 28, 2009. [27] "Lucky Star otaku invade the oldest shrine in Kant€. The locals: It's a problem of security." (http:/ / www34.atwiki.jp/madmax_2007/ archive/20070729/c5c6b2d8eb73851a038a664774b5af84) (in Japanese). Sankei Shimbun. July 25, 2007. Archived from the srcinal (http:/ / headlines.yahoo.co.jp/hl?a=20070725-00000925-san-soci) on 2007-07-28. . Retrieved July 31, 2007. [28] "Tokyo See & Do Guide: Akihabara" (http:/ /www.professionaltravelguide.com/Destinations/Tokyo/See-and-Do/Shopping/Stores/ Shopping-Areas/Akihabara-p1742898). Professional Travel Guide. . Retrieved April 28, 2009.

External links • Open Directory Project (http:/ /www.dmoz.org/Arts/ Animation/Anime/Fandom/) • Aboxcafe (http:/ /www.aboxcafe.com)

Anime club An anime club is an organization that meets to discuss, show, and promote anime in a local community setting and can also focus on broadening Japanese cultural understanding. [1] Anime clubs are increasingly found at universities and high schools. Organizers may also utilize public meeting spaces such as a library[2] or a government center.[3] Many anime club attendees identify themselves as otaku. Although the core of anime club attendees are in their twenties, there are generally no age requirements. Adults in their fifties and sixties and teenagers also attend. [4]

Activities Anime club meetings can occur on a weekly or monthly basis. In addition to viewing anime, clubs engage in other activities such as viewing anime music videos, reading manga, karaoke and cosplaying. [5] Many clubs host online forums to further foster community interaction, and feature a library to lend books and manga to members. Participants of an anime club often are also involved in volunteering and organization of local anime conventions. [6] [7]

Dependent on the scope of the club, activities can also have a broader range, to include playing of table top games such as Shogi, Go, and Mahjong. Outside activities include Sakƒ tasting and visits to cultural events such as National Cherry Blossom Festival or a Kendo demonstration.

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Anime club

Anime Showings Typically anime clubs exhibit shows in their srcinal Japanese language track with English subtitles. Dependent upon policy of the club, anime fansubs or localized dubs can be shown. Larger clubs can have multiple viewing rooms. Usually one room features localized anime and the other fansubs. The fansub room can also be known as the 'divx' room, named after the popular video codec. Due to the long running and episodic nature of some anime, exhibition is scheduled in blocks with breaks. Often, a twenty six episode series will be screened over the period of several months. There are also informal policies in some club circles regarding the total length of a viewed show. For example, Bleach and InuYasha run for nearly two-hundred episodes each. At this length, a club may be perpetually showing episodes, effectively depriving another show of that spot. Additionally, it may be difficult for new members of the club to follow or become interested in a storyline that has already progressed far.

Public Exhibition When gathering in a public place to show licensed media, written permission from the domestic rights holder is required. This is known as Public Performance Rights or exhibition rights. [8] [9] In 2006, the Illinois State University Cinema Society was assessed $8,000 ($400 a screening) in fees by New Yorker Films for failure to get permission to screen films. North American anime licensors, such as Funimation and Bandai Entertainment have established programs to help facilitate public screenings of their licensed content at anime clubs. [10] [11]

References [1] Swecker, Sophie (2005-10-25). "An Cartoons Aren't Just For Kids..." (http:// media.www.easterneronline.com/media/storage/paper916/ 2005/10/ EagleLife/Cartoons. Just.over For.Kids-2369630. shtml).wickedlocal. . Retrieved com/ 2007-12-02. [2] news/ Freedman, Sara25/(2007-08-30). "TeensArent. animated anime" (http:// www. marlborough/homepage/x1846589282). . Retrieved 2008-04-07. [3] Frank, Evan (2006-08-24). "An animated culture" (http:/ / www.restontimes.com/news/2006/aug/24/ h3centeran-animated-culture-centerh3/). . Retrieved 2007-10-10. [4] Goldstein, Meredith (2004-12-01). "Members of MIT club share an anime attraction" (http:// www.boston.com/ae/ movies/articles/2004/ 12/01/members_of_mit_club_share_an_anime_attraction). The Boston Globe. . Retrieved 2007-12-10. [5] Mackert, Cindy Lee (2006-03-01). "Anime Fannatiku is a Big Hit" (http:// www.hvjournal.com/articles.php?id=2479& art_title=Anime_Fannatiku_is_a_Big_Hit).Hurricane Valley Journal. . Retrieved 2008-04-07. [6] Cuneo, Joshua (2005-04-01). "Tech hosts anime, gaming convention" (http:// web.archive.org/web/20070528205554/http://www.nique. net/issues/2005-04-01/entertainment/1). Archived from the srcinal (http:/ / www.nique.net/issues/2005-04-01/entertainment/1) on 2007-05-28. . Retrieved 2007-03-01. [7] Ritz, Anthony (2000-11-03). life/1 "Anime-O-Tekku feeds Anime lovers" (http:/ / www.nique.net/issues/2000-11-03/campus). The Technique. life/1. Retrieved 2007-11-30. [8] How to start an anime club (http:/ /web.mit.edu/anime/www/starting-a-club.html) [9] New Yorker Films Public Performance Rights (http:/ /www.newyorkerfilms.com/nyf/non-theatrical/PPR_Sheet.pdf) [10] Funimation Operation Anime (http:/ / www.operationanime.com) [11] Bandai announces anime club support program (http:// www.animenewsnetwork.com/news/2002-12-02/ bandai-announces-anime-club-support-progam)

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Anime convention An anime convention is an event or gathering with a primary focus on anime, manga and Japanese culture. Commonly, anime conventions are multi-day events hosted at convention centers, hotels or college campuses. They feature a wide variety of activities and panels. Anime conventions are also used as a vehicle for industry, in which studios, distributors, and publishers represent their anime related releases.

History Anime conventions have a long and varied worldwide history. The srcinal Comiket, mostly based on fan published manga called d€jinshi, started in 1975 with around 700 people in Tokyo. The Comiket of today see several hundred thousand people, showing the lasting popularity of the medium in its home country. Other Japanese anime conventions are arms of or heavily sponsored by certain studios or publishing companies and are used as platforms for new releases, such as Jump Festa.

Outside the convention hall at Anime Expo 2004.

Anime conventions of the west mostly spawned from similar science fiction and multigenre conventions of the 1980s which featured anime content by tandem. Though many popular shows from Japan had been broadcast by that time, the direct to video market had yet to reach any significant penetration in North America or Europe until the late 1980s. Anime conventions of the west take many cues from those conventions, such as use of a large hotel with a meeting space, spanning 2 days or more of a weekend, invited industry guests, costume dressup, dealers selling various goods, and many other similarities. Most western anime conventions are fan operated, meaning a group of self appointed fans manage the affairs necessary to run the event, either as individuals, a non-profit group, or an LLC. Many early conventions were run out-of-pocket at the expense of these organizers, often referred to as directors. However as a result of many factors, most did not run more than 2 years annually. [1] The early 1990s saw what would later be the long standing annual conventions, such as Project A-Kon, Anime Expo, and AnimeFest, which continue to run today and number attendance in the several thousands. Anime conventions in other locales, such as Europe and Australia began to take off in the mid 1990s as well. These growth trends follow the popularity and availability of anime to other countries outside of Japan. In recent years, new anime conventions continue to spring up in places where coverage from other conventions doesn't reach, such as Kawaii Kon in Hawaii and Aurora-Con in Alaska. Special industry announcements and premiers are now taking place at anime conventions outside of Japan, reflecting an acknowledgment of fandom from other locales.

Anime convention

Guests Anime conventions typically feature a guest (or "guest of honor") list as part of their makeup, though the only criteria for someone to be a guest is for the convention to state they are one. As such, a guest can be an industry figure, a talent (like drawing artist, performer, etc.), or even a fandom community figure. An anime convention represents an opportunity to interact with such individuals that may not be possible outside the event. Guests may be featured or responsible for specialty events at the convention, such as concerts, casting calls, or special announcements/news releases.

Anime convention events A typical western anime convention will feature several events, workshops, panels, and contests for the attendees. Longer-running conventions with higher attendance often have the biggest variety and highest number of events. This list features common events, but is in no way meant to be considered as exhaustive or complete.

Panels Anime conventions often have panels, which are open ended discussions involving some pre-determined topic, usually related in at least some way to anime. Topics can include manga, favorite voice-actors, details about a particular anime show, series, or movie. Panels may also be about more general topics such as cosplay, fanfiction, video games, or even industry related topics such as production or licensing. Workshops Slightly different than a Panel, a workshop is more like guided instruction through a major or specific task, typically instructed by an individual (often a convention guest). The instructor could either demonstrate or instruct people on how to accomplish tasks such as how to draw manga, make computer animation, or how to become a voice actor.

Video screenings Most anime conventions hold screenings of actual anime shows or movies because the circulation of the material and theatrical releases continues to trail Japan in other locales. Because of this, screenings and video rooms are less common in Japanese conventions, unless promoting a specific studio. Some western conventions have several video screening rooms, running a varied schedule of shows, some of which are available in the US, and other are fan-subtitled with no domestic publisher.

Contests Most conventions include contests. Contests can also focus around costumes (or cosplay), art works (drawn, sculpted, painted), anime-related music videos, video games, dice games, card games, and many other activities. In some cases, tangible prizes have been offered as winnings in these contests.

Dealers' room An Exhibit Hall or Dealers' Room is also popular at most conventions. Publishing companies, distributors, and other proprietors often arrive to exhibit and/or sell their newest products to fans. Wares can include graphic novels manga, anime media, action figures, apparel or pre-made costumes, music CDs, software, decorations, toys, art books, specialty foods, and many more. Pirated items are often addressed as well.

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Anime convention

Art show Typical art shows are similar to those at a traditional museum or gallery. Artwork of all kind is put on display for inspection, and in some cases for purchase/auction bidding, by the viewer. Entry is usually only restricted by space available & registration with the convention. The artist can choose to be present to display, discuss, or take commission in a variation of the art show known as the Artists' Alley. Artists may also include crafts, drawn art, self published books or video, fanzines, and more.

Social activities Most conventions (or their visitors) also hold purely social gatherings, such as dances, room parties, dinners, and more.

References [1] "Anime Conventions: 1980 through 1990" (http:// www.animecons.com/events/calendar.shtml/0008090). AnimeCons.com. . Retrieved 2010-04-21.

External links • AnimeCons.com (http:/ /animecons.com/) • A list of c onvention rules / guidelines (http:/ /www.neoengel.com/con_rules.html) • Lionel Lum News Network (http:/ /www.usagichan.com)

Anime music video An anime music video (AMV) is a music video consisting of clips from one or more animations set to an audio track (often songs or movie/show trailer audio); the term usually refers to fan-made unofficial videos. An AMV can also be a set of video game footage put together with music which is known as a GMV. A newer format of AMVs including or comprising solely of non-anime or gaming footage called animashing has also started to gain popularity. AMVs are not official music videos released by the musicians, but are rather amateur fan compositions which synchronize edited AMV theatre sign outside a room dedicated to showing AMVs at Tekkoshocon VIII (2010) video clips with an audio track. AMVs are most commonly posted and distributed informally over the Internet. Anime conventions frequently run AMV contests or AMV exhibitions. While AMVs traditionally use footage taken from anime, video game cut-scene footage is also a popular option. [1] Music used in AMVs is extremely diverse, using such genres as J-Pop, rock, hip hop, pop, R&B, country, and many others. AMVs should not be confused with music videos that employ srcinal, professionally made animation (such numerous music videos for songs by Iron Maiden), or with such short music video films (such as Japanese duo Chage and Aska's song "On Your Mark" that was produced by the film company Studio Ghibli). AMVs should also not be confused with fan-made "general animation" videos using non-Japanese animated video sources like western cartoons, or with the practice of vidding in Western media fandom, which evolved convergently and has a distinct history and fan culture. "Anime music videos" are a sub-genre of the more general "animated music videos". Parallels can be drawn between AMVs and songvids, non-animated fan-made videos using footage from movies,

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Anime music video television series, or other sources. The first anime music video was created in 1982 by 21-year-old Jim Kaposztas. [2] Kaposztas hooked up two VCRs to each other and edited the most violent scenes from Star Blazers to ‚All You Need Is Love ƒ by The Beatles to produce a humorous effect. One of the first anime music videos that achieved popularity came from the 1996 song "Daytona 500", from rapper Ghostface Killah, using clips from the 1960s anime Speed Racer, which was first shown on English television back in 1968. In fact, it is one of the most popular anime music videos ever made, and the Speed Racer clips used on that video made it his official music video. It was also the first AMV to be shown on a TV channel.

AMV creation

The creation of an AMV centers on using various video editing techniques to create a feeling of synchronization and unity. Several techniques are available to achieve this: • Editing: Using different clips from the video source and changing between them at specific times is the most important tool the AMV creator has. Often both the events in the video and the transitions between the clips are synchronized with events in the music. This synchronization is divided into two general types: internal and external. Internal synch involves synching the audio with actual events taking place in the scene, such as gunshots and slamming doors. External synch is instances of edited in cuts made in time with the audio. • Digital effects: Using video editing software (commonly a non-linear editing system) the video source can be modified in various ways. Some effects are designed to be imperceptible (such as modifying a scene to stop a character's mouth from moving) whereas others are intended to increase synchronism with the audio, or possibly create a unique visual style for the video. • Lip-sync: the synchronization of the lip movements of a character in the srcinal video source to the lyrics of the audio, to make it appear as if the character were singing the song, often the purpose is comedic. Lip-syncing is also commonly used in parody AMVs. These songs usually come from musicals, or to the latest on the pop charts. • Some editors use srcinal and manipulated animation, both two-dimensional and three-dimensional, in AMV works. Such additions are often used for visual effect or to convey a story that is otherwise incommunicable using only the srcinal video source. • Rubber-bands, keyframe manipulation or dissolves: These are techniques in which the edi tor makes points in a video source on the timeline of the non-linear editing program that they can drag to different positions which makes the video either fade in or fade out. This can be to another video clip, or to a different color, most commonly solid black or solid white.

Popularity John Oppliger of AnimeNation stated that fan-produced AMVs are largely popular with Western fans however not with Japanese fans. One reason he cited was that Western fans experience a "more purely" visual experience as most Western fans cannot understand the Japanese language, the srcinal language of most anime, and as a result "the visuals make a greater impact" on the senses. [3] The second reason he cited was that because Westerners are "encouraged by social pressure to grow out of cartoons and comics during the onset of adolescence" whereas Japanese natives grow up with animation "as a constant companion", English-speaking fans tend to utilize and reconstruct existing anime to create AMVs whereas Japanese fans "are more intuitively inclined" to create or expand on existing manga and anime.[4] Famous amvs that have gone on to become Internet memes or semi-memes include "Crimson Destiny" a FullMetal Alchemist video set to "Dream On" by Aerosmith, "Naruto Ball Z" (Dragon Ball Z/Naruto set to Bomb a Head! Returns! by m.c.A.T Feat! Da Pump!) and the Caramelldansen meme spawned by Popotan set to Caramell's Caramelldansen.

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Anime music video

AMV competitions, evaluations, and rankings • Iron Editor: Two or more editors compete directly with one another, editing videos on the fly in a rea l-time contest in the style of Iron Chef. Most commonly these bouts go for the length of one or two hours and they are held either in person, at an anime convention, or over the Internet. In both cases there are designated judges who compare the videos, either by the theme, the timing or overall production quality of the videos made during the competition. Judges will declare a winner and most commonly this winner goes on to compete against other editors who have won previous parts of the competition. The other alternative is an individual Iron Editor competitions, in which there is only one part to the competition and most commonly only two editors, only one of whom wins. • AMV Viewer Choice: The editors submit videos to competitions that are held either at anime conventions or on Internet websites. In both cases the winners are decided by the viewers and sometimes the editors themselves are allowed to vote. In conventions AMVs are usually judged by the category they are competing in, for example an action video would compete with other action videos. Viewers watch the videos and they submit votes at the end of the viewing portion of the competition. The other way that this competition is held, is through an Internet website. Some websites have a similar way of judging the AMVs, by the category they are in. While on other websites the videos compete against other videos of the same or different categories and are judged on which is a better AMV overall, not solely on the theme of the video. The site AnimeMusicVideos.org has the largest known annual AMV contest, the AnimeMusicVideos.org Viewers Choice Awards. • In March 2008, Tokyopop hosted the I-Manga Music Video Mash Up Contest. The contest called for fans to create a music video, using Tokyopop manga and music. As opposed to most anime music videos, I-Manga Music Video Mash Up Contest required participants to animate and manipulate still images with the use of motion graphics. The contest featured art from Bizenghast and Riding Shotgun with music ("Feel the Disease" by Kissing Violet, "Break Ya Self" by Far East Movement). The winner of the contest was awarded an iPod Video, loaded with Tokyopop music and Tokyopop I-Manga webisodes. As well as featured placement on Tokyopop's YouTube channel.[5] • There are several public rankings of AMVs available: A-M-V.org StarScale [6] (only for registered users), A-M-V.org Opinions Top10% [7] (only for registered users), AKROSS Rating [8], AMVNews Overall Ratings [9]

AMV and copyright infringement The Japanese culture is generally permissive with regard to the appropriation of ideas. Works such as d€jinshi, unauthorized comics continuing the story of an official comic series, are actually encouraged by many anime makers.[10] These d€jinshi take an srcinal copyrighted work and expand upon the story, allowing the characters to continue on after, before, or during the srcinal story. Most anime makers encourage this practice, as it expands their series. Some see it as a tribute while others see it from a business viewpoint that it draws in more support for the anime than it would have had otherwise. Some manga artists create their own d€jinshi, such as Maki Murakami's "circle" Crocodile Ave (Gravitation). The question has been raised of how such works can continue to exist, or such organizations to flourish, when they do so with questionable legality. The answer is that many of the Japanese authors encourage it •several of these authors began their careers with the same kinds of projects they witness anime fans working on today (ex. Clamp). It seems that American anime distributors hold a similar sort of view in regards to AMVs. In an interview with site AnimeNewsNetwork, FUNimation Entertainment copyright specialist Evan Flournay said they generally see AMVs as a sort of free advertising. "The basic thinking going into fan videos is thus: if it whets the audience's appetite, we'll leave it alone. But if it sates the audience's appetite, it needs to come down. Does that make sense?" he says. [11] [12] In recent years there has been an increased demand, primarily on the part of the record industry, for the removal of AMVs from sites like YouTube, Google Video, or the AnimeMusicVideos.org aggregation site, with particular regard to YouTube due to its relative popularity compared to other AMV sources, as well as its for-profit status.

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Anime music video Musical performers and their representative record labels have been requesting the removal of some music videos from websites where they are made available for download, though it is primarily the latter who take such action. Public discussions and perspectives give varying accounts of exactly how widespread these actions have become. In November 2005, the administrator of AnimeMusicVideos.org was contacted by Wind-up Records, requesting the removal of content featuring the work of the bands Creed, Evanescence, and Seether.[13] Songs on AMVs uploaded on YouTube are sometimes removed due to copyright infringement of either TV Tokyo or the Warner Music Group. While music labels and corporations generally see AMVs in negative light, often the actual musical artists in question do not hold the same views. A number of AMV editors report to having had positive contact with various artists, including Trey Gunn and Mae.[14] Japanese electronic duo Boom Boom Satellites even teamed with site AMVJ Remix Sessions [15] to sanction an AMV competition to help promote one of their singles, going so far as to provide the source material for editors to use. The winner's video would be featured during one of the pair's tours. The first of this competition took place in January 2008 using the song "Easy Action" and the anime movie Vexille.[16] A second competition took place later that year in November using the song "Shut Up And Explode" and the anime Xam'd: Lost Memories. [17] From a purely legal perspective, the creation of AMVs generally involves the infringement of one or more copyrights. However, infringement alone can be justified under the auspices of fair use if the use is transformative in nature. In many cases, the video elements of an AMV can be argued as being a transformative use, while the audio elements (in the case of whole songs) might not be; the copyright holder being able to assert that the creator is in effect redistributing an unauthorized copy of the copyright holder's work. In his book Code: Version 2.0 and a subsequent talk in Google's AtGoogleTalks Author's Series, [18] Creative Commons founder Lawrence Lessig specifically mentions AMVs as an example when dealing with the legality and creative nature of digital remix culture.

References [1] Such video game clips feature in over 10% of current AMVs according to AnimeMusicVideos.org statistics as of February 2007 [2] Macias, Patrick (2007-11-15). "Remix this: anime gets hijacked" (http://search.japantimes.co.jp/cgi-bin/fo20071115pm.html). Japan Times. . Retrieved 2009-10-20. [3] Oppliger, John (2003-09-08). "Ask John: Why Are Anime Music Videos so Popular?" (http://www.animenation.net/blog/2003/09/08/ ask-john-why-are-anime-music-videos-so-popular/). AnimeNation. . Retrieved 2009-09-08. [4] Oppliger, John (2005-06-23). "Ask John: Why Hasn„t Doujinshi Caught on Outside of Japan?" (http:/ / www.animenation.net/blog/2005/ 06/23/ask-john-why-hasnt-doujinshi-caught-on-outside-of-japan/). AnimeNation. . Retrieved 2009-09-08. [5] TOKYOPOP :: Leading the Manga Revolution for 10 Years and Beyond! :: (http:// www.tokyopop.com/Robofish/contest/1282896.html) [6] http:// www.animemusicvideos.org/lists/stars.php [7] http:// www.animemusicvideos.org/members/top10percent.php [8] http:// akross.ru/index.cgi?act=ratings;sec=top;l=e [9] http:// amvnews.ru/index.php?go=Ratings&file=byrating&lang=en [10] Lessig, Lawrence (March 25, 2004). "Chapter One: Creators" (http://www.authorama.com/free-culture-4.html). [[Free Culture (book)|Free Culture (http:// www.authorama.com/book/free-culture.html)]]. Authorama.com. . Retrieved 2009-09-08. "This is the phenomenon of doujinshi. Doujinshi are also comics, but they are a kind of copycat comic. The creation of doujinshi is governed by a creators' ethic stating that a work is not doujinshi if it is just a copy; the artist must make a contribution to the art he copies by transforming it either subtly or significantly... These copycat comics exhibit significant market penetration as well. More than 33,000 "circles" of creators from across Japan produce doujinshi. More than 450,000 Japanese come together twice a year, in the largest public gathering in the country, to exchange and sell them. This market exists in parallel to the mainstream commercial manga market. In some ways, it obviously competes with that market, but there is no sustained effort by those who control the commercial manga market to shut the doujinshi market down. It flourishes, despite the competition and despite the law."" [11] "Chicks On Anime: Copyright Enforcement Interview" (http://www.animenewsnetwork.com/chicks-on-anime/2009-05-05). Interview with FUNimation Entertainment copyright specialist Evan Flournay, posted on AnimeNewsNetwork May 5, 2009. [12] "AMVs and Funimation's Copyright enforcment comments" (http:// www.animemusicvideos.org/forum/viewtopic.php?f=2&t=94221& hilit=musical+artists+amvs). Discussion on the AnimeMusicVideos.org forum, thread created May 5, 2009. [13] "Evanescence, Seether and Creed videos no longer available" (http:// www.animemusicvideos.org/phpBB/viewtopic.php?t=60255). Discussion on the AnimeMusicVideos.org forum, thread created November 15, 2005.

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[14] "Musical artists who like AMVs" (http:/ / www.animemusicvideos.org/forum/viewtopic.php?f=2&t=93284&hilit=musical+artists+ amvs). Discussion on the AnimeMusicVideos.org forum, thread created March 11, 2009. [15] http:/ /www.amvj-sessions.com/ [16] "BoomBoomSatellites x Vexille Promotion Contest" (http://www.animemusicvideos.org/forum/viewtopic.php?f=5&t=85847& hilit=boom+boom+satellites). Discussion on the AnimeMusicVideos.org forum, thread created January 16, 2008. [17] "BoomBoomSatellites x Xam'd Promotion Contest" (http:// www.animemusicvideos.org/forum/viewtopic.php?f=5&t=91685& hilit=boom+boom+satellites). Discussion on the AnimeMusicVideos.org forum, thread created November 20, 2008. [18] "Authors@Google: Lawrence Lessi g" (http:/ / www.youtube.com/watch?v=9xbRE_H5hoU). Lawrence Lessig, author of "Free Culture," visits Google's New York office as part of the Authors@Google series. This event took place on October 3, 2006.

External links • AnimeMusicVideos.org, an AMV community site (http:/ /www.animemusicvideos.org/) • AMV Dream, Streaming AMV's (http:/ /amvdream.com/) • Creatives face a closed Net (http:/ /news.ft. com/cms/s/ d55dfe52-77d2-11da-9670-0000779e2340.html) FT.com, 17 January • "Anime music videos" (http:/ /networkedpublics.org/conference/anime_music_videos) at the Annenberg Center for Communication • ANN interview with Funimation copyright enforcer (http:/ /www.animenewsnetwork.com/chicks-on-anime/ 2009-05-05); discusses policy anent AMVs • MangaTubeUSA (http:/ /mangatubeusa.zazzletube.com/) Website for Anime Music Videos • KetsuRyu.com (http:/ /www.ketsuryu.com/ en) Website with huge database of available AMVs (streaming & download), full results of the major international AMV contests and more. • AMV Hell (http:/ /www.amvhell.com/) AMV Hell, which became a genre unto itself.

Cosplay kosupure), short for "costume play",[1] is a type of performance art in which participants don costumes and accessories to represent a specific character or idea. Characters are often [2] drawn from popular fiction in Japan, but recent trends have included American cartoons and science fiction. Favorite sources include manga, anime, tokusatsu, comic books, graphic novels, video games, hentai and fantasy movies. Any entity from the real or virtual world that lends itself to dramatic interpretation may be taken up as a subject. Inanimate objects are given anthropomorphic forms and it is not unusual to see genders switched, with women playing male roles and vice versa. There is also a subset of cosplay culture centered around sex appeal, with cosplayers specifically choosing characters that are known for their attractiveness and/or revealing (even explicit) costumes. Cosplay (Ä³÷À

Cosplayers often interact to create a subculture centred around role play. A broader use of the term cosplay applies to any costumed role play in venues apart from the stage, regardless of the cultural context.

Vocaloid Cosplay

Cosplay

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Terminology The term cosplay is a portmanteau of the English words costume and play. The term was coined by Nobuyuki Takahashi of the Japanese studio Studio Hard while attending the 1984 Los Angeles Science Fiction Worldcon. [3] He was impressed by the hall and the costumed fans and reported on both in Japanese science fiction magazines. The coinage reflects a common Japanese method of abbreviation in which the first two moras of a pair of words are used to form an independent compound. Costume becomes kosu (Ä ³ ), and play becomes pure (÷ À ).

History of Cosplay From Costume Fandom: All Dressed Up with Some Place to Go! By Dr. John L. Flynn "For almost 50 years, costume fandom has had a consistent and widespread following with costumers markedly influencing science fiction writers, artists and the media. Costuming, as an innovative, three-dimensional art form, has probed and broken all limits of imagination in SF and fantasy. From the first World con in 1939 to last year's Worldcon in Philadelphia, costume fandom has emerged as a robust and dynamic force within science-fiction fandom. At the First World Science Fiction Convention in New York in 1939, a 22-year-ol d Forrest J Ackerman and his friend Myrtle R. Jones appeared in the first SF costumes among the 185 attendees. The future editor of Famous Monsters of Filmland was dressed as a rugged looking star pilot, and his female companion was adorned in a gown recreated from the classic 1933 film Things to Come. Both of them created quite a stir among the somber gathering of writers, artists and fen (plural of fan), and injected a fanciful, imaginary quality into the convention's overly serious nature. Frederik Pohl, in his book The Way The Future Was, described the couple as "stylishly dressed in the fashions of the 25th century" but feared that they had started an ominous precedent. He was right! So successful were their costumes that the following year, about a dozen fans turned out in their own "scientifiction" apparel. Now, over a half century later, costume fandom has come to represent a large segment of the hardcore genre audience. Artists like Kelly Freas, Wendy Pini and Tim Hildebrandt, authors like Julian May and L. Sprague de Camp, and fans by the hundreds dress regularly in costume. Groups, such as the U.K. s Knights of St. Fantomy, the Society for Creative Anachronism and the International Costumers' Guild, conduct business and ceremony in costume, and the masquerade has become the central event of most large conventions. [4]

Practice of Cosplay Costumes Cosplay costumes vary greatly and can range from simple outfits to highly detailed "mecha" suits. Cosplay is generally considered different from Halloween and Mardi Gras costume wear as the intention is to accurately replicate a specific character, rather than to reflect the culture and symbolism of a holiday event. As such, when in costume, cosplayers will often seek to adopt the affect, mannerisms and body language of the characters they portray (with OoC or, "Out Of Character" breaks). The characters chosen to be cosplayed may be sourced from any movie, tv series, book, comic book, videogame ,Visual-Kei rock bands, Anime or Manga, however the practice of cosplay is most often associated with replicating anime and manga characters.

An Australian Cosplayer cosplaying a Manga character

Most cosplayers create their own outfits, referencing images of the characters in the process. In the creation of the outfits, much time is given to detail and quality, thus the skill of a cosplayer may be measured by how difficult the details of the outfit is and how well they have been replicated. Many cosplayers therefore consider cosplay to be a

Cosplay form of Art and so consider themselves Artists, some in the more specific subcatagory of Artisan Crafts. Because of the difficulty of some details and materials to replicate, cosplayers often educate themselves in crafting specialities such as Textiles, sculpture, face paint, fibreglasswork, fashion design, Woodworking and other such materials in the effort to render the look and texture of a costume accurately. [5] Almost all cosplayers wear wigs in conjuction to their outfit in order to further improve the resemblance to the character. This is especially necessary for anime and manga characters who often have unnaturally coloured and uniquely styled hair. More simple outfits may be compensated for their lack of complexity by paying attention to material choice, and overall excellent quality. The process of creation may then be very long and time-consuming, making it a very personal journey and achievement for many. This taxing, and often expensive process is known to unite cosplayers and is considered a part of the culture of cosplay. Cosplays may also be bought at either conventions, stores or more commonly, from online speciality stores or eBay. However people who have bought their outfits may be subject to criticise by those who have made their outfits. Some cosplayers may choose to custom make outfits by commission and thereby form an income from cosplay.

Purpose The cosplayer's purpose may generally be sorted into one of three categories, or a mix. Most cosplayers draw characteristics of all three categories. The first is to express adoration for a character, or in feeling similar to a character in personality, seeking to become that character. This type of cosplayer may be associated with being a Fan (person) and is often labelled as an Otaku. Other characteristics may be an enthusiastic manner and less attention to detail and quality. Such cosplayers are also most likely to adopt the character's personality and are known to criticise other cosplayers for not having a full knowledge of their character, or not also adopting character mannerisms. The second is those people who enjoy the attention that cosplaying a certain character brings. Within the cultures of anime and manga specifically, as well as science fiction and fantasy, there is a certain level of notoriety that is attached to cosplayers. Such cosplayers are usually characterised by attention to detail in their garments and their choice of popular characters. They are also noted by participation in cosplay competitions. The third is those who enjoy the creative process, and the sense of personal achievement upon completion. Such people are more likely to have a greater budget dedicated to the project, more complicated and better quality outfits with access to more materials. They are also more likely to engage with professional photographers and cosplay photographers to take high quality images of the cosplayer in their garment posing as the character.

Presentation Cosplay may be presented in a number of ways and places. Photography As mentioned above, some cosplayers choose to have a photographer take high quality images of the cosplayer in their garment posing as the character. This is most likely to take place in a setting relevant to the character's srcin, such as churches, parks, forests, water features and abandoned/run-down sites. Such cosplayers are likely to exhibit their work online, on blogs or artist websites, such as DeviantArt.com. They may also choose to sell

such images, or print the images as postcards and give them as gifts. Because of the rising popularity of cosplay photography, some photographers may choose to work exclusively as a cosplay photographer.

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Conventions

The most popular form of presenting a cosplay is by wearing it to a convention. Conventions dedicated to anime, manga, comics, TV shows, video games, science fiction and fantasy may be found all around the world. The US alone features nearly a hundred conventions across the country each year. The single largest event featuring cosplay is the semi-annual doujinshi market, Comiket. This event, held in Japan during summer and winter, attracts hundreds of thousands of manga fans. Thousands of cosplayers congregate on the roof of the exhibition center. The largest event for cosplayers outside Asia is the annual San Diego Comic-Con. The biggest event in the UK is the London MCM Expo at ExCeL London. Competitions

As the popularity of cosplay has grown, many conventions have come to feature a contest surrounding cosplay that may be the main feature of the convention. Contestants present their cosplay, and often to be judged for an award, the cosplay must be self-made. The contestants may choose to perform a skit, which may consist of a short performed script or dance with optional accompanying audio, video and/or images shown on a screen overhead. Other contestants may simply choose to pose as their characters. Often contestants are briefly interviewed on stage by an MC. The audience is given a chance to take photos of the cosplayer(s) Cosplayers may compete solo or in a group. Award are presented, and these awards may vary greatly. Generally there will be a Best Cosplayer award, and Best Group award, with runner-up prizes as well. Awards may also go to the best skit, and a number of cosplay skill subcategories, such as Master Sewist, Master Weapon-Maker, Master Armourer, etc. Harajuku

In Japan teenagers gather with like-minded friends in places like Tokyo's Harajuku district to engage in cosplay. Since 1998 Tokyo's Akihabara district has contained a large number of cosplay cafƒs, catering to devoted anime and cosplay fans. The waitresses at such cafƒs dress as game or anime characters; maid costumes are particularly popular. "tite" passes over Yamanote Line south of Harajuku Station, Tokyo, at the Meiji Shrine gate. It is a famous gathering place for cosplayers.

share tips or any other person reason.

Miscellaneous Events

Groups of cosplayers may choose to hold small gatherings, at any number of venues, including cafƒ's, parks, nightclubs and amusement parks. They may join to have an excuse to cosplay, to compare work,

Cosplay

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Gender roles Portraying a character of the opposite sex is "crossplay." The practicality of crossplay and crossdress stems in part from the abundance in manga of male characters with delicate and somewhat androgynous features. Such characters, known as bish€nen (lit. "pretty boy"), are an Asian version of the elf in boy archetype represented in Western tradition by figures such as Peter Pan and Ariel.[6] The animegao, or "dollers", represent a niche group in the realm of cosplay. Their approach makes them a subgroup of what is called in Japan kigurumi--that is, "mascot"-style role players. Dollers are often male cosplayers representing female characters. Female dollers are also found who represent male characters, especially male characters that lend themselves to the treatment, such as robots, space aliens and animals. Dollers wear bodysuits and masks that completely hide their real features so that the srcinal appearance of their characters may be reproduced as literally as possible. Their costumes display all the abstractions and stylizations characteristic of the cartoon art, such as the oversized eyes and tiny mouths so often encountered in manga.

An animegao or kigurumi cosplayer ("doller") in Taipei, Taiwan.

Cosplay in Japan Cosplayers in Japan refer to themselves as reiy• (À E‘„ ); pronounced "layer". Those who photograph players are called cameko, short for "Camera Koz€" or "Camera Boy". Originally the cameko give prints of their photos to players as gifts. Increased interest in cosplay events both on the part of photographers and cosplayers willing to model for them have led to formalisation of procedures at events such as Comiket. Photography takes place within a designated area removed from the exhibit hall. Cosplay at fan events likely srcinated in Japan in 1978. [7] Cosplay nevertheless gets a mixed reception in Japan even today. Events in districts such as Akihabara draw many cosplayers, yet there is no shortage of people in Japan who regard cosplay as a frivolous endeavor. [8]

Cosplay in Western Culture The popularity of cosplay in Japan encourages the misconception that cosplay is specifically a Japanese or Asian hobby. The term "cosplay", though Japanese in srcin, described a phenomenon which was witnessed in the United States. For almost fifty years, costuming has had a widespread following and continues to experience growing popularity in North America and Europe, and has more recently spread throughout South America and Australia. Western cosplay's srcins are based primarily on science fiction and historical fantasy as opposed to animation. It is more common for Western cosplayers to recreate characters from live-action series such as Star Trek, Star Wars, Doctor Who, The Lord of the Rings, and Harry Potter than it is for Japanese cosplayers. Similarly, animated series may be the srcin for many recreations. Western costumers also Canadian cosplayer Liana K as Power Girl.

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include subcultures of hobbyists who participate in Renaissance faires or the Society for Creative Anachronism, and historical re-enactments such as Civil War battles. The increasing popularity of Japanese animation outside of Asia during the late 1990s led to an increase in American and other Western cosplayers who portray Japanese characters. Anime conventions have become more numerous in the West in the last decade. They now compete with science fiction, comic, and historical conferences in attendance. At these gatherings, cosplayers, like their Japanese Comic and anime conventions are a popular place counterparts, meet to show off their work, take photos, and compete in for cosplay alsoAnimecon in the Western world. This image is from 2009 in Helsinki. costume contests. Anime conventions attendees are mostly seen dressed up as Japanese animated characters, but many others dress up as famous Western comic book characters, or as famous characters from movies like Star Wars, Predator, and Pirates of the Caribbean. It is quite common to see many dress up as Disney, Final Fantasy and other characters like the Heartless from the game series Kingdom Hearts ( à Ý á H, Æ„ O Kingudamu HÌtsu?).[9] Cosplayers also dress as popular characters from other games such as The Legend of Zelda, Mario Brothers, and Halo. Differences in taste still exist across cultures. Some costumes that are worn without hesitation by Japanese cosplayers tend to be avoided by Western cosplayers, such as outfits that evoke Nazi-era uniforms.

Trends The appearance of cosplayers at manga events makes such events a popular draw for photographers. As this became apparent in the late 1980s a new variant of cosplay developed in which cosplayers attended events mainly for the purpose of modeling their characters for still photography rather than engaging in continuous role play. Rules of etiquette were developed to minimize awkward situations involving boundaries. Cosplayers pose for photographers in designated areas removed from the exhibit hall. Photographers do not press them for personal contact information or private sessions, follow them out of the area or take photos of exhibits in the hall itself without permission. The rules allow the symbiotic relationship between photographers and cosplayers to continue with the least inconvenience to each.[7] Recent cosplay events in Asia show an increase in the popularity of non-Asian fantasy and science fiction characters. This reflects the international success of films such as The Dark Knight, The Matrix, Star Wars and Lord of the Rings and their associated books.

Cosplay in Taiwanese Culture • Beginning€1990 Taiwan's first cosplays with the form similar to present day was started in 1990, but only temporarily and without specialization. Not many details were recorded due to the small number of participants. • 1991€1997 Most cosplayers started to make their costumes themselves, though professionals still lacked in this field. During 1992€1993, the time was harsh, but it allowed them to make costumes by themselves, including accessories. In 1994 to 1997, the environment of cosplay began to grow. There were almost several hundred cosplayers in Taiwan. In 1997, the biennial doujin event started, and cosplay grew in popularity. • 1998€2005

Cosplay

269 Cosplay becomes more popular and well-known. Cosplayers' community rises sharply. Most of them start to go private to photo takings, other than public events. The Yam blog and Wretch blog for assembling people with the same interest rise abruptly. At the same time there is the launch of the discussion on the differences between several splendid attire culture such as cosplay dressing and various styles of lolita fashion.Since 2002, Fancy Frontier(FF) and Petit Fancy(PF) start to be held in National Taiwan University and Kaohsiung. Not only many young Taiwanese cosplayers, but many Japanese cosplayers join the biggest ACG(Animation, Comics, Games) festival in Taiwan nation.

• 2006€present A magazine introducing cosplay COSmania was first published in 2006 February. Cosplay becomes much more popular.

Cosplay in Chinese culture As anime is becoming more popular in China, Chinese have started to become involved in cosplay, as the Japanese and the Western countries. Hong Kong

The cosplay sphere in Hong Kong are separated as two sides, with one mainly including Chinese citizens (sometimes Japanese also included) and one mainly including non-Chinese citizens (such as Europeans and Americans). The ambiance between two sides are different at all, since the status of Chinese-citizen-mainly side has been turning. • 1990s For local Chinese citizens, cosplay first showed up in a form similar to that of the present in Hong Kong in 1993, when a group of people rented a kiosk and one of them wore a costume on some animations to attract people passing by. Since 1997, more and more local events are held, such as Comic World HK. • 2000€present After the 1990s, the multimedia started to keep an eye on cosplays. Most of the universities in Hong Kong also launched their own cosplay events, and the most popular one is the Cosplay Party by Hong Kong University. Nowadays there are almost 20 events held with cosplay sessions every year in Hong Kong. With an aid of easy accessibility of multimedia and the Internet, cosplay has been being far more popular and familiar. The number of people taking part in cosplay has also increased sharply. However, some of the conservative cosplayers think that, the standard and behaviour of the new-coming cosplayers with less experiences or morals are unacceptable, and consider those are interfering the conservatives' public image. Some of those conservatives began to do attack in speech, even creating violent rebellions or triad-society-like behaviors to approach their external political purposes. Moreover, someone created several biased words to describe for those who cosplay with the discrepancy between the appearance of the cosplayer and the character, and for those who cosplay without able to understand the character that he/she is impersonating, even unilaterally fabricating themselves-centred inflexible so-called definitions of cosplay to force all the people to obey it without condition. This makes the conflict among some cosplayers, and threatens the harmonious and rational environment of Chinese-citizen-mainly side cosplay sphere in Hong Kong. Such the conditions have been criticized by other cosplayers, netizens and some citizens. Some of the Hong-Kong-resided cosplayers even change to participate the cosplay events in other cities, such as in Macau and Guangzhou.

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Mainland China

The topics of cosplay in mainland China are mainly from Chinese classical issues and modern Japanese anime issues. Sometimes other exotic issues are also included. In 2002, the YACA animation organization was founded, and began a stage for cosplay. After on, there are some public cosplay events held every year in Guangzhou.

Cosplayers in Beijing

In 2009, at the 2nd China International Copyright Expo, a China Cosplay Competition was held in Beijing. There were initial internet video trials, then the finals were held at the expo.

In 2010, a few cosplay shows organized by internet media had been held in Beijing and two more in October, 2010. Singapore

• Commercial events • Cosfest The biggest cosplay convention in Singapore. It host the World Cosplay Singapore, and the Asia Cosplay Meet. It is held in Downtown East NTUC Club Resort • EOY (End-of-Year) This event has been running officially since 2001. Prior to this, the initial organizer, the Miyuki Animation Club, used to hold informal cosplaying get-togethers at their home Community Club. The first EOY event was held at Suntec City in December 2001. Subsequent locations changed to the Singapore Expo when it was co organized by the Miyuki Animation Club and Singapore Cosplay Club. The event was take over by Shiro Tsubasa Animation Club later. In year 2009, Black Alice took over the event and it moves to the National Library at Victoria Street. In 2010 the event moves to Republic Polytechnic. • Anime Festival Asia The first AFA was held at Suntec City in 2008, with Ichirou Mizuki and May'n as the invited guests. This event has grown to include Danny Choo, Alodia Gosiengfiao, JAM Project, Scandal and AKB48 as performing guests. Much cosplaying actually takes place outside the event venue, on the empty space on level 3. • Singapore Toy Game and Comic Convention • The Games Xpo • Events held in schools • SOY (Start-of-Year) This event is organized by the Ngee Ann Polytechnic's Japanese Tsubasa Club, and held in their lecture halls.

Related phenomena The Internet has enabled many cosplayers to create "social networks" and web sites centred around cosplay activities. Forums allow them to share stories, photographs, news and tips. The exponential growth in the number of people picking up cosplay as a hobby since 1990 has made the phenomenon influential in popular culture. This is particularly the case in Asia where cosplay influences Japanese street fashion and popular culture. Businesses increasingly seek to cater to cosplayers' interest in apparel, accessories, and collectibles.

Cosplay

Magazines Japan is home to two especially popular cosplay magazines, Cosmode (Ä ³ ’„ Ú ) and Dengeki Layers (5撃Layers). Cosmode has the largest share in the market. An English digital version of Cosmode has been created.[10] Another magazine growing in popularity that is aimed at a broader, word-wide audience is CosplayGen:[11]

Film and television MTV has produced an episode of the documentary series True Life, focusing on fandom and cosplay. [12] A film titled "Cosplayers: The Movie" was released in 2009 by Martell Brothers Studios. [13] The film explores the anime subculture in North America with footage from anime conventions and interviews with fans, voice actors and artists. According to the creator's website the film is available for free viewing on both Youtube and Crunchyroll. [14] According to cosplayfilm.com, a new feature length documentary film will be released in late 2010 and will focus on the personal lives of a small band of cosplayers. As of Jan 2010, the film is casting in the Chicago area. The filmed is tentatively titled: Cosplay, Cosplay![15] The documentary titled My Other Me: A Film About Cosplayers [16] chronicles a year in the life of three different cosplayers: a veteran cosplayer whom launched a career from cosplay, a young fourteen year old first timer, and a transgender whom found himself through cosplay. The documentary will cover everything from each different cosplayers home life, to their costume process, their journey through the convention circuit, and the profound effect cosplay is making on each of their lives as it grows with them. "My Other Me" is expected to be released in 2012.

Apparel Cosplayers obtain their apparel through many different methods. Manufacturers produce and sell packaged outfits for use in cosplay, in a variety of qualities. These costumes are often sold online, but also can be purchased from dealers at conventions. There are also a number of individuals who work on commission, creating custom costumes, props or wigs designed and fitted to the individual; some social networking sites for cosplay have classified ad sections where such services are advertised. [17] Other cosplayers, who prefer to create their own costumes, still provide a market for individual elements, accessories, and various raw materials, such as unstyled wigs or extensions, hair dye, cloth and sewing notions, liquid latex body paint, face paint, shoes, costume jewellery and prop weapons. Most cosplayers engage in some combination of methods to obtain all the items necessary for their costume; for example they may commission a prop weapon, sew their own clothing, buy character jewelry from a cosplay accessory manufacturer, and buy a pair of off-the-rack shoes and modify them to match the desired look. In order to look more like the character they are portraying many cosplayers also engage in various forms of body modification. Contact lenses that match the color of their character's eyes are a common form of this, especially in the case of characters with particularly unique eyes as part of their trademark look. Another form of body modification cosplayers engage in is to copy any tattoo or special marking that their character might have. Henna tattoos, permanent marker, body paint and in rare cases having a permanent tattoo done are all methods used by cosplayers to achieve the desired look. Permanent and temporary hair dye, spray-in colouring, and specialized extreme styling products are all utilized by some cosplayers whose natural hair can achieve the desired hairstyle. In addition to making items specifically for use by cosplayers, the fashion industry has taken inspiration from the world of cosplay in popularising looks such as the Gothic Lolita, based on clothing worn by popular period characters.

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Models Cosplay has influenced the Japanese advertising industry more than it has the commodity market. Print media increasingly retain cosplayers as models. Good cosplayers are increasingly viewed as fictional characters in the flesh, in much the same way that film actors come to be identified in the public mind with specific roles. Cosplayers have modeled for print magazines like Cosmode, cosplay photography studios, ADV Films has retained cosplayers for event work previously assigned to agency models. The ability of cosplayers to re-create their chosen characters with accuracy and vitality plays a part in this trend, as does the ability of cosplayers to appeal to an already existing market. E3 was occupied by a mix of both agency girls and cosplayers. Japan's burgeoning anime industry has been home to the professional cosplayers since the rise of Comiket, Tokyo Game Show, and other such powerhouse conventions. A cosplay model, also known as a Cosplay Idol, is a promotional model who models cosplay costumes for anime, manga, or video game companies. A successful cosplay model can become the brand ambassador for companies like Cospa. The phenomenon is most apparent in Japan but exists to some degree in other countries as well.

Notable cosplayers • Francesca Dani, an Italian cosplayer, net idol and model. • Daisuke Enomoto, a Japanese entrepreneur, was scheduled to be the fourt h private citizen to be taken into space by Space Adventures in October 2006. He intended to dress for the ride wearing the Gundam costume of Char Aznable. He failed to pass physical examinations.[18] • Alodia Gosiengfiao, Filipina cosplayer and model. She was Animax's first Levi's Kawaii girl winner in the last episode of Mad Mad Fun. She ranked no. 87 in FHM Philippines 2009 poll of the Sexiest Women in the World and was named as one of Philippine's most influential women by UNO Magazine. • Liana Kerzner, Canadian co-hosts the talk show Ed's Night Party. Famous for her sexy character-based costumes, she is often a special guest at fan conventions across North America. [19] • Yuichiro "Jienotsu" Nagashima, Japanese kickboxer and martial artist. One of Japans top rank ed Kickboxers, Yuichiro Nagashima makes all his entrances and publicity appearances for K-1 dressed as different female anime characters, accompanied by cosplaying girls. • Lee Teng-hui, the first popu larly elected president of the Republic of China (Taiwan), dressed up as the ficti onal character Edajima Heihachi of the anime series Sakigake!! Otokojuku.[20]

References [1] Stuever, Hank (2000-02-14). "What Would Godzilla Say?" (http:// www.washingtonpost.com/wp-srv/style/feed/a49427-2000feb14. htm). The Washington Post. . Retrieved 2008-01-03. [2] Oxford Dictionaries (http:/ / oxforddictionaries.com/definition/cosplay) Retrieved 2011-01-03 [3] "Nobuyuki (Nov) Takahashi ¿ YeinJee's Asian Blog: The Origin of the word cosplay" (http:// yeinjee.com/tag/nobuyuki-nov-takahashi/). Yeinjee.com. 2008-07-03. . Retrieved 2011-10-03. [4] "Costuming.org" (http:/ / www.costuming.org/history.html). Costuming.org. . Retrieved 2011-10-03. [5] White, Sarah. "Cosplay Costumes at LoveToKnow Costumes" (http:// costumes.lovetoknow.com/Cosplay_Costumes). Costumes.lovetoknow.com. . Retrieved 2011-10-03. [6] Benesh-Liu, P. (2007, October). ANIME COSPLAY IN AMERICA. Ornament, 31(1), 44-49. Retrieved October 12, 2008, from Academic Search Complete database. [7] Thorn, Matthew (2004) Girls And Women Getting Out Of Hand: The Pleasure And Politics Of Japan's Amateur Comics Community (http:// matt-thorn.com/shoujo_manga/outofhand/) in Fanning the Flames: Fans and Consumer Culture in Contemporary Japan William W. Kelly, ed., State University of New York Press [8] Joel Bryan (2006-12-04). "Super-Gaijin '76: Now Let Us Praise Famous Cosplayers" (http://supergaijin76.blogspot.com/2006/12/ now-let-us-praise-famous-cosplayers.html). Supergaijin76.blogspot.com. . Retrieved 2011-10-03. [9] "Kingdom Hearts - Fan History Wiki: The Fandom History Resource" (http:/ / www.fanhistory.com/wiki/Kingdom_Hearts). Fanhistory.com. 2010-09-17. . Retrieved 2011-10-03.

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[10] "A Costume & Style Magazine for the Eccentric - About COSMODE" (http://www.cosmodeonline.com/blog/about/). COSMODE Online. . Retrieved 2011-10-03. [11] "Cosplay Gen" (http:/ / www.cosplaygen.com/). Cosplay Gen. . Retrieved 2011-10-03. [12] "Anime ExpoÙ and MTV Cast for True Lif e" (http:/ /www.animenewsnetwork.com/press-release/2008-11-18/ anime-expo-and-mtv-cast-for-true-life). Anime News Network. . Retrieved 2011-10-03. [13] http:/ /www.imdb.com/title/tt1568810/ [14] (http:/ / www.martellbrothers.com/id2.php) [15] http:/ /www.cosplayfilm.com [16] http:/ /www.myotherme.ca/ [17] "Cosplay.com's Marketplace" (http:/ / www.cosplay.com/marketplace/index.php). Cosplay.com. . Retrieved 2011-10-03. [18] Carey, Bjorn (2005-11-04). "MSNBC" (http:/ / msnbc.msn.com/id/9924251). MSNBC. . Retrieved 2011-10-03. [19] "Geek girls gone wild" (http:/ / www2.canada.com/calgaryherald/news/entertainment/story. html?id=d80a5430-a0f8-4f02-b7e1-31681a43b426). .canada.com. . Retrieved 2011-10-03. [20] "Excite.com Japan" (http:/ / www.excite.co.jp/News/world/20041117120736/00011100660887-20.html). Excite.co.jp. 2004-11-17. . Retrieved 2011-10-03.


The Largest Organised Cosplay Gallery (http:/ /cosplay4.com) Brief history of Cosplay in the UK (http:/ /www.mangauk.com/?p=a-brief-history-of-uk-cosplay) Cosplay (http:/ /www.dmoz.org/Arts/Animation/Anime/Fandom/Cosplay/) at the Open Directory Project Cosplay in South East Asia (http:/ /sgcafe.com) Sexy Cosplay (http:/ /sexy-cosplay.net/ ) HOW TO COSPLAY - Top 10 ways to perfect cosplay without ending up on a snark site. (http:/ /www. mangauk.com/?p=how-to-cosplay)

Otaku Otaku (お.? / €タ… ) is a Japanese term used to refer to people with obsessive interests, particularly anime, manga or video games.

Etymology Otaku is derived from a Japanese term for another's house or family (お, otaku), which is also used as an honorific second-person pronoun. The modern slang form, which is distinguished from the older usage by being written only in hiragana (お.?) or katakana (€タ… or, less frequently, 6タ… ), or rarely in r€maji, appeared in the 1980s. In the anime Macross, first aired in 1982, the term [1] [2]

The Akihabara neighborhood of Tokyo, a popular gathering site for otaku

was used by Lynn Minmay as an honorific term. It appears to have been coined by the humorist and essayist Akio Nakamori in his 1983 series An Investigation of "Otaku" (¯お.?°é iñ "Otaku" no Kenky…), printed in the lolicon magazine Manga Burikko. Animators like Haruhiko Mikimoto and Sh€ji Kawamori used the term among themselves as an honorific second-person pronoun since the late 1970s.[2] Another source for the term comes from the works of science fiction author Motoko Arai. In his book Wrong about Japan, Peter Carey interviews the novelist, artist and Gundam chronicler Yuka Minakawa. She reveals that Arai used the word in her novels as a second-person pronoun, and the readers adopted the term for themselves.

Otaku

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In Japan In modern Japanese slang, the term otaku is most often equivalent to "geek". [3] However, it can relate to a fan of any particular theme, topic, hobby or any form of entertainment. [4] The former Prime Minister of Japan Taro Aso also claimed himself to be an otaku, using this subculture to promote Japan in foreign affairs.[5] On the matter, in recent years "idol otaku" are naming themselves simply as Wota ( 6タ) as a way to differentiate from traditional otaku. The word was derived by dropping the last mora, leaving ota (€タ) and then replacing o (€) with the identically sounding character wo ( 6), leaving the pronunciation unchanged.[6] When otaku are studied, female otaku are largely ignored.[7] Reki-jo are female otaku interested in Japanese history. Otaku's usually tries to avoid contact with any female, because of their low self-esteem and a possibility of embarrassing themselves if they tried, and is instead more concentrated on collecting figurines of female anime character then to actually go out and interact with one. Thus the word otaku can also be an insult meaning virgin boy, or rarely, virgin girl.

In English The term is a loanword from the Japanese language. In English, it is usually used to refer to an obsessive fan of anime/manga and/or Japanese culture generally, and to a lesser extent Japanese video games. The term serves as a label similar to Trekkie or fanboy. However, use of the label can be a source of contention among some anime fans, particularly those who are aware of the negative connotations the term has in Japan. Unpleasant stereotypes about otaku prevail in worldwide fan communities, and some anime fans express concern about the effect these more extreme fans can have on the reputation of their hobby (not unlike sentiments in the comic book and science fiction fandoms).[8] The term otaku is close in connotation to the English nerd, but the closest English-language analogue to otaku is probably the British English term anorak. Both of these English-language terms have more emphatically negative connotations of poor social skills and obsessive interest in a topic that seems strange, niche or boring to others. It is not applied to a socially awkward intelligent person who appears fairly "normal," and merely has an interest in certain typically 'geekish' pursuits (video games, comic books, computers, etc.). While otaku in English-speaking contexts is generally understood to mean geek or even fan, this usage is not widely known in Japan and hence casual use of the term may confuse native Japanese speakers. Self-identification as an otaku may seem strange to them, and they may be offended if a non-Japanese speaker calls them an otaku. To indicate that one is talking about the Japanese definition rather than the English loanword, the spelling wotaku (6タ… ) is sometimes used. On Japanese forums such as 2channel, however, otaku (€タ… ) and wotaku (6タ… ) are used interchangeably, depending on the mood and personal style of the poster. The term was popularized by William Gibson's 1996 novel Idoru, which has several references to otaku.

•ofandobjects, seems a natural crossover figure in today's interface of British and Japanese cultures. I see it in the eyes of the Portobello dealers, in the eyes of the Japanese collectors: a perfectly calm train-spotter frenzy, murderous and sublime. Understanding otaku -hood, I think, is

The otaku, the passionate obsessive, the information age's embodiment of the connoisseur, more concerned with the accumulation of data than

one of the keys to understanding the culture of the web. There is something profoundly post-national about it, extra-geographic. We are all [9] curators, in the post-modern world, whether we want to be or not.

‚

• Modern boys and mobile girls, April 2001 edition of The Observer

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Negativity In Japan there has been some negativity towards otaku and otaku culture. Tsutomu Miyazaki became known as "The Otaku Murderer" in 1989. His bizarre murders fueled a moral panic against otaku. In 2004, Kaoru Kobayashi kidnapped, sexually assaulted, and murdered a seven-year-old first-grade student. Japanese journalist Akihiro Štani suspected that Kobayashi's crime was committed by a member of the figure moe zoku even before his arrest. [10] Although Kobayashi was not an otaku, the degree of social hostility against otaku seemed to increase for a while, as suggested by increased targeting of otaku by law enforcement as possible suspects for sex crimes, and by calls from persons in local governments for stricter laws controlling the depiction of eroticism in materials which cater to some otaku (e.g. erotic manga and erotic videogames).

[11]

Nobuto Hosaka criticised a lot of the hype.

[11]

Otakon "Otakon" (short for "otaku convention") is a convention organized by Otakorp, Inc, a non-profit organization. Otakon is focused on anime, manga, East Asian culture, and its fandom. The second largest convention of this type in the US and the largest on the east coast, it began in State College, Pennsylvania, in 1994 and has been held in Baltimore, Maryland since 1999. Currently, the largest convention of its kind is Anime Expo which takes place in Los Angeles annually. Otakorp Inc. gave permission to Konami to use the name "Otacon" in any of their Metal Gear video game series.[12] "Otacon" is the codename of character Hal Emmerich, a scientist and self-professed otaku.

References [1] [2] [3] [4] [5] [6]

May 2006 issue of EX Taishuu magazine €タ… íîé iñ(Otaku Shijou no Kenkyuu), {¸7ÆiñÙ (Nomura Research Institude), ISBN 978-986-124-768-7 Glocom Platform magazine, April 2011 Japan Focus, April 2011 Otaku uses manga and anime to improve Foreign Affairs (http:// paper.wenweipo.com/2008/09/23/GJ0809230014.htm) Eric Prideaux. Wota lota love. Out on the town with grown men who adore girl idols (http:// search.japantimes.co.jp/member/member. html?fl20050116x1.htm). The Japan Times, 16 January 2005. [7] Aoyama, Tomoko (April 2009). "Eureka Discovers Culture Girls, Fujoshi, and BL: Essay Review of Three Issues of the Japanese Literary magazine, Yuriika (Eureka)" (http:// intersections.anu.edu.au/issue20/aoyama.htm). Intersections: Gender and Sexuality in Asia and the Pacific 20. . [8] Eric Prideaux. Girl geeks fin d manga haven (http:/ / www.guardian.co.uk/world/2008/jun/01/japan). The Guardian, 1 June 2008. [9] Gibson, William (2001-04-01). "Modern boys and mobile girls" (http:/ /observer.guardian.co.uk/life/story/0,6903,466391,00.html). London: The Observer. . [10] "Ô h8問9" (http:/ /picnic.to/~ami/ool.htm) (in Japanese). NGO-AMI. 2004-12-09. . Retrieved 2008-03-04. [11] "Otaku harassed as sex-crime fears mount" (http:/ / search.japantimes.co.jp/cgi-bin/fd20050206t3.html). The Japan Times. 2005-02-06. . Retrieved 2008-01-06. [12] Chemistry Encyclopedia entry for Otakon (http:/ / www.chemistrydaily.com/chemistry/Otakorp)

Otaku

External links • "I'm alone, but not lonely" (http:/ /www.cjas.org/~leng/otaku-e.htm) € an early article about Japanese otaku, December 1990 • The Politics of Otaku (http:/ /www.cjas.org/ ~leng/otaku-p.htm) € a general commentary on the usage and meanings of "otaku" in Japan and internationally, September 2001 • An Introduction to the Otaku Movement (http:/ /www.brunel.ac. uk/4042/entertext4.1/lamarre1.pdf) (academic paper in English). • Meet the Geek Elite (http:/ /www.wired.com/wired/archive/14.07/posts. html?pg=5), Wired Magazine, July 2006 • Michael Manfƒ € Otakismus (http://www.transcript-verlag.de/ ts313/ts313.htm) (German) • Kitabayashi, Ken (2004) The Otaku Group from a Business Perspective: Revaluation of Enthusiastic Customers (http:/ /www.nri. co.jp/english/opinion/papers/2004/pdf/np200484.pdf) Nomura Research Institute

Yaoi fandom Yaoi fandom refers to readers of yaoi (also called Boys' Love , BL), a genre of male-male romance narratives aimed at a female audience, and more specifically those who participate in communal activities organized around yaoi, such as attending conventions, maintaining or posting to fansites, creating fanfiction or fanart, etc. Most fans are teenage girls or young women. In the mid-1990s, estimates of the size of the Japanese yaoi fandom were at 100,000-500,000 people, but in 2008, despite increased knowledge of the genre among the general Two cosplayers strike a pose as the Kingdom public, readership remains limited. In Japan, female fans are called Hearts characters (from left to right) Roxas and fujoshi, a pun which denotes their way of seeing homosexual Sora, at Yaoi-Con 2008. 85% of Yaoi-Con [1] relationships in media as being "rotten". English-language fan members are female. translations of From Eroica with Love circulated through the slash fiction community in the 1980s, forging a link between slash fiction fandom and yaoi fandom.

Yaoi fans have been characters in manga aimed at both female otaku[2] and larger audiences (such as the seinen manga Fujoshi Rumi), and in a TV series.[3] At least one butler cafe has opened with a schoolboy theme in order to appeal to the Boy's Love aesthetic. [4] In one study on visual kei, 37% of Japanese fan respondents reported having "yaoi or sexual fantasies" about the visual kei stars. [5]

Demographics Most yaoi fans are either teenage girls or young women. The female readership in Thailand is estimated at 80%, [6] and the membership of Yaoi-Con, a yaoi convention in San Francisco, is 85% female.[1] It is usually assumed that all female fans are heterosexual, but in Japan there is a presence of lesbian manga authors[7] and lesbian, bisexual or questioning female readers.[8] Recent online surveys of English-speaking readers of yaoi indicate that 50-60% of female readers self-identify as heterosexual.[9] [10] It has been suggested that Western fans may be more diverse in their sexual orientation than Japanese fans and that Western fans are "more likely to link" BL ("Boy's Love") to supporting gay rights.[10] Although the genre is marketed at women and girls, gay, [9] [11] bisexual[9] [12] and straight males[1] [13] [14] also form part of the readership. In one library-based survey of U.S. yaoi fans, about one quarter of respondents were male; [15] online surveys of Anglophone readers place this percentage at about 10%.[9] [10] Lunsing suggests that younger

276

Yaoi fandom Japanese gay men who are offended by gay men's magazines' "pornographic" content may prefer to read yaoi instead.[16] That is not to say that the majority of homosexual men are fans of the genre, as some are put off by the feminine art style or unrealistic depictions of homosexual life and instead seek "Gei comi" (Gay comics), manga written by and for homosexual men,[7] as gei comi is perceived to be more realistic. [17] Lunsing notes that some of the narrative annoyances that homosexual men express about yaoi manga, such as rape, misogyny, and an absence of a Western-style gay identity, are also present in gei comi. [7] Some male manga artists have produced yaoi works, using their successes in yaoi to then go on to publish gei comi. [7] Authors of BL present themselves as "fellow fans" by using dust jacket notes and postscripts to chat to the readers "as if they were her girlfriends" and talk about the creative process in making the manga, and what she discovered she liked about the story she wrote. [18]

Numbers In the mid-1990s, estimates of the size of the Japanese yaoi fandom were at 100,000-500,000 people; [7] at around that time, the long-running yaoi anthology June had a circulation of between 80,000 and 100,000, twice the circulation of the "best-selling" gay lifestyle magazine Badi.[19] Most Western yaoi fansites "appeared some years later than pages and lists devoted to mainstream anime and manga". As of 1995, they "revolved around the most famous series", such as Ai no Kusabi and Zetsuai 1989; and by the late 1990s, English-speaking websites mentioning yaoi "reached the hundreds".[20] As of 2003, on Japanese-language internet sites, there were roughly equal proportions of sites dedicated to yaoi as there were sites by and for gay men about homosexuality. [21] On 16 November 2003 there were 770,000 yaoi websites.[22] As of April 2005, a search for non-Japanese sites resulted in 785,000 English, 49,000 Spanish, 22,400 Korean, 11,900 Italian and 6,900 Chinese sites. [23] In January 2007, there were approximately five million hits for 'yaoi'.[24] Hisako Miyoshi, the Vice Editor-in-Chief for Libre Publishing's manga division, said in a 2008 interview that although Boys Love is more well known to the general public, the numbers of readers remains limited, which she attributes to the codified nature of the genre. [25]

Fan preferences Thorn noted that fans tend to prefer BL to non-BL sh€jo manga,[26] and Suzuki noted a preference for BL over other forms of pornography, for example heterosexual love stories in ladies' comics. [27] Jessica Bawens-Sugimoto feels that in general, "slash and yaoi fans are dismissive of mainstream hetero-sexual romance", such as "the notorious pulp Harlequin romances".[28] Deborah Shamoon said that "the borders between yaoi, sh€jo manga and ladies' comics are quite permeable", suggesting that fans of BL probably enjoyed both homosexual and heterosexual tales.[29] Kazuma Kodaka, in an interview with Giant Robot suggested that the Japanese yaoi fandom includes married women who had been her fans since they were in college. [30] Dru Pagliassotti's survey indicates that loyalty to an author is a common factor in readers' purchase decisions.[10] Y€ka Nitta has noted a split in what her readers want - her younger readers prefer seeing explicit material, and her older readers prefer seeing romance. [31] There is a perception that the English-speaking yaoi fandom is demanding increasingly explicit content, [32] but that this poses problems for retailers.[33] In 2004, ICv2 noted that fans seemed to prefer buying yaoi online. [34] Andrea Wood suggests that due to restrictions placed on the sale of yaoi, many Western teenage fans seek more explicit titles via scanlations.[35] Dru Pagliassotti notes that the majority of respondents to her survey say that they first encountered BL online, which she links to half of her respondents reporting that they get most of their BL from scanlations. [10] In 2003, there were at least five BL scanlation groups.[36] Japanese fan practices in the mid to late 2000s included the concept of the feeling of moe, which was typically used by male otaku about young female characters prior to this.[37] Robin Brenner and Snow Wildsmith noted in their survey of American fans that gay and bisexual male fans of yaoi preferred more realistic tales than female fans did. [38]

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278

Shihomi Sakakibara (1998) argued that yaoi fans, including himself, were homosexually oriented female-to-male transsexuals.[39] Akiko Mizoguchi believes there is a "shikou" (translated as taste or orientation), both towards BL/yaoi as a whole, and towards particular patterns within the genre, such as a "feisty bottom (yancha uke)" character type. Her study shows that fans believe that in order to be a "serious" fan, one should know their own preferences, and "consider themselves a sort of sexual minority". She argues that the exchange of sexual fantasies between the predominantly female yaoi fandom can be interpreted that although the participants may be heterosexual in real life, they can also and compatibly be considered "virtual lesbians". [18]

Fujoshi :Æ

Fujoshi ( X, lit. "rotten girl") is a pejorative Japanese term for female fans of manga and novels that feature romantic relationships between men. Fujoshi enjoy imagining what it would be like if male characters from manga and anime, and occasionally real-life male performers as well, loved each other. The label encompasses fans of the boys love genre itself, as well as the related manga, anime, and video game properties that have appeared as the market for such works has developed. The term "fujoshi" is a homophonous pun on fujoshi (;Æ X), a term for respectable women, created by replacing the character ; (pronounced fu), meaning married woman or lady, with the character : (also pronounced fu), meaning fermented or rotten. The name was coined by mass media, but was reclaimed by yaoi fans.[18] Fans self-deprecatingly refer to their way of thinking, which perceives homosexual relationships between male characters in stories that do not include homosexual themes, as being "rotten". "Fujoshi" carries a connotation of being a "fallen woman". [40]

Older fujoshi use various terms to refer to themselves, including as kifujin (<:• , "noble rotten woman"), a pun on a homophonous word meaning "fine lady", and och€fujin (=+:• ), which sounds similar to a phrase meaning "Madame Butterfly", possibly taken from a character nicknamed Och€fujin (お>?• ) in the 1972 manga series Ace o Nerae! by Sumika Yamamoto.[41] These labels were coined in the same self-deprecating spirit as fujoshi. [42] According a 2005 of Eureka , in recent timesmore fujoshi can refer to female although itterm, cautions that not alltoyaoi fansissue are otaku, as there are some casual readers. As otaku the best-known it is fujoshiin isgeneral, often used by the Japanese media and by people outside of the otaku subculture to refer to female otaku as a group, regardless of whether they are fans of BL. This usage may be considered offensive by female otaku who are not fans of BL.[41]

Men who, like fujoshi, enjoy imagining relationships between characters in fictional works when that relationship is not part of the author's intent may be called fudanshi (:oX, "rotten man") or fukei (:?, "rotten older brother"), both of which are puns of similar construction to fujoshi.[43] Be warned that fudanshi and fukei are not necessarily fans of BL, although the terms are most often used in that sense, and if a male himself claims to be a fudanshi or fukei, it's almost certainly the case.

Yaoi and slash Besides commercially-published srcinal material, Japanese yaoi also encompasses fan-made doujinshi, fanart, computer games, etc.; a large percentage of the doujinshi offered at Comiket are yaoi stories based on popular anime and manga series.[44] This may be seen as a parallel development to slash fiction in the West. Although sh€jo manga stories featuring romances between boys or young men were commercially published in Japan from the mid-1970s, and soon became a genre in their own right, the spread of yaoi though the Western fan community is generally linked to the pre-existing Western slash fiction community. In the mid-1980s, fan translations of the sh€jo manga series From Eroica with Love began to circulate through the slash community via amateur press associations, [44] [45] creating a "tenuous link" between slash and yaoi.[46] Although the English-speaking online yaoi fandom is observed to increasingly overlap with online slash fandom, [47] slash fiction has portrayed adult males, whereas yaoi follows the aesthetic of the beautiful boy, often highlighting their youth. Mark McLelland describes this aesthetic as having become problematic in recent Western society.[23] Yaoi fans tend to be younger than slash fans, and so are less

Yaoi fandom shocked about depictions of underage sexuality. [19] Jessica Bauwens-Sugimoto detects a tendency in both yaoi and slash fandoms to disparage the others' heteronormativity, potential for subversiveness or even the potential for enjoyment.[28]

References [1] Solomon, Charles (14 October 2003). "Anime, mon amour: forget Pokƒmon•Japanese animation explodes with gay, lesbian, and trans themes" (http:/ / www.thefreelibrary.com/Anime,+mon+amour:+forget+Pokemon--Japanese+animation+explodes+with... -a0110809191). The Advocate. . [2] "Sales Campaign for Female Otaku-Themed Books Starts" (http:// www.animenewsnetwork.com/news/2007-04-23/ female-otaku-themed-books). Anime News Network. 2007-04-23. . Retrieved 2009-09-08. [3] Nagaike, Kazumi (April 2009). "Elegant Caucasians, Amorous Arabs, and Invisible Others: Signs and Images of Foreigners in Japanese BL Manga" (http:/ /intersections.anu.edu.au/issue20/nagaike.htm). Intersections: Gender and Sexuality in Asia and the Pacific (20). . [4] "Tokyo cafe taps into women's Prince Charming fantasies" (http:/ /afp.google.com/article/ALeqM5hhBQ7ji0pVP194qcI36ojROut10Q). AFP (via Google News). February 19, 2008. . Retrieved 2009-07-10. [5] Hashimoto, Miyuki Visual Kei Otaku Ide ntity •An Intercultural Analysis (http:/ / www.uri.edu/iaics/content/2007v16n1/10 Miyuki Hashimoto.pdf) Intercultural Communication Studies XVI: 1 2007 pp.87€99 [6] Keenapan, Nattha Japanese "boy-love" comics a hit among Thais (http://findarticles.com/p/articles/mi_m0WDP/is_2001_Sept_3/ ai_78783534/?tag=content;col1) Japan Today 2001 [7] Lunsing, Wim. Yaoi Rons€: Discussing Depictions of Male Homosexuality in Japanese Girls' Comics, Gay Comics and Gay Pornography (http:// intersections.anu.edu.au/issue12/lunsing.html) Intersections: Gender, History and Culture in the Asian Context Issue 12, January 2006 Accessed 12 August 2008. [8] Welker, James. (2006) Beautiful, Borrowed, and Bent: "Boys' Love" as Girls' Love in Sh‰jo Manga Signs: Journal of Women in Culture and Society vol. 31, no. 3 doi:10.1086/498987 [9] Antonia, Levi (2008). "North American reactions to Yaoi". In West, Mark. The Japanification of Children's Popular Culture. Rowman & Littlefield. pp. 147€174. ISBN 0810851210. [10] Pagliassotti, Dru (November 2008) 'Reading Boys' Love in the West' (http:// www.participations.org/Volume 5/Issue 2/ 5_02_pagliassotti.htm) Particip@tions Volume 5, Issue 2 Special Edition [11] McLelland, Mark. Why are Japanese Girls' Comics full of Boys Bonking? (http://blogs.arts.unimelb.edu.au/refractory/2006/12/04/ why-are-japanese-girlsÍÎÏ-comics-full-of-boys-bonking1-mark-mclelland) Refractory: A Journal of Entertainment Media Vol.10, 2006/2007 [12] Yoo, Seunghyun (2002) Online discussions on Yaoi: Gay relationships, sexual violence, and female fantasy (http:// apha.confex.com/ apha/130am/techprogram/paper_42542.htm) [13] Boon, Miriam (24 May 2007). "Anime North's bent offerings" (http://www.xtra.ca/ public/viewstory.aspx?AFF_TYPE=3& STORY_ID=3062&PUB_TEMPLATE_ID=2). Xtra!. . [14] McLelland, Mark (2000). Male homosexuality in modern Japan. Routledge. p. 249, note 18. ISBN 070071300X. [15] Brenner, Robin E. (2007). Understanding Manga and Anime. Libraries Unlimited. p. chapter 3 p. 137. ISBN 978-1591583325. [16] Lunsing, Wim (2001). Beyond Common Sense: Sexuality and Gender in Contemporary Japan. London and New York: Kegan Paul International. ISBN 0-7103-0593-1. [17] Wilson, Brent; Toku, Masami. "Boys' Love," Yaoi, and Art Education: Issues of Power and Pedagogy (http:// www.csuchico.edu/~mtoku/ vc/Articles/toku/Wil_Toku_BoysLove.html) 2003 [18] Mizoguchi, Akiko (September 2010). "Theorizing comics/manga genre as a productive forum: yaoi and beyond" (http:// imrc.jp/2010/09/ 26/20100924Comics Worlds and the World of Comics.pdf). In Berndt, Jaqueline. Comics Worlds and the World of Comics: Towards Scholarship on a Global Scale. Kyoto, Japan: International Manga Research Center, Kyoto Seika University. pp. 145€170. ISBN 978-4-905187-01-1. . Retrieved 29 October 2010. [19] McLelland, Mark (October 2001). "Local meanings in global space: a case study of women's 'Boy love' web sites in Japanese and English" (http:// motspluriels.arts.uwa.edu.au/MP1901mcl.html). . [20] Sabucco, Veruska "Guided Fan Fiction: Western "Readings" of Japanese Homosexual-Themed Texts" in Berry, Chris, Fran Martin, and Audrey Yue (editors) (2003). Mobile Cultures: New Media in Queer Asia. Durham, North Carolina; London: Duke University Press. ISBN 0-8223-3087-3. p.73 [21] McLelland, Mark. " Japanese Queerscapes: Global/Local Intersections on the Internet (http:/ / books.google.com/books?hl=en&lr=& id=bkbkMXkX8J0C&oi=fnd&pg=PA52)" in Berry, Chris, Fran Martin, and Audrey Yue (editors) (2003). Mobile Cultures: New Media in Queer Asia. Durham, North Carolina; London: Duke University Press. ISBN 0-8223-3087-3. pp. 52-53. [22] McHarry, Mark (November 2003). "Yaoi: Redrawing Male Love" (http:// www.guidemag.com/temp/yaoi/a/ mcharry_yaoi.html). The Guide. . [23] McLelland, Mark. The World of Yaoi: The Internet, Censorship and the Global ‚Boys„ Loveƒ Fandom (http:// ro.uow.edu.au/cgi/ viewcontent.cgi?article=1152&context=artspapers) Australian Feminist Law Journal, 2005. [24] "Roundtable: The Internet and Women „s Transnational "Boys„ Love" Fandom" (http:/ / www.capstrans.edu.au/resources/events/2007/ aior-oct-2007.pdf) (PDF). .

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Yaoi fandom [25] Brient, Hervƒ, ed (2008). "Entretien avec Hisako Miyoshi" (in French). Homosexualit‚ et manga : le yaoi. Manga: 10000 images. Editions H. pp. 17€19. ISBN 978-2-9531781-0-4. [26] Thorn, Matt What Sh‰jo Manga Are and Are Not - A Quick Guide for the Confused (http://www.matt-thorn.com/shoujo_manga/ whatisandisnt.php) [27] Suzuki, Kazuko. 1999. "Pornography or Therapy? Japanese Girls Creating the Yaoi Phenomenon". In Sherrie Inness, ed., Millennium Girls: Today's Girls Around the World . London: Rowman & Littlefield, p.245 ISBN 0847691365, ISBN 0847691373. [28] Bauwens-Sugimoto, Jessica (2011). "Subverting masculinity, misogyny, and reproductive technology in SEX PISTOLS" (http:/ / www. imageandnarrative.be/index.php/imagenarrative/article/viewFile/123/94). Image & Narrative 12 (1). . Retrieved 2011-03-22. [29] Shamoon, Deborah (July 2004) ‚Office Sluts and Rebel Flowers: The Pleasures of Japanese Pornographic Comics for Womenƒ in Linda Williams ed. Porn Studies. Duke University Press p. 86 [30] Camper, Cathy (2006). "Boys, Boys, Boys: Kazuma Kodaka Interview". Giant Robot (42): 60€63. ISSN 1534-9845. [31] Totilo, Stephen. (10 March 2006) Japanese Comics With Gay Themes Attracting Young Female Readers (http:// www.mtv.com/news/ articles/1525830/20060310/index.jhtml) MTV.com [32] Chavez, Ed (30 October 2007) Yaoi-Con and BL, No Longer ‚Nicheƒ (http:/ /www.publishersweekly.com/article/CA6495479. html?nid=2789) Publishers Weekly [33] ICv2 (2006) A Yaoi Explosion - Dozens of Titles Announced at Yaoi-Con (http://www.icv2.com/articles/home/9523.html) [34] "Yaoi Titles Strong in Online Sales - From Amazon" (http:// www.icv2.com/articles/home/5972.html). . [35] Wood, Andrea. (Spring 2006). "Straight" Women, Queer Texts: Boy-Love Manga and the Rise of a Global Counterpublic. WSQ: Women's Studies Quarterly, 34 (1/2), pp. 394-414. [36] Donovan, Hope (2010). "Gift Versus Capitalist Economies". In Levi, Antonia; McHarry, Mark; Pagliassotti, Dru. Boys' Love Manga: Essays on the Sexual Ambiguity and Cross-Cultural Fandom of the Genre. McFarland & Company. p. 14. ISBN 9780786441952 [37] Galbraith, Patrick W. (2009). "Moe: Exploring Virtual Potential in Post-Millennial Japan" (http:// www.japanesestudies.org.uk/articles/ 2009/Galbraith.html). Electronic journal of contemporary japanese studies. . [38] Brenner, Robin; Wildsmith, Snow (2011). "Love through a Different Lens: Japanese Homoerotic Manga through the Eyes of American Gay, Lesbian, Bisexual, Transgender, and Other Sexualities Readers". In Perper, Timothy; Cornog, Martha. Mangatopia : essays on manga and anime in the modern world. Santa Barbara, Calif.: Libraries Unlimited. p. 106. ISBN 9781591589082. [39] Sakakibara, Shihomi (1998) Yaoi genron: yaoi kara mieta mono (An Elusive Theory of Yaoi: The view from Yaoi). Tokyo: Natsume Shobo, ISBN 4-931391-42-7. [40] Kotani Mari, foreword to Sait€ Tamaki (2007) "Otaku Sexuality" in Christopher Bolton, Istvan Csicsery-Ronay Jr., and Takayuki Tatsumi ed., page 224 Robot Ghosts and Wired Dreams (http:/ / www.upress.umn.edu/Books/B/bolton_robot.html) University of Minnesota Press ISBN 978-0-8166-4974-7 [41] bangin (July 25, 2007). "The classification for :Æ X[[fujoshi (http:/ /bangin.wordpress.com/2007/07/25/the-classification-for-¤ ÚÛ¢™ÛÚfujoshi/)]"]. Japanese words of anime fans, by anime fans, for anime fans. . Retrieved 2009-08-06. [42] Aoyama, Tomoko (April 2009). "Eureka Discovers Culture Girls, Fujoshi, and BL: Essay Review of Three Issues of the Japanese Literary magazine, Yuriika (Eureka)" (http:// intersections.anu.edu.au/issue20/aoyama.htm). Intersections: Gender and Sexuality in Asia and the Pacific 20. . [43] Ingulsrud, John E.; Allen, Kate (2009). Reading Japan Cool: Patterns of Manga Literacy and Discourse. Rowman & Littlefield. p. 57. ISBN 0739127535. [44] Thorn, Matthew. (2004) ‚Girls And Women Getting Out Of Hand: The Pleasure And Politics Of Japan's Amateur Comics Community.ƒ (http:// matt-thorn.com/shoujo_manga/outofhand/) pp. 169-186, In Fanning the Flames: Fans and Consumer Culture in Contemporary Japan, William W. Kelly, ed., State University of New York Press. ISBN 0791460320. Retrieved 12 August 2008. [45] Lee, Tammy (May 2001) Tantalizing Translations - M.J. Johnson (http:// www.sequentialtart.com/archive/may02/johnson.shtml) Sequential Tart [46] Thorn, Matt. "Girls' Stuff, May (?) '94" (http:/ / www.matt-thorn.com/shoujo_manga/girls_stuff/gs94-03-08.html). . [47] Youssef, Sandra Girls who like Boys who like Boys - Ethnography of Online Slash/Yaoi Fans (http://yuuyami.com/luce/thesis.pdf) Honours Thesis for Bachelor of Arts, Mount Holyoke College, 2004.

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Further reading • fujyoshi.jp (http:/ /fujyoshi.jp/ ) - Includes a glossary of fujoshi-specific terminology. • Simona's BL Lab @ Akibanana.com (http:/ /www.akibanana.com/?q=node/1497) - Special, unique, interesting Boys Love authors by a manga expert. • Simona's BL for Dummies Crash Course (http:/ /www.akibanana.com/?q=node/1303) • Simona's BL for Dummies Crash Course - Intermediate Level (http:/ /www.akibanana.com/?q=node/1433) • Galbraith, Patrick. "Fujoshi: The "rotten girls" of Ikebukuro take center stage" (http:/ /archive.metropolis.co.jp/ tokyo/777/pop.asp). Poplife. Metropolis. Retrieved 2009-06-11. • Galbraith, Patrick W. (2011). "Fujoshi: Fantasy Play and Transgressive Intimacy among ‚Rotten Girlsƒ in Contemporary Japan". Signs 37 (1): 211€232. doi:10.1086/660182. • Levitt, Aimee (8 December 2009). "Girls Who Love Boys Who Love Boys: Inside the Midwest's first celebration of all things yaoi • where the screaming never stops" (http:/ /www.riverfronttimes. com/2009-12-09/news/ girls-who-love-boys-who-love-boys-inside-midwest-first-celebration-yaoi-screaming-never-stops/ 1). Riverfront Times. Retrieved 18 January 2010. • Treyvaud, Matt (June 4, 2009). "Everybody's Fujoshi Girlfriend" (http:/ /neojaponisme.com/2009/06/04/ everybodys-fujoshi-girlfriend/ ). Nƒojaponisme. Retrieved 2009-06-11. • Zanghellini, A. (2009). "'Boys love' in anime an d manga: Japanese subcultural production and its end users". Continuum 23 (3): 279€294. doi:10.1080/10304310902822886.

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General Glossary of anime and manga Anime and manga fans outside of Japan have adopted many Japanese words and phrases. Some of these words have been misinterpreted, reinterpreted or undergone significant change in meaning. In addition, a variety of terms relating to anime and manga and the associated fandom have arisen, either by translation/transliteration from Japanese or as part of the shared slang or jargon of the subculture. In some cases English and Japanese have contributed in complex ways to the formation of new words in either or both languages (e.g. Hentai•"H"•Ecchi). Other subcultures have also adopted Japanese loan-words through contact with fans of such media as anime and manga. In addition, there are a great many Japanese words and phrases that fans and the curious will come across in relation to anime and manga.

A Ahoge (³ホ@) A single strand of hair that sticks out of a character's head. It literally means "stupid hair" and indicates that the character is usually stupid in some way. However, there are exceptions to this, so it is not a rule. It differs from antenna hair, in which there are two or more locks of hair sticking up as opposed to one. Characters that have an ahoge include Himeko Katagiri from Pani Poni, Konata Izumi from Lucky Star, Edward Elric from Fullmetal Alchemist (although he is one of the exceptions), Megumi Momono from Mahoraba, Kenji Harima from School Rumble, Tomoe Yoh from Starry Sky and the Italy brothers, and a few other characters from Hetalia: Axis Powers and Shun Kazami from Bakugan. Anime (³Õメ) Any animation produced in or srcinating from Japan. Shorthand for Japanese animation. Anime music video Often abbreviated AMV, video clips from at least one anime series arranged to fit a musical piece playing in the background.[1] Aniparo (³Õâ  ) Literally, "anime parody" - anime characters being used by fans in a parodic way. [2]

Glossary of anime and manga

B Bakuny‚ (AB) is a genre of pornographic media focusing on the depiction of women with large breasts. [3] The word can be literally translated to "bursting breasts". [4] Bakuny‚ is a sub-genre within the genre of hentai anime.[5] Bara (薔薇) Literally, "rose". "Bara" refers to a masculine gay men's culture and in manga circles a genre of manga about beefcakey gay men usually by gay men. Compare with the female-created Boys' Love. Bish€jo (ì ~Æ ) Literally, "pretty girl". Often used to describe any young attractive woman, but also used to imply sexual availability (as in "bish€jo games"). Bish€nen (ì ~Ë ) "Beautiful boy"•Japanese aesthetic concept of the ideally beautiful young man. Androgynous, effeminate or gender ambiguous. In Japan it refers to youth with such characteristics, but in the west has become a generic term for attractively androgynous males of all ages. Bishie Bish€nen Boys' Love (D„ EFö + B€izu Rabu) male homosexual content aimed at women, current, generally used in Japan to cover yaoi and sh€nen-ai.

C Catgirl (™É Nekomusume) Character with cat ears and a cat tail, but an otherwise human body. These characters often have feline habits, claw-like nails, and occasionally show fangs. Emotional expressions are also feline in nature, such as an exaggerated fur-standing-on-end when startled. These characteristics are also sometimes used on guys as well as in the case of the characters of Loveless, Kyo Sohma of Fruits Basket, and Ikuto Tsukiyomi of Shugo Chara!. Chibi (チ·,Í N) Japanese word meaning "shorty" or "little one". Due to Sailor Moon and mistranslation, in America it is sometimes used to mean super deformed. Comiket (Ä Å dß ´ Comiketto) ê„ dß ´ Komikku M•ketto)•World's largest comic convention held Comics Market (ÄÅß… semi-annually in Tokyo, Japan for producers and fans of D€jinshi (see the franchise Comic Party).

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D Dandere (HÝ Á † s?) When a character who is usually asocial ( see also Antisocial, Asocial), that eventually changes to display their sweet and loving side. (see also Tsundere, Yandere and K‚dere)) Dere Dere (ÁÀÁÀ ?) Meaning to become 'lovey dovey' (see also Tsundere and Yandere) D€jinshi (€ • ‚ ) Any amateurly produced work. A common misconception is that d€jinshi are fanmade (i.e. parody) and manga - this is not necessarily the case. D€seiaisha (€ Ç WÑ) Same-sex-loving person (Terminology). Dub (CËDã fukikae) When the voices in an anime are changed into another language from its native language.

E Ecchi (” ß チ etchi) The Japanese Pronunciation of the letter "H". It represents the first letter in the word "Hentai" and can refer to anything ranging between mildly erotic manga and anime to unwarranted sexual behavior. Enjo k€sai (EFGH) "Compensated dating" which may at times border on quasi-legal prostitution. High school girls are paid by older men to take them out for a night on the town, possibly with sex included. Eyecatch (³Eà ャß チ aikyatchi) A scene or illustration used to begin and end a commercial break in a Japanese TV program, similar to how "bumpers" into/out of commercial breaks are used in the United States. Eroge (”  Ä„ ) An eroge (”  Ä„ erog„), a portmanteau of erotic game ( ”  チß … Ä„ , erochikku g„mu), is a Japanese video or computer game that features erotic content, usually in the form of anime-style artwork. Not to be confused with Galge. Eroge were srcinated from Galge that added with Adult content that rated 18+.

F Fan fiction (フŒÝ フÂ … rð Ý fan fikushon) A general story written by fans of media, including anime. Story or piece of fiction written by fans of a production. Fan service (フŒÝ ƒ „ ·³ Fan S•bisu) Elements specifically included to amuse (such as in-jokes, visual puns) or titillate the audience that are unnecessary to plot development.[6] Fansub Short for fan-subtitled•A film or video in which fans have translated and subtitled the dialogue into another language.[1] Fujoshi (:Æ X) A female yaoi (¬お¹ ) fan; "rotten woman".[7]

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Glossary of anime and manga Futanari (Î.ó µ ) Characters that appear to be women (face, breasts, hips, narrow waist), but have both female and male genitalia.

G Gakuran (yö Ý ) Uniform for middle school and high school boys in Japan. The gakuran is derived from Prussian army uniforms. Galge (Lャ† Ä) Girl games. This is "a type of Japanese video game centered around interactions with attractive anime-style girls". These games are a sub-genre of dating sims targeted towards a male audience. Ganguro (Ià, ÙÝ á  ) Literally "black face". A fashion trend among Japanese girls. The look consists of bleached hair, a deep tan, both black and white eyeliners, false eyelashes, platform shoes, and brightly colored outfits. Gei (ÄE) Transliteration of gay. Etymology. Gei comi (ÄEÄ Å geikomi) manga with male homosexual themes, by men for men. Compare with yaoi, sh€nen-ai, June and BL. Girls with guns The term "girls-with-guns" is also used in reference to anime series and works inspired or influenced by it. Gothicana A serenade, with Gothic traits, such as black rose petals/ all attending wearing predominately black. Gothloli (Þ³² Gosurori) Gothic Lolita•A fashion trend where girls and young women dress in the style of elaborate porcelain dolls.

H Hentai (JK, ŒÝ タE) "Abnormal" or "perverted". Used by Western Audiences to refer to sexually explicit or pornographic anime and manga.[1] However, in Japan the term used to refer to the same material is typically Poruno or Ero. Hikikomori (LËMgµ , ½ËÌ gµ , LËÌ gµ ) A hikikomori is someone who secludes themselves within their home, sometimes refusing to leave their home at all in an effort to isolate themselves from society. It can be viewed as a social phobia similar to agoraphobia. Hikikomori are often associated with otaku but the terms are distinct.

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I Iinch€ (NÊ›) Short for gakky‚ iinch€ ( yONÊ›), the class representative in a Japanese school. Im€to (?) younger sister.

J Josei (Æ Ç ) [1]

Lit. "Woman"; Anime and Manga intended for the adult female demographic. Junƒ, also written as June a manga or text story with male homosexual themes for women written in an aesthetic (Ãì tanbi) style, named for the Jun‚ magazine.

K Kemono (Ô, š gé , d’Š) "Beast"•A genre of Japanese art and character design that prominently features animal-like fictional characters in human-like settings (Anthropomorphism) and situations. (see The Cat Returns, c.f. Furry fandom) Kemonomimi (Ô–, š gé Å Å , d’ŠÅ Å ) Characters with animal features such as ears and a tail, but a human body. Catgirl also falls under this concept. Examples include many of the characters of Loveless, Boris Airay, Peter White, Elliot March, and Pierce Villers of Alice in the Country of Hearts, Ikuto Tsukiyomi and Yoru of Shugo Chara!, and most of the characters of Dog Days. Kodomo or Kodomomuke (Xo™ š ) Anime and manga for children of both genders. [1] Kogal (Ä Lャ† kogyaru) A subculture of girls and young women, the kogal "look" roughly approximates a sun-tanned California Valley girl. Komiketto (Ä Å dß ´ ) Genericised form of Comiket (Comics Market). K‚dere (…„ÁÀ ) A character type, mostly of a female character, who is normally cold and unassuming but later reveals a softer and kinder side. See Tsundere.


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L Lemon (À ’Ý Remon) derived from the hentai anthology series Cream Lemon (?µ ¹ ’À ’Ý Kur’mu Remon). Material with explicit sexual content (not to be confused with the slang term for Lesbian in some English speaking cultures). Lolicon (²ÄÝ rorikon) A genre of manga and anime wherein childlike female characters are depicted in an erotic manner. [1] In Japan it is also a slang term for "pedophile". Loli-Goth Gothloli (Þ³²

)•Gothic Lolita (Þ rß … q ² „ タ ). Gosurori Goshikku Ror’ta

M MAD Movie (MAD— maddo d€ga)

A Japanese fan-made video, much like an anime music video (AMV), that generally srcinate from the Japanese website Nico Nico Douga. MAD can also describe the Japanese AMV community, although they can be anything from audio clips, edited pictures, to wholly srcinal creations. MADs do not necessarily even need to be related to anime, though the more popular ones typically are. Majokko (§Æ MX) literally "witch girl"; this term does not generally apply to modern magical-girl anime. Manga (– — , êÝ Ù) Japanese comics.[1] Or conforming to "manga style", usually marked by features such as large eyes, long limbs, speed lines and exclamatory typography. Mangaka (– — 家, êÝ Ù家) Creator of the manga. The mangaka is often the writer and the illustrator of the work. Manga music video Often abbreviated as MMV, similar to an anime music video (AMV), although instead of clips from anime, panels or pages from at least one manga series are arranged to fit a musical piece playing in the background. Mecha (メÛ meka) A genre of anime and manga focusing on mecha, or piloted combat robots. Divided into two sub-genres, super robots (The mecha have unrealistic powers, and the focus is more on the fighting and robots themselves), and real robots (More realistic, with more drama and focus on the humans). Meganekko (1ÓMÉ) A female character who wears glasses. Moe (Pã) Difficult to define. A character said to be moe causes a protective instinct or feelings of affection. Moe can also refer to said feelings. It can be used to refer to a love of a specific trait, such as meganekko-moe, "glasses-girl moe, a love of girls wearing glasses Meido (メEÚ ) Maid; A servant dressed in western attire.


N Nanshoku (o色) Male love. A deprecated, archaic term for male homosexuality. Etymology Neko Girl/Boy (™É / ™o Neko Musume/Neko Otoko) See Catgirl. Nekogirl/boy is a less common term but is common among new anime fans because neko (cat) is a word that is quickly picked up. Neko (™) Japanese word for cat, or feline, often used when referring to a character with cat ears and/or tail. It can also refer to the uke (bottom) in yaoi manga, or the femme in a yuri manga. Netorare (QRÎ n) Cuckold. A common theme/genre in more mature and explicit manga, as well as visual novels. The term literally means "taken away by sleeping with". Often abbreviated as "NTR" amongst internet circles.

O Otenba (おfº m, おST)(kko) tomboy Okama (€Û ê) (Pejorative) male homosexual (literally cooking pot). Etymology Omake (おまš , €êd) Some kind of add-on bonus on an anime DVD, like a regular "extra" on western DVDs. May also be a bonus strip at the end of a manga chapter or volume. Onee-chan (おUÍ ゃº ) Older sister, with "onee" meaning older sister and "-chan" being an affectionate suffix. The beginning "o" is a respectful honorific. Onee-sama (おU¸ ま) Older sister, with "onee" meaning older sister and "-sama" being a respectful suffix. The beginning "o" is another respectful honorific. Onii-chan (お?Í ゃº ) Older brother, with "onii" meaning older brother and "-chan" being an affectionate suffix. The beginning "o" is a respectful honorific. Onii-sama (お?¸ ま) Older brother, with "onii" meaning older brother and "-sama" being a respectful suffix. The beginning "o" is another respectful honorific. Osananajimi („VWJ) Childhood friend. Otaku (お.?, €タ… , 6タ… ) Anime newcomers like to consider themselves "otaku" when they start liking anime; their definition of otaku is anime fan. Long-time anime fans, however, tend to not call themselves otaku because of its negative Japanese connotation. The literal translation of the word is your house, but in Japanese slang the word is used to describe somebody who has an obsessive hobby. Otome gŒmu (^Æ Ä„ ,)

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Glossary of anime and manga Lit. "maiden games". This is a video game that is targeted towards a female market, where one of the main goals, besides the plot goal, is to develop a romantic relationship between the player character (a female) and one of several male characters. OVA Original Video Animation, or OVA is a type of anime, which is intended to be distributed on VHS tapes or DVDs, and not to show in movies, or television. It can also less frequently be referred to as OAV, or Original Animated Video.[1] Owari (お-µ , €£² , X-µ , X) "End" in Japanese, used by some fanfiction authors at the end of their works. Also used at the end of many anime series. Oyaji (Ôs, お¬È , €‘ï ) "Daddy"•Older male such as a teacher or other role model. Often slightly perverted, but usually portrayed affectionately. Can also be used as "pops" or "old man" (as in father).

R Raw Anime episode or manga scans in its srcinal language without editing or subtitles.

S Scanlation (also "scanslation") the scanning, translation and editing of comics from one language into another. Ê Ë

Seinen ( ) Anime and manga intended for the adult male demographic.[1] Seiy‚ (Y') Japanese voice actor. As well as voicing characters in anime, seiy… do the voicing for video games, radio shows, drama CDs, etc. Seme (¾め) "Aggressive" partner in Boys Love. Sh€jo (~Æ ) Lit. "Young woman". Anime and manga intended for the adolescent to teenage female demographic.[1] Sh€jo-ai (~Æ W) coined following the form of sh€nen-ai, denoting lesbian content, typically for material without explicit sex. In Japan, the term sh€jo-ai is not used with this meaning, and instead tends to denote ephebophilia. Sh€nen (~Ë ) Lit. "Young man". Anime and manga intended for the adolescent to teenage male demographic.[1] Sh€nen-ai (~Ë W) A term denoting male homosexual content in women's media, although this usage is obsolete in Japan. English-speakers frequently use it for material without explicit sex, in anime, manga, and related fan fiction. In Japan, it denotes ephebophilia. Shotacon (rð タÄ Ý shotakon) A genre of manga and anime wherein childlike male characters are depicted in an erotic manner.

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Glossary of anime and manga Shud€ (Z道) Abbreviation for "wakashudo". The Way of Young Men age structured male homosexuality in samurai society. Shitsuji (\事) Butler; A servant dressed in western attire. S€saku June (™‰JUNE) d€jinshi with male homosexual themes for women that are srcinal stories and non-parodic of existing series. Super deformed (³„â„Á フォ† メ s…p• deforume) Also known as the acronym "SD". Super deformed characters are ones drawn in a simple style with limbs that are extremely short and an overlarge head. Characters are often drawn this way for comedic effect, or to appear "Kawaii" (Cute). Chichiri from the anime Fushigi Yuugi is often found to be in a super deformed shape. Sub (^[ jimaku) Origination from subtitle, when an anime is kept in its srcinal language, but has subtitles.

T Tsuzuku (Ñ\?) Literally "to be continued". Occasionally used at the end of a chapter of manga or an episode of anime when a continuation is to follow. Tsundere (OÝ Á À ) The progression of a character personality from cold and hostile to eventually displaying their warm and loving side.

U

Uke (¿š ) "Passive" partner in Boys Love.

W Waifu A female character that one considers to be their "2D wife". Originated from the anime series Azumanga Daioh.

Y Yamato Nadeshiko (° º]X) The Japanese ideal for a woman, being humble and skilled in domestic matters. Yandere (‘Ý Á À ) a Japanese term for a person who is initially very loving and gentle to someone before their devotion becomes destructive in nature, often through violence. The term is derived from the words yanderu (Çº ©þ ) meaning a mental or emotional illness and deredere (©n©n) meaning to show affection. Yandere characters are mentally unstable, often using extreme violence as an outlet for their emotions. The usage of the character type has led to criticism over the amount of violence in works such as School Days. Although the character type has been used in anime and manga since Mobile Suit Zeta Gundam in 1985, conscious use of the term only began to be around the turn of the millennium. Yangire (‘Ý LÀ )

290

Glossary of anime and manga srcinated in Magical Girl Lyrical Nanoha Strikers and is used to describe a character who is mentally ill and snaps instantly without showing affection for the victim of their outbursts. Yaoi (¬お¹ ) Japanese acronym for "yama nashi, ochi nashi, imi nashi " (no climax, no point, no meaning). Also known as Boys love. Sometimes Male-on-male sexual content usually created by women for women. [1] Yuri (¤ Æ) Jargon term for lesbian content or girl love. Sometimes typically used to denote only the most sexually explicit end of the spectrum in media outside of Japan. [1] Inside Japan, the term denotes a broader spectrum of attraction between women. (Used like the term "Yaoi" for men.)

Z Zettai Ry€iki (^Þ_`) Meaning "Absolute Territory" (a term from the anime Neon Genesis Evangelion), this phrase refers to the area of exposed thigh when a girl is wearing a short skirt and thigh high socks. The 'ideal' skirt:thigh:sock above knee ratio is 4:2.5:1 Zettai Ry€iki are often referred to by letter grades, where Grade A is the ideal and grade F is ankle socks.

References [1] Steiff, Josef; Tamplin, Tristan D. (20 10). Anime and Philosphy: Wide Eyed Wonder. Open Court Publishing. pp. 313€317. ISBN 978-0-8126-9670-7. [2] Levi, Antonia; McHarry, Mark; Pagliassotti, Dru, ed (2010). "Glossary". Boys' love manga : essays on the sexual ambiguity and cross-cultural fandom of the genre. Jefferson, N.C.: McFarland & Co.. p. 257. ISBN 9780786441952. [3] Moore, Lucy (August 29, 2008). "Internet of hentai" (http:// www.studlife.com/scene/2008/08/29/internet-of-hentai/). Student Life. . 10 February [4] Retrieved "Word Display" (http:/2010. / www.csse.monash.edu.au/~jwb/cgi-bin/wwwjdic.cgi?1MUJÜÝ). WWWJDIC. . Retrieved 10 November 2010. [5] Thompson, Jason (2007). Manga: the complete guide. Ballantine Books/Del Rey. ISBN 0345485904. [6] Barrett, Grant (2006). "fan service" (http:/ / books.google.com/books?id=Fn-Sh1nv7pQC&pg=PA112). The official dictionary of unofficial English: a crunk omnibus for thrillionaires and bampots for the Ecozoic Age. New York City: McGraw-Hill. p. 112. ISBN 978-0-07-145804-7. OCLC 62172930. . Retrieved June 15, 2009. [7] http:// www.japanesestudies.org.uk/articles/2009/Galbraith.html

External links • Anime Terminology Lexicon (http:/ /www.animeph.com/anime-terminology-vocabulary-term) at Animeph.com•a large list of English and Japanese terms used in anime and manga lingo • Glossary:Japanese film credit terms •Wiktionary

291

Omake

Omake Omake (Ëaš , usually written おまš ) means extra in Japanese. Its primary meaning is general and widespread. It is used as an anime and manga fandom term to mean "extra or bonus". [1] In USA, the term is most often used in a narrow sense by anime fans to describe special features on DVD releases: deleted scenes, interviews with the actors, "the making of" documentary clips, outtakes, amusing bloopers, and so forth. However, this use of the term actually predates the DVD medium by several years. For at least the past 50 years in Japan, omake of small character figurines and toys have been giveaways that come with soft drinks and candy and often the omake is more desired than the product being sold.

In English, the term is often used with this meaning, although it generally only applies to features included with anime, tokusatsu, and occasionally manga. It is thus generally limited to use amongst fans of Japanese pop culture (sometimes called otaku); like many loan words from Japanese, omake is both the singular and plural form. Omake often include comedy sketches where the characters behave out of character, break the fourth wall, or subtly address opinions of the fandom known to the writers. Sometimes scenes from the TV show or OVA are humorously re-dubbed. One example, included on the Video Girl Ai DVD, replays scenes from the OVA series with new voice-acting in a rural accent. Other times, the same actors voice a new script that is more sexually suggestive, often ludicrously so. Omake can also consist of non-canonical, and often comedic crossover clips that sometimes occur at the end of episodes of two shows airing concurrently from the same studio, such as recent Kamen Rider and Super Sentai programs. For anime, these are often presented in super deformed style, in the same way manga omake often is. For example, Gunbuster features super deformed characters trying to explain what the writers know to be mostly pseudo-science, or talking about their relationships with each other in a way they do not in the series itself, or in the popular anime series Reborn!, after a couple of episodes one of the characters named Haru Miura has an interview called "Haru-Haru's dangerous interview corner" with each of the characters of the anime in chibi forms, the characters' answers to the questions are often something they would never say in the anime or the manga. For live action programs, although not animated, the expressions and sound effects used for comedic purposes can often be inspired by the omake found in the animated mediums. The term Omake has use also in video games; the Sega game Shenmue II for the Dreamcast had a hidden folder on the game disc labelled "Omake", found by placing the disc into a computer, containing exclusive wallpapers and conception art. Another example of an omake in popular culture is related to Square's Final Fantasy IX. The secret "Blackjack" minigame after completion of the game is accessed by means of a button combination. The Final Fantasy "Playonline" site has a secrets section for Final Fantasy IX, which requires passwords given in the official Piggyback guide to enter. The password needed to reveal the button combination for the Blackjack minigame is E-OMAKE. The minigame itself is, of course, an omake. Omake occasionally appears in fanfiction about anime or manga, after the story itself, usually as a humorous "alternative ending".

References [1] http:// books.google.com.au/books?hl=en&lr=&id=M_aTqHdkt4UC&oi=fnd&pg=PA121&dq=omake+anime&ots=jan7hFYHr1& sig=sabCjjEZx_PsU5YHWwmFPC3RK1s#v=onepage&q=omake&f=false

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Wakuran, Welsh, WhisperToMe, Wildhartlivie, Wyllium, Yamavu, Yottamol, Zoicon5, Zug Zwang, 458 a nonymous edits Rakuten KitazawaSource: http://en.wikipedia.org/w/index.php?oldid=447133071 Contributors: Bendono, Extremepro, Gurch, Ka Faraq Gatri, Kasuga, Margin1522, Ned Scott, Noveltyghost, Queenmomcat, Ranma9617, Remurmur, Sfan00 IMG, Talskiddy, TheFarix, Wakuran, 8 anonymous edits Shotaro IshinomoriSource: http://en.wikipedia.org/w/index.php?oldid=458746219 Contributors: ACSE, August Ragone, Azukimonaka, Black Condor, Bobblehead, Brittany Ka, Cartoon-Fan, Conscious, Cyster, Darthman, Eruhildo, Feitclub, Futuresgard, Gaius Cornelius, Gyozilla, HarleyAcres, Hhannahhjp, Howa0082, Ipstenu, Iridescent, J JMesserly, JALockhart, Jonny2x4, Jutari, Kanjilearner55, Kyorosuke, Lerdsuwa, Lucia Black, Martarius, Nihonjoe, Nixeagle, Noveltyghost, OtakuMan, Purple Rose, Pygenot, Pyrop, Quasirandom, Rich Farmbrough, Rtkat3, Rx4evr, Ryulong, Ryuuseipro, Saiyaman7777, Seigi Choujin, SevereTireDamage, 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Martarius, Mythologia, Neier, Nihonjoe, Noq, Noveltyghost, Quasirandom, Shaolin128, TheFarix, Timtrent, Tony Myers, Yas, 9 anonymous edits Minori KimuraSource: http://en.wikipedia.org/w/index.php?oldid=458775563 Contributors: DragonZero, JRBrown, Matt Thorn, Nihonjoe, R'n'B, Wizardman, 4 anonymous edits Moto Hagio Source: http://en.wikipedia.org/w/index.php?oldid=460435656 Contributors: Actionist, Arsonal, Azukimonaka, Boredgame, Bradtcordeiro, Cattus, Cbustapeck, Dog on the bog, Hersfold, Icarus3, Ifny, JRBrown, Julianortega, Kbdank71, Koavf, KrebMarkt, Lotrfanaat, Malkinann, Martarius, Mythologia, Neier, Nihonjoe, NoelCT, Pm215, Quasirandom, Ranma9617, Shikeishu, Snarfies, Squilibob, Stormwatch, TheFarix, WOSlinker, WhisperToMe, Yamsil, 29 anonymous edits Riyoko IkedaSource: http://en.wikipedia.org/w/index.php?oldid=434932231 Contributors: Angel,Isaac, AnmaFinotera, Aponar Kestrel, Armando12, Azukimonaka, BrockF5, Camembert, Cattus, Chris 73, Deerstop, Emperorbma, EvanProdromou, 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Image Sources, Licenses and Contributors Image:Hokusai-MangaBathingPeople.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Hokusai-MangaBathingPeople.jpg License: Public Domain Contributors: Cmapm,

Fryed-peach, KErosEnE, Lennert B, Mads Renài, Man vyi, 2 anonymous edits Image:Japan-woodblock.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Japan-woodblock.jpg License: Public Domain Contributors: Anime Addict AA, Beyond silence, BrokenSphere, 2 anonymous edits File:Manga in Jp.svgSource: http://en.wikipedia.org/w/index.php?title=File:Manga_in_Jp.svg License: Public Domain Contributors: TheOtherJesse File:Manga reading direction.svg Source: http://en.wikipedia.org/w/index.php?title=File:Manga_reading_direction.svg License: Creative Commons Attribution 3.0 Contributors: TheOtherJesse File:Young boy reading manga.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Young_boy_reading_manga.jpg License: Creative Commons Attribution-Share Alike Contributors: Ragesoss File:FunimationLogo.png Source: http://en.wikipedia.org/w/index.php?title=File:FunimationLogo.png License: Public Domain Contributors: FUNimation Entertainment File:Hakusensha (2006.05.05).jpg Source: http://en.wikipedia.org/w/index.php?title=File:Hakusensha_(2006.05.05).jpg License: Public Domain Contributors: Lombroso Image:Kodansha (head office).jpg Source: http://en.wikipedia.org/w/index.php?title=File:Kodansha_(head_office).jpg License: Creative Commons Attribution-ShareAlike 3.0 Unported Contributors: Lombroso File:Shogakukan01(tokyo).JPG Source: http://en.wikipedia.org/w/index.php?title=File:Shogakukan01(tokyo).JPG License: Public Domain Contributors: 1029man, Aimaimyi, J o, LERK, Los688, WhisperToMe Image:Shueisha.pngSource: http://en.wikipedia.org/w/index.php?title=File:Shueisha.png License: Public Domain Contributors: deerstop Image:Shuueisha01(tokyo).JPG Source: http://en.wikipedia.org/w/index.php?title=File:Shuueisha01(tokyo).JPG License: Public Domain Contributors: Aimaimyi, J o, LERK, Los688, Morio, WhisperToMe File:VarietyBuilding.jpg Source: http://en.wikipedia.org/w/index.php?title=File:VarietyBuilding.jpg License: Public Domain Contributors: Kingturtle File:Viz Media HQ.JPGSource: http://en.wikipedia.org/w/index.php?title=File:Viz_Media_HQ.JPG License: Creative Commons Attribution-Sharealike 3.0 Contributors: BrokenSphere File:Speaker Icon.svgSource: http://en.wikipedia.org/w/index.php?title=File:Speaker_Icon.svg License: Public Domain Contributors: Blast, G.Hagedorn, Mobius, 2 anonymous edits File:Momotaro's Divine Sea Warriors-screeny.JPG Source: http://en.wikipedia.org/w/index.php?title=File:Momotaro's_Divine_Sea_Warriors-screeny.JPG License: Public Domain Contributors: Shochiku / directed by Mitsuyo Seo File:Wikipe-tan fansub.png Source: http://en.wikipedia.org/w/index.php?title=File:Wikipe-tan_fansub.png License: GNU Free Documentation License Contributors: Original uploader was Zscout370 at en.wikipedia File:Fansubvhs.JPGSource: http://en.wikipedia.org/w/index.php?title=File:Fansubvhs.JPG License: Public Domain Contributors: rzrscm (talk) File:Hakujaden poster.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Hakujaden_poster.jpg License: Public Domain Contributors: Toei Animation Co., Ltd (Ge³Õメ„ rð Ý @AB® , T€ei AnimŒshon Kabushiki-gaisha?), ä 1958 File:Shoujo November 1910.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Shoujo_November_1910.jpg License: unknown Contributors: Kazu-kun, Matt Thorn, Picapica File:JackXArik.pngSource: http://en.wikipedia.org/w/index.php?title=File:JackXArik.png License: Creative Commons Attribution-Sharealike 3.0 Contributors: Sen Cross, Hiji and Ryo at Animexx File:Lesson 1 Private Tutor.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Lesson_1_Private_Tutor.jpg License: Creative Commons Attribution-Sharealike 3.0 Contributors: Ed Gottschalk File:Yaoi Books by miyagawa.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Yaoi_Books_by_miyagawa.jpg License: Creative Commons Attribution-Sharealike 3.0 Contributors: srcinal image: miyagawa derivative work: deerstop. File:Yuri Shimai Autumn 2004 cover.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Yuri_Shimai_Autumn_2004_cover.jpg License: unknown Contributors: Kazu-kun, Nihonjoe File:Go Nagai 20080704 Japan Expo 05.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Go_Nagai_20080704_Japan_Expo_05.jpg License: GNU Free Documentation License Contributors: Georges Seguin (Okki) File:Go Nagai Tokyo 1987.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Go_Nagai_Tokyo_1987.jpg License: Creative Commons Attribution-Sharealike 3.0,2.5,2.0,1.0

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