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SDCC License Roundup

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Well, more of an ‘SDCC and Seven Seas’ roundup, as they announced several things right before the con. It wasn’t as big a weekend as I expected, as Yen had to cancel their panel at the last minute, but there were still a lot of great things to talk about. Let’s delve in.

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The biggest title licensed this week was no doubt Doraemon. The production studio announced that they were doing a digital release of the classic kids’ manga starting this fall, on Kindle and hopefully other platforms. AltJapan, who are handling Dorohedoro for Viz, are scheduled to be doing the translation; this fills me with happiness, as I love the job they’ve done there. In case you live in a cave, Dorawmon is one of the most popular icons of Japanese manga, sort of the equivalent of Mickey Mouse (well, given his screwups, perhaps Donald Duck). He is a robot cat from the future, there to help our hero, Nobita, through the use of futuristic technology. Of course, something always goes wrong. One of the most beloved classics of all time, you’d better believe I’ll be reviewing it here.

Viz had most of its Japanese manga licenses already announced at Anime Expo. They did note they’re doing a (Western) comic based on their Japanese novel title All You Need Is Kill. They’re also re-releasing the Battle Royale novel, and have a collection of essays coming out with it, as various writers talk about Battle Royale’s themes and meaning.

Kodansha had several new announcements they’d saved for SDCC, including two shoujo manga I’ve wanted to see over here for some time. My Little Monster (Tonari no Kaibutsu-kun) features a grumpy, somewhat grades-obsessed lead girl whose life is disrupted by the presence of a well-meaning but completely socially inept monster of a guy (yeah, sorry, no supernatural content here). The manga is 11 volumes long, and just ended in Japan. (By the way, get used to this. Due to the economy making long series difficult to license, expect Western folks to wait on licensing things till they have a guarantee it’s wrapping up with a reasonable number of volumes.)

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The other shoujo title is Say “I Love You” (Suki tte Ii na yo), which runs in the same shoujo magazine as My Little Monster, Dessert. Dessert is an older-skewing shoujo magazine that is sort of the equivalent of Cheese! or Cookie, only a bit less racy. Kodansha noted they’d never licensed anything from it before, and are waiting to see how these series do. For those of you that complain Kodansha only licenses stuff from Shonen Magazine and Nakayoshi, now is your chance to show your appreciation. The premise to this may sound similar to several shoujo series, as the heroine is a quiet girl who is slow to trust people, and the hero is a popular guy who all the girls love. Of course, if you look at the bestselling shoujo manga over here, that premise sounds like the ringing of cash registers. It’s well-handled, though, and deserves its license. It’s also wrapping up in Japan soon, and is around 11-12 volumes.

Every series by Hiro Mashima has been licensed in the West bar one, so it’s no surprise to see that Kodansha has snatched up that one. Monster Soul ran in Kodansha’s Comic Bonbon, which is for kids around 7-10 years old; it’s basically what you give little kids when they want to read Shonen Magazine (which skews much older than Jump or Sunday do). A fantasy tale of humans vs. monsters, it’s classic Mashima, and only two volumes long.

Lastly, Kodansha announced they were picking up xxxHOLIC Rei, CLAMP’s new sequel/interqual/no one is quite sure what it is continuation of the original series. They’re also ‘rescuing’ Tsubasa and xxxHOLIC from Del Rey, and re-releasing it in omnibus format. (No word on digital yet; I imagine getting CLAMP digitally will be as hard as getting Sailor Moon is proving to be.) These titles are classic modern CLAMP, being entertaining, filled with great art, and highly frustrating on a very personal level. Recommended, even if you will bang your head against a wall at Tsubasa’s plot.

Seven Seas did not have a panel at SDCC, but they had a booth, and these days they tend to announce their titles as press releases rather than at cons anyway. The biggest news there was probably the agreement with Comixology to put out their titles digitally. And yes, this includes some Japanese titles, though the majority so far are their OEL titles such as Aoi House and Vampire Cheerleaders. Haganai, Dance in the Vampire Bund, and the Korean manwha Jack the Ripper: Hell Blade are now digital. I hope to see more Seven Seas licenses there in the future (in particular, I’d love to see Young Miss Holmes digitally).

As for new Seven Seas licenses, it’s a trio of titles that appeal to fans who like to see cute girls in battle. Strike Witches: Tenkou no Otometachi (Maidens of the Sky) is… well, it’s World War II if all the ace pilots were magical girl witches. I suppose if I can accept Hetalia, I can accept that. It first became famous in fandom for its constant panty shots, but I understand the manga also has a real plot and character development and stuff like that. It first ran in Kadokawa’s Comp Ace.

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I don’t know much about Arpeggio of Blue Steel (Aoki Hagane no Arpeggio) except that it runs in Young King OURS, home of Excel Saga, meaning I will absolutely give it a shot. The premise seems to involve an alternate future, submarines, and a mysterious alien fleet that is there to ensure humanity cannot use the seas. Naturally our heroes are there to stop them. This crew actually does feature some males, I believe.

Lastly, we have Girls Und Panzer, which I can sum up pretty well as: girls in tanks. The name might have given that away, to be fair. Like Strike Witches, it’s part of a large anime/manga/light novel multimedia blitz. The manga we get here ran in Media Factory’s Comic Flapper. Media Factory is getting to be a favorite of Seven Seas, and I like seeing more titles from Flapper and fewer from the slightly more pandering Comic Alive (not that Flapper doesn’t have its share of pander as well – see this series). The series actually sounds like a typical high school girls’ sports manga, only instead of kendo or softball, it’s operating tanks. Intriguing.

And I believe that wraps it up, at least until Otakon, where I’m sure some companies will have a tidbit or two. What excites you the most on this list?

Yun Kouga MMF: Final Link Roundup

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loveless-blossomsWe’ve come to the end of the Yun Kouga Manga Moveable Feast! Though participation was undeniably low, we’re excited about the contributions that were made to the Feast. Here’s a roundup from the past few days:

I weighed in with a new 3 Things Thursday, in which I picked out three (ish) of my favorite female characters from Yun Kouga’s catalogue, including one from Earthian, which I read for the first time this week.

The male-centric sensibility often applies to shoujo manga as well—particularly those penned by creators who enjoy a strong undercurrent of BL subtext in their work, and this absolutely describes Yun Kouga. After all, even Gestalt‘s kick-ass heroine, Ouri, is actually a man temporarily endowed with a female form. Still, Kouga-sensei does not let me down! Female characters are always part of the fabric of her stories, even the most BL-rific of her worlds. For today’s 3 Things Thursday, I’ll look at three of these!
soubi-bound At Experiments in Manga, Ash Brown revisits the first two volumes of Loveless by way of Viz’s new omnibus release – Loveless, Omnibus 1:

The beginning of Loveless is a story of intense yearning and loneliness with characters who have been broken, damaged, and twisted. But even when they despair they still cling to hope. Ritsuka has trouble accepting himself and difficulty trusting others; the attention he receives from Soubi is both welcomed and feared. Loveless is also a story about the power of words. In part because of his association with Soubi, Ritsuka is pulled into a world where battles are waged with words and spells are cast that can cause considerable pain and physical damage … The first omnibus of Loveless raises more questions than it provides answers, but it does establish an intriguing tale and characters. Even having read it before, I still find Loveless to be a strangely enthralling and compelling manga.

Continuing the trend, our own Anna Neatrour at Manga Report gives the Viz’s first omnibus a second chance and finds she’s glad she did – Loveless Vols. 1 and 2:

Some manga seems a bit too edited or mass produced. Unless you’re seeking out manga from some of the more alternative magazines, most mainstream manga isn’t all that weird. The pinnacle of enjoyable manga weirdness in my mind is Est Em’s Working Kentauros. That manga about the slice of life tribulations about Centaur salarymen provides the reader with a peak into a manga creator’s subconscious and ability to be creative without boundaries. Loveless isn’t as unconventionally weird as Working Kentauros, but its combination of cat people, light bondage, magical battles, mysterious organizations, abusive parents, master/servant relationships, and occasional licking definitely add up to a manga that’s a bit more distinctive and quirky than one might expect.

And it’s all Loveless, all the time as Michelle & I celebrate our 100th installment of Off the Shelf with an epic discussion of the series – Off the Shelf, MMF Edition: Loveless:

MICHELLE: I really love the imagery of the “I can’t let go of anyone’s hand” moment, too. Another thing that strikes me about that shirt-buttoning scene is what Ritsuka says during it: “Y’know… I could never do anything like that for you.” Even though he finds violence abhorrent, it’s still his instinct to give Soubi what he needs/craves, and it saddens him that this is something that he simply cannot do.

MJ: Yes, yes! The fact that he words it that way, “for you” rather than “to you” (which is surely the way Kio sees it) acknowledges its importance to Soubi, and makes it clear that, even if Ritsuka can’t quite understand why Soubi would want something like that, he understands that he shouldn’t just dismiss Soubi’s feelings about it.

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This wraps up the Yun Kouga MMF! Many thanks to everyone who participated. The complete archive can be found here. We now make way for the Boys’ Love MMF, to be hosted in August by Khursten Santos at Otaku Champloo!

License Request Day – Another Look At Bestsellers

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I was reminded after Kodansha’s recent licenses at San Diego Comic Con (I’ll have a post on them later) that they had both been on my last major License Request pile. So, since I’ve used those requests up for the most part, let’s take a look back at the bestseller charts. June 2013, to be precise.

I’m looking at the Top 50, which has 32 distinct titles on it (some titles have multiple volumes). 20 of these 32 are licensed, which shows you how “Company X never licenses the really popular stuff!” isn’t true. So, already off the list are: One Piece, Naruto, Hunter x Hunter, Kimi ni Todoke, Attack on Titan, Blue Exorcist, Yotsuba&!, Bleach, Detective Conan, Black Butler, Real, Magi, Natsume’s Book of Friends, Fairy Tail, Neon Genesis Evangelion, Toriko, Vagabond. Inu x Boku SS, Say “I Love You”, and Drifters. Even if one of those is only as of yesterday. :)

That leaves 12 titles. Let’s look at them, and find good reasons they should be licensed, and good reasons they may never be licensed.

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1) Saint Young Men, Kodansha.
— Why? It’s a smart, witty, funny and heartwarming story about Jesus and Buddha in modern-day Japan, dealing with subways, hot springs, and spending far too much money. It’s a cult favorite on the internet.
— Why not? This is the only title I can think of – EVER – where the Japanese company has taken it upon themselves to say they’re not licensing it to North America. They believe the market isn’t ready for it. I’m inclined to agree with them. All it takes is one angry parent going onto the 700 Club… Also, it’s filled with obscure references and would need a Zetsubou-sensei amount of notes at the end. Kodansha are trying to cut back on endnotes, and Vertical avoids them when possible.

2) Silver Spoon, Shogakukan.
— Why? It’s the latest manga by the author of Fullmetal Alchemist, which was a huge seller over here. It’s filled with humor and heart, and lots of likeable characters. It’s a bestselling Shonen Sunday title, and we need more of those. There’s an anime currently running.
— Why not? It’s a farming manga. And I mean that most sincerely – this isn’t a romance manga or action manga that takes place on a farm, it is a manga about farming that takes place at an agricultural college. You know the last Ag College manga that they tried over here? Remember Moyashimon’s fate? Yeah.

3) Kuroko’s Basketball, Shueisha.
— Why? It’s the biggest sports title Weekly Shonen Jump currently has. It also has a HUGE fandom, admittedly heavily female and “BL” oriented. It’s a lot of fun.
— Why not? It’s over 20 volumes and showing no signs of ending soon. Viz is still trying to finish Slam Dunk, also a Jump manga about basketball with a large female fandom. Its fandom is controversial in Japan due to psychos who threaten to bomb every single doujinshi event featuring it.

4) Assassination Classroom, Shueisha.
— Why? It’s the latest big breakout hit from Weekly Shonen Jump. It has all the things you want from a Jump comic – comedy, action, and lots of heartwarming, as the students of the “failure” classroom all learn valuable lessons thanks to their so-called “evil” teacher. The teacher is a smiley face on legs, which sells itself.
— Why not? Did you look at the title? Stories about a teacher whose students try to kill him in various ways, and with various weaponry, are a bit of a tough sell here.

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5) Sakamoto Desu Ga?, Enterbrain.
— Why? This is, no doubt about it, the funniest title on this list. It’s brand new, so there’s no issue with it having tons of volumes risk-wise. Did I mention how funny it is?
— Why not? It’s also really incredibly weird. In fact, it may remind people of Cromartie High School, which did not sell well here if you recall. There’s only one volume out in Japan, so people may want to wait a bit to see if it can keep up its one joke. It is a very funny joke – Sakamoto does everything awesomely – but still one joke.

6) Ao Haru Ride, Shueisha.
— Why? It’s the latest from the author of Strobe Edge, and is basically a fantastic Shojo Beat candidate. High school romance, people trying to learn from past mistakes, heartwarming, tearjerking, etc.
— Why not? Strobe Edge is still running, and I imagine its success or failure will give a hint as to whether this title will do well. That’s really about it.

7) March Comes In Like A Lion, Hakusensha.
— Why? From the author of Honey & Clover. It’s charming and well-written.
— Why not? Many reasons. Shogi features heavily in the plot. Honey & Clover didn’t sell all that great here. Hakusensha really only has one market left – Viz – and they tend to focus on their shoujo titles there. This seinen title isn’t quite the same.

8) Terra Formars, Shueisha.
— Why? That’s not a misspelling – this is a manga about taking back Mars, which due to a terraforming project gone wrong is now inhabited by humanoid cockroaches. It sounds a bit like Starship Troopers, to be honest. It’s won awards, and is only 5 volumes long so far.
— Why not? It’d have to be a Signature title, and those are always hit-or-miss sales-wise. Viz also tends to avoid Young Jump series.

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9) Uchuu Kyoudai, Kodansha.
— Why? It’s an epic space story with an anime that has won many awards.
— Why not? It’s far too long for a seinen title (20+ volumes), and its fanbase, while vocal, is pretty damn small. It runs in Weekly Morning, which generally doesn’t have much of a license presence here.

10) Chihayafura, Kodansha.
— Why? It’s incredibly well-written and heartwarming, has an anime adaptation, and its fanbase is VERY vocal.
— Why not? It’s about that Japanese poetry game where you pick out the right card. It’s josei, running in the magazine Be-Love. It’s over 20 volumes and still going.

11) Gintama, Shueisha.
— Why? A digital-only release could be a great way to revive this title, which combines humor and serious business like no other Jump title out there – even One Piece isn’t quite as mood whiplashey as Gintama can get. Some of its best stuff hasn’t come out over here yet.
— Why not? Contrary to popular belief, Viz almost never drops series unfinished. They did so with this one. That implies bad sales. It’s also got a huge volume count, and shows no signs of ending. There really are an awful lot of poop jokes.

12) Mix, Shogakukan.
— Why? It’s a Mitsuru Adachi baseball manga, taking place in the same universe as his acclaimed Touch. Nuff said.
— Why not? Cross Game didn’t sell that great. There are other Adachi titles I’d want to see before this.

And there you have it. Some of these are quite likely to get looked at in future (Ao Haru Ride, Terra Formars), while some are pipe dreams. Which of these bestsellers do you most want to see over here?

Yun Kouga MMF: Link Roundup 1

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ritsukaThe Yun Kouga Manga Moveable Feast is underway! Things have begun slowly, but here’s a quick rundown of contributions to the Feast so far:

I kicked things off on Sunday with an Introduction to Yun Kouga, including descriptions of all her series currently available in English and an ode to her gorgeously messy characterization and her insights into the human heart.

But if she leaves us unable to deny our darker impulses, she at least doesn’t leave us alone. There’s a sense, always, that Kouga loves her characters fully and without conditions, even when they’re at their worst. We’re all ugly and beautiful in Yun Kouga’s world, and there’s nothing to do but to try to navigate the mess as best we can.

“Mess” is a key word here, and though Kouga-sensei’s artwork is a consistent highlight—genuinely gorgeous and a real treat to behold—one might say that her greatest talent is in making a mess. She writes messy characters in messy relationships, and if these are often accompanied by some messy plotting as well, perhaps that’s an unavoidable side-effect.

Also at Manga Bookshelf, guest contributor Sarah Ash gets some frustrations off her chest in A Letter to Yun Kouga:

Before the handsome new Viz volumes came out (and they are very handsome) I had resigned myself to never seeing a conclusion to Loveless. I had decided to appreciate the plus points and try to forget the minuses. I was ready to admire again the accurate way that you depict children on the verge of adolescence (and their teachers!) capturing the cruelty and the intensity of their interactions. Your damaged adults are just as fascinating: Soubi grimly painting the butterflies he says he hates so much because they’re stupid enough to let themselves be caught and killed. Shinonome-sensei breaking down in tears in class when one of her class answers back, unwittingly using the same words Soubi has used to reject her.

My frustration as a reader stems, I guess, from the fact that there was – is – such potential in Loveless that I can’t bear to see it being frittered away.

At his blog, Manga Energy, Aaron takes this opportunity to complain about Loveless and The Modern Misappropriation of Moé:

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… with all of this being said it’s not so much Loveless as a series I’d like to write about. More an aspect of it’s fandom in particular the use of the term Moé by some fans to the discussion of Aoyagi as a charcter or his relationship with Soubi in particular, as I feel it’s a term that gets misappropriated too often now in Otaku circles. Loveless is just one of many prominent examples I’ve seen where the term is used I feel with out a real grasp of the term it’s self.

And finally, back here at Manga Bookshelf, I delve into one of the primary themes of Kouga-sensei’s josei romance Crown of Love with Crown of Love: Hey Jealousy:

Where Crown of Love differs is in its execution, specifically in the fact that it portrays its hero’s obsession as genuinely problematic, rather than romantic or cute. It is also completely up-front about the painful and unsatisfactory nature of unrequited love (and unbalanced relationships of all kinds). And though it is technically a love story, it could also be described as a story primarily about jealousy. And wow does Yun Kouga get jealousy.

A full list of the Feast’s contributions (updated as they come) can be found in the Yun Kouga Archive, with lists of older articles to browse through as well. More to come as the week continues!

To submit your contributions to the Yun Kouga MMF for inclusion in this month’s archive, please send your links by email to mj@mangabookshelf.com or via Twitter to @mjbeasi between now and Saturday, July 20th. If you would like your contribution(s) to be hosted at Manga Bookshelf, please email them to MJ, along with any included images. Contributions to the Yun Kouga MMF will be archived here.

Licensing Round-Up – Anime Expo 2013

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I’m not at AX, but through the magic ability of being able to follow the tweets of those who are, I can give you my thought on what’s happening over there! There’s actually quite a bit of stuff brewing.

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We started off with our friends at Vertical, Inc. They only had one license, but it looks like a lot of fun! Moyoco Anno is not only an award-winning mangaka, but she’s also married to otaku legend Hideki Anno. The one-volume Kantoku Fuyuki Todoki ran in Shodensha’s Feel Young magazine, and is a comedic yet heartwarming autobiographical look at what it’s like to be married to such a legendary otaku. Vertical will put it out under the title Insufficient Direction.

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Digital Manga Publishing had some of the biggest news of the con, as they announced an agreement with Tezuka Pro for digital release in North America of the unlicensed Tezuka titles – all of them, supposedly. I admit, I’m not expecting some of the weirder, more adult or ‘problematic (antisemitism, etc.) titles anytime soon, but for the Tezuka fan this has to be an incredibly happy day. Much of his work had been released lately through Vertical, but DMP has been doing a few as well, including the Kickstarter projects of Barbara, Unico, and Atomcat. Given that it’s DMP, I’m also hoping these will be downloadable rather than cloud. Looking forward to more about this.

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Most of Right Stuf’s announcements were, understandably, in the anime arena. But they surprised us at the very end by announcing, in partnership with Tokyopop (still around, in case you were wondering) the release of Axis Powers Hetalia Books 4 & 5 before the new year! I’ve made no secret that I really enjoy this goofy gag manga about anthropomorphic nations, which has moved beyond its sketchy WWII origins and embraced exaggerated stereotypes of every era! If you pre-order, you’ll get color pages as well, which are only available in the first printing.

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Kodansha Comics didn’t have any new titles to announce (they indicated that SDCC in two weeks might be a different story), but this did not stop them from having a few big things to say anyway. It’s no secret that Attack on Titan has EXPLODED in fandom, particularly with the release of the anime. Kodansha, therefore, has decided to speed up the releases, similar to what they’re doing with Fairy Tail, till they catch up with Japan by the start of 2014. One a month, that’s a lot of titans.

Bigger news, though, particularly for me as I’ve been begging for it, is that they will be releasing their titles digitally on Nook, Kindle, and Google Play (and, in fact, shuttering their iTunes app, though you get to keep the books you have on it.) They’ve been Apple only for years, so this is fantastic news, as they were the last holdout (bar Seven Seas, who don’t have digital for their Japanese titles yet). Now Android users (such as myself can enjoy the following titles digitally:

Arisa
@ Full Moon
Attack on Titan
Bloody Monday
Cage of Eden
Danza
Fairy Tail
Genshiken (omnibus)
Genshiken: 2nd Season
I Am Here!
Kitchen Princess (omnibus)
Mardock Scramble
Missions of Love
Ninja Girls
No. 6
Sankarea
Sayonara, Zetsubou-Sensei
Until the Full Moon

In other words, most of their current lineup, with the major exception of Sailor Moon, which I suspect would require a lot more negotiating with Naoko Takeuchi. In particular, it’s great to see Zetsubou-sensei there. By the way, Kodansha still insists it’s not cancelled, but it’s still on hold due to low sales and being a pain in the ass to translate. Having tried my hand at the endnotes for Vol. 10, I can sympathize.

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And that leaves Viz Media. They did not disappoint. There is a new seinen title (I am assuming it will be in the Signature line) called Gangsta, that runs in Shinchosha’s Comic @ Bunch magazine. It’s apparently very similar to Dogs: Bullets & Carnage. Nisekoi, which has its first three volumes out digital only, will start to run in print in January. They are re-releasing Dragon Ball in larger trim, around the size of US comics.

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Deadman Wonderland is not only a Tokyopop license rescue, but also more than 10 volumes and still running, making it a surprising pickup in my mind. It’s a Shonen Ace series from Kadokawa that is another in the ever popular survival game genre… this one set in a very strange prison. And, big news for us old fogies… Ranma 1/2, back in print, unflipped! 2-in-1 omnibus volumes, starting in March! Given the digital app doesn’t do flipped, I wonder if this is a way to get it out digitally. In any case, great news for old-school fans!

Lastly, some hope for fans of cancelled Jump series Gintama and Reborn – SJ is looking into bringing them back digitally, though no promises just yet. I imagine if they do well they may look into continuing them digitally as well.

What in this list excites you the most?

Yun Kouga MMF: Call for Participation

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Welcome to July 2013, and the newest installment of the Manga Moveable Feast, the manga blogging community’s ongoing conversation about the medium we all love. Each month, a single series, creator, or topic is chosen for a week-long discussion across the entire community.

This month’s feast will run from Sunday, July 14th through Saturday, the 20th, featuring the works of Yun Kouga, and hosted here at Manga Bookshelf.

Though Yun Kouga has enjoyed popular success here in North America, particularly with her BL-tinged shoujo fantasy, Loveless, her pretty-boy sensibilities and predilection for writing in stereotypically “trashy” genres have caused her rather spectacular talent with characterization to remain largely overlooked. Though Kouga’s works can feel messy and chaotic at the start, this messiness is essential to her characters and their relationships, each of which is rooted in a level of emotional truth rare in any kind of storytelling. I’ve often said that “there is no train wreck I love more than a Yun Kouga train wreck,” and I’m sure I’ll say it again. Her ability to explore her characters’ deeply human contradictions and, more to the point, her readers’ is second to none.

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Yun Kouga’s works published in English include: Earthian (Tokyopop/Digital Manga Publishing), Loveless (Tokyopop/Viz Media), Gestalt (Viz Media), Crown of Love (Viz Media), and Neon Genesis Evangelion: Comic Tribute (Dark Horse).

Over the course of the week beginning July 14th, I’ll be writing about my own love affair with Kouga-sensei’s idiosyncratic writing, but whether you’re a fan, an anti-fan, or somewhere in-between, you’re invited to join in! No blog? No problem! Send me your submissions by email anytime between the 14th and 20th, and I’ll post them on your behalf. There is no end to the creativity encouraged by the MMF. Please explore the works of Yun Kouga in any way you choose, including anything from straight-up reviews, roundtables, or essays to a video of your Kouga-inspired interpretive dance. All submissions and all participants are welcome!

I will post an introduction to the Yun Kouga MMF on Sunday, July 14th, including a link to the Feast’s archive page and instructions for notifying me of your submissions. In the meantime, feel free to send links to older pieces to mj@mangabookshelf.com for inclusion in this month’s archive.

Any questions? Please let me know, or join the MMF Google Group.

Manga Bookshelf Survey Results

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A number of readers have expressed interest in seeing the full results of our recent reader survey, so here we are! We’ll talk a bit about what it all means in a moment, but first, the results:

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Enough with the graphics! What does it all mean?

A general overview of the survey paints the following picture of the average Manga Bookshelf reader:

You’re most likely to be an adult woman: 90% of our readership is adults over the age of 22 (past college undergraduate age), and 48% are over 30. 65% are women and girls—that’s nearly twice the amount of our male readership.

You buy a lot of manga: Over 75% of our readers report buying between 1-20 volumes of manga a month, with 16% buying more, and just a few reporting that they don’t buy any at all in a typical month. Some readers reported that they borrow most of their manga from the library, or that they tend to buy sporadically, in binges, or mainly at conventions. One reader admitted to reading scanlations because manga isn’t available to buy in her home country (Pakistan).

You’re not yet sold on digital: Digital manga is a sadder tale, with over 60% reporting that none of their purchases is likely to be digital, though the number of digital buyers is still at 35%. Some “other” responses included readers who mainly buy their manga in print but go digital for other comics, and some who said that they don’t buy any now, but had JManga accounts before the site closed. Some are waiting for their favorite out of print manga to turn up digitally.

You’re probably not buying Naruto: In terms of manga demographic categories, shoujo and seinen are readers’ top choices, both beating out shounen manga, which tends to include the mainstream powerhouses (Naruto, Bleach), while categories like josei, boys’ love, and yuri all make strong showings as well. “Other” responses included classic manga, gekiga, “fifth column” and manhwa.

You probably are buying from Vertical: Publisher preferences skew pretty closely to the number of releases, with prolific companies like Viz Media and Yen Press coming out on top. Though it’s notable that Vertical, a relatively small publisher, is heavily patronized by our readership (and actually ranked above Kodansha Comics for quite a while over the course of the poll). One major omission on our part was Drawn & Quarterly, which received a number of “other” mentions, along with a few mentions of companies like PictureBox and Udon, some defunct North American publishers, European publishers like Carlsen and Tokyopop Deutschland, and imports straight from Japan.

It’s probably not surprising that our readership differs significantly from that seen in the recent poll at Comics Should Be Good, at least in terms of gender demographics, given our manga-specific focus and our female-heavy roster of contributors. It perhaps naturally follows that our readers are less hooked on the most mainstream manga series (shounen) than CBR/CSBG’s readers are on the closest western comics equivalent (superheroes), though clearly we’re all slow to take to digital distribution.

Did you miss out on participating in our reader survey? Do you have thoughts about the results? Leave your comments below!

What is DAISUKI.net?

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daisukiOkay, let’s be honest. As a bunch of old fogies obsessed with our towering shelves full of dusty old books, we don’t always pay a lot of attention to what’s happening in the anime industry here at Manga Bookshelf. But when one of our favorite PR contacts (in this case, Robert Napton, formerly of Bandai Entertainment) reaches out to us about a new company he’s working with, we muster the will to put down that volume of ’80s shoujo manga and listen.

Long before publishers like Viz Media began battling manga pirates in earnest by offering simultaneous digital releases of popular series, the anime industry was leading the charge by way of numerous online streaming services (Crunchyroll, Hulu, ANN) intended to offer a legal alternative to fansubs. Though the process has included some stumbles and occasional frustration (my household’s attempt to stream the first episode of Fullmetal Alchemist: Brotherhood from FUNimation’s website the night it debuted will be forever recorded in our personal Buffering Hall of Shame), streaming anime has become an affordable staple for many fans.

One of the challenges of keeping up with streaming anime releases has been that they’re really all over the place, split between numerous online companies and services, requiring multiple online accounts, each with its own system of monetization and operational quirks. DAISUKI, A new Japanese company affiliated with a number of popular anime studios and production companies (ANN has the full list here) aims to change all that by offering a wide range of series on a single site.

While DAISUKI’s opening lineup—series like Puella Magi Madoka Magica, One Piece, and Lupin the 3rd—is made up mostly of anime series that have been previously made available in English, we were given the opportunity to ask DAISUKI’s Eri Maruyama (International Business Development) what we can expect to see from the service beyond its initial launch.

Lupin the 3rd「ルパン三世」原作：モンキー・パンチ © TMS Original comic books created by Monkey Punch © TMS


Lupin the 3rd
Original comic books created by
Monkey Punch © TMS

MB: Amongst the various anime streaming outlets currently available to English speakers (Crunchyroll, Funimation, etc.) what makes DAISUKI special? What are you hoping to do that is different than what’s being offered now?

DAISUKI: You can watch all videos on DAISUKI.net for free. Some premium content which will be added later may be fee-based, but basically you don’t have to pay to watch anime at DAISUKI. Also, there will be an online shop with anime goods and opportunities for fans to give feedback to Japanese production companies directly. By doing so we want to build up an exchange between overseas fans and creators in Japan.

Thanks to our direct link to the companies we are able to provide exclusive footage like making-of material, behind-the-scenes cuts and video messages from creators, producers and voice actors.

MB: Do you have plans in the future to offer anime titles that aren’t available on other sites?

DAISUKI: Yes, we are also planning simulcast series, for example. Also, the list of titles we have received from the studios include titles that have never been translated into English before.

MB: How is your venture being monetized? Is it ad-supported?

DAISUKI : The membership is for free while the service is ad-supported. We also hope that fans will like our web-store, which is going to launch in late June 2013.

Mobile Suit Gundam SEED「機動戦士ガンダムSEED」© 創通・サンライズ English copyright：© SOTSU, SUNRISE


Mobile Suit Gundam SEED
© SOTSU, SUNRISE

MB: Your initial lineup is made up of titles that are very popular with American fans of all kinds, though mainly aimed at male viewers. Do you have any plans to include shoujo or josei series as your service grows?

DAISUKI: Yes, we definitely aim to offer a good balance for both female and male fans. But, it is planned to provide titles for older viewers. We will not focus on titles for very young children.

MB: What can fans expect to see from DAISUKI.net over the next year?

DAISUKI: We will fill up our catalogue with more episodes and with more series. We hope that fans like our service and come again to watch the updated content. The DAISUKI web-store will open in late June 2013.

Furthermore, not only virtually, but also physically are we going to get active: DAISUKI will participate in various anime conventions like Anime Expo to promote the service of the website. At Anime Central in mid May, we already had a DAISUKI booth and the feedback was great. The DAISUKI team from Japan is looking forward to meeting overseas fans directly on upcoming events!

Have you signed up at DAISUKI.net? What kind of series would you like to see made available to English-speaking fans?

Manga Bookshelf & Yumi Tamura

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Here at Manga Bookshelf, we love the Manga Moveable Feast. Sometimes, though, we really love it, and this month has been one of those times.

scan0003Though only a handful of works by Yumi Tamura have been published in English, our collective love for Tamura-sensei’s work was enough to inspire a host of articles here this week, including a rather lengthy roundtable discussion. Since these articles are likely to scroll off the front page long before we’re finished visiting and revisiting them in our minds, here’s a handy index of our contributions to this month’s Feast.

Yumi Tamura at Manga Bookshelf

Since we really have no desire to stop talking about Yumi Tamura, we hope you’ll join us in comments!

Full roundups of this month’s MMF entries can be found at Tokyo Jupiter.

Yumi Tamura Manga Moveable Feast

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I am very excited about the Yumi Tamura Manga Moveable Feast happening this week! Basara is one of my favorite manga, and I would love to see more work by Tamura translated into English. I’m planning on getting back on my Basara reread campaign that I let lapse previously, but I thought I would do a mini-roundup of some of my previous posts that covered some of her works.

Chicago – complete with cello technique critique!
Basara 1 and 2
Basara 3 and 4
Basara 5 and 6
Basara 7 and 8
Basara 9 and 10
Basara 11 and 12

I feel like I’m going to spend a portion of this week vainly wishing that someone would license Tamura’s 7 Seeds for English publication, but I will also put my slightly mournful feelings aside and dive back into Basara, which is always a rewarding reading experience.

Wild Adapter returns!

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wardDreams do come true, my friends—at least for fans of Kazuya Minekura’s Wild Adapter, which has been on hiatus since 2009 due to its creator’s health problems and rumored conflicts with the series’ original publisher, Tokuma Shoten.

It’s no secret that we’re big fans here at Manga Bookshelf, and we’ve been following the news of this series’ possible resurrection since its move to Ichijisha in 2011. Back in August of last year, it was announced that new chapters would begin appearing sometime this spring, and ANN has now reported that the relaunch has begun!

Fans on Twitter have questioned whether the series still has a large enough fanbase to successfully continue, and all we can say here is… DAMN, we hope so.

For more on why we feel that way, check out our Wild Adapter MMF archive, and these posts in particular:

What say you, readers? Any Wild Adapter fans still out there? Stand up and be counted!

Random Musings: Toronto Comic Arts Festival 2013

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© Taiyo Matsumoto

I first learned about the Toronto Comic Arts Festival (TCAF) in 2011 when Usamaru Furuya and Natsume Ono were invited to the event as featured guests. (As a side note: translations of their diary manga from the trip are included in the 2013 TCAF program guide.) It took me two years to finally work up the courage to attend TCAF myself and get my passport in order. 2013 marked TCAF’s tenth anniversary. This year’s festival featured over four hundred creators from nineteen different countries, including mangaka Taiyo Matsumoto and Gengoroh Tagame. While there were festival events throughout May, TCAF 2013’s main exhibition took place on Saturday, May 11th and Sunday, May 12th.

In order to keep the cost of the trip as low as possible, I crossed over the border into Canada from Michigan early Saturday morning along with my good friend Traci (who contributed a guest post here at Experiments in Manga not too long ago.) I arrived in Toronto in time to see The World of Taiyo Matsumoto, an exhibition at The Japan Foundation featuring original artwork by Matsumoto (creator of Blue Spring, Tekkon Kinkreet, GoGo Monster, and the recently released Sunny.) Matsumoto himself was in attendance for a special interview and artist’s talk. The turnout was huge—standing-room only and some people even had to be turned away. Matsumoto admitted that he never expected so many people to turn out to see him and that he was greatly honored. The event and exhibit, which focused on Matsumoto’s artwork, were marvelous. I certainly learned quite a bit: Matsumoto and Santa Inoue (creator of Tokyo Tribes) are cousins and they regularly talk about manga and help each other out; Tekkon Kinkreet was originally intended to be six volumes long, but ended after three since it wasn’t popular enough to continue (although Matsumoto said that he is satisfied with its conclusion and has no desire to revisit the story); in the beginning, Matsumoto was actually reluctant and even resentful working on Ping Pong, which became his breakout manga; and while Matsumoto has always been an innovative artist, more recent developments in printing technology have allowed him to experiment with different drawing materials and techniques, moving even further away from the use of screentone.

© Maurice Vellekoop

From The Japan Foundation, I headed over to the spotlight on Gengoroh Tagame, a highly influential gay manga artist. Joining Tagame were Anne Ishii, Chip Kidd, and Graham Kolbeins to celebrate Tagame and his work and to discuss the recent release of The Passion of Gengoroh Tagame, which they all had a hand in bringing into being. The panelists were all very enthusiastic and had a great senses of humor. Because of this, the spotlight was engaging and entertaining in addition to being informative. Apparently, there was a rumor that Tagame did not want his work translated into English. He assured us all that this was not true. In fact, he was surprised that it took until now for a collection of his manga to be released in English. It is possible that the rumor may have had a chilling effect on the licensing of Tagame’s materials. Like so many other people (myself included), he is very excited about the publication of The Passion of Gengoroh Tagame. He is also unbelievably happy that others share enjoyment in his fantasies. Tagame is unusual in that very few gay manga artists in Japan are able to make their living on their artwork alone, most hold at least a second job. The panel ended with a very interesting conversation about gay manga and bara (manga typically geared towards gay men) and boys’ love and yaoi (manga typically geared towards women.) It’s difficult to generalize about the genres and the distinction between them isn’t always as clear as some people claim or would like; there can be considerable grey area, crossover, and overlap between the two. For a time, yaoi served as an outlet for gay manga before bara became more publicly acceptable and gay manga magazines were established. Tagame actually started out by submitting his work to yaoi magazines when he was eighteen and he continues to have a large number of female fans. In line for his signing after the talk were people of all (adult) ages, genders, and sexualities, which was wonderful to see.

After having my copy of The Passion of Gengoroh Tagame signed, Traci and I met up together again. We made our way down to The Beguiling Books & Art which is an astounding, award-winning comics store. If you find yourself in Toronto, I highly recommend stopping by The Beguiling. It has new comics, old comics, out-of-print comics, mainstream comics, alternative comics, independent comics, domestic comics, international comics (including the largest selection of manga that I’ve ever seen in one place), and more, more, more. And since the shop was across the street from Koreatown, Traci and I took the opportunity to chow down on some delicious Korean food before heading over to Church on Church to catch the tail end of the TCAF Queer Mixer. Unfortunately, we missed the reception and artist talks, but we still were able to see the exhibit Legends: The Gay Erotic Art of Maurice Vellekoop and Gengoroh Tagame which was well worth the trek across town. (Honestly, I was more interested in the art than I was in the mixer itself, anyways.) On a more personal note, I have never had the opportunity to walk around a queer neighborhood before. It was an awesome and somewhat surreal experience for me; it made me very happy just to be in the Church Wellesley Village area.

On Sunday, I attended the Comics Editing International panel which brought together four comics editors from different countries and backgrounds: Thomas Ragon from Dargaud (the oldest comics publisher in France), James Lucas Jones from Oni Press, Mark Siegel from First Second Books, and Hideki Egami from IKKI/Shogakukan. The group talked about the similarities and differences between their work as editors and the comics markets in their countries. The panel was fascinating. I love IKKI manga, and so was very excited to hear editor-in-chief Egami speak. IKKI is different from most magazines in Japan; it appeals to mangaka who want more control over their work and artistic vision as well as those who want to escape the factory-like system associated with so many of the other magazines. Egami mentioned that the manga industry in general is in decline in Japan, and so publishers are beginning to look outside of the country more and more where once they were almost exclusively focused on the domestic market. IKKI has even started to experiment by publishing left-to-right comics with horizontal text, hoping that they will be more easily adapted, translated, and distributed in other countries. I also attended Sunday’s Queer Comics panel which featured Zan Christensen (who is utterly delightful), Erika Moen, Justin Hall, Chip Kidd, and Gilbert Hernandez and Jaime Hernandez. They talked about queer comics specifically and the representation of queer characters in comics in general, with a particular emphasis on non-binary and fluid sexualities and genders, which I personally appreciated. It was a great group and a great discussion.

My very small, TCAF haul

For the most part, I intentionally flew under the radar while at TCAF. I saw several of my fellow manga lovers around (Deb Aoki, Brigid Alverson, and Jocelyne Allen, just to name a few) and I know that there were even more of us there, too, but I tend to keep to myself and didn’t seek anyone out. I did, however, wander around the exhibitors’ area for a bit. Because I promised that I would, I made a point to introduce myself to the wonderful ladies of Chromatic Press and Tokyo Demons, which is one of my more recent obsessions. (I had been invited to the Chromatic Manga Mixer on Friday night, but I sadly wasn’t in town yet.) I also chatted with Alex Woolfson about  Artifice and The Young Protectors and stopped by Jess Fink‘s table long enough to awkwardly profess my love for her work. Ryan Sand’s new publishing effort Youth in Decline made it’s official debut at TCAF, so I picked up a copy of the first issue of Frontier to show my support. One of the best things about TCAF, other than the chance to see so many fantastic artists who I already follow all in one place (and there were a lot of them there), was the opportunity to discover creators who I wasn’t previously aware of. This is how I ended up bringing home Andrew Fulton‘s minicomic Pubes of Fire, Pubes of Flame which continues to greatly amuse me.

I really do not do well in unstructured, social settings; simply attending TCAF was a huge deal for me and a tremendous personal achievement. I largely consider my first TCAF experience to be a success. I am very happy to report that Traci and I both had a phenomenal time. After only a few hours of being there, I was already making plans for a return visit for next year’s show. Seriously, TCAF is amazing. There was so much going on that I had to make some extremely tough decisions about which programs to attend over others. I saw a ton of incredible work from incredible creators from all over the world and I still feel like there was more that I didn’t get to see. So next year, I’ll be showing up no later than the Friday before the main exhibition and preferably earlier. I’ll be scheduling more time to spend exploring every nook and cranny of the exhibitors’ area. I’ll also be carrying around some snacks with me during the festival; I was so busy and engaged by the programming and exhibits that I actually forgot to eat for most of the day. Next year, I hope to have the guts to actually introduce myself to everyone and maybe even socialize a bit more, too. (Please do not be offended if I didn’t say hello to you this year!) As long as there’s a TCAF, you can expect me to be there.

Random Musings: Tokyo Demons

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Last week I reviewed Tokyo Demons, Book 1: You’re Never Alone by Lianne Sentar. Long story short, I loved it. In the process of writing the review, I quickly discovered that there was a lot more that I wanted to say about Tokyo Demons in general. Serialized online and written in the tradition of Japanese light novels, Tokyo Demons has expanded to include dramatized audio books, comics, short stories, games, and more. Since reading the first volume, I’ve nearly become obsessed with Tokyo Demons in all of its incarnations. Seriously, I haven’t been this excited about a series in a very long time. So please excuse me while I gush about it for a bit.

The Story
Tokyo Demons will be a trilogy although two sequel series, Tokyo Ghosts and Tokyo Angels, are planned as well. To be honest, Tokyo Demons is a little weak in the beginning; I was even a little worried about some of the potential cliches. But after a few chapters, it really takes off and the scope is huge. The story is packed with action, cussing, humor, supernatural abilities, drama, and awkward teenage romance. Overall, I found it to be exciting, engaging, and entertaining. Tokyo Demons can also be rather dark and tragic at times. Terrible things happen to the characters in both the past and the present. The characters’ relationships to and with one another–romantic, platonic, familial…the list could go on–are also extremely important to the story.

The Characters
And speaking of the characters, they are one of the reasons that Tokyo Demons works so well for me. The entire cast has a lot of personality (which happens to come across fabulously in the audio drama.) The characters have layers and they’re not always particularly likeable at first. But as Tokyo Demons progresses more and more is revealed about them and they grow and change over time. The characterizations are complicated and the morality is often grey–the protagonists and antagonists have both good and bad qualities and it’s not always easy to tell who belongs in which group. The characters don’t fit into neat little boxes or stereotypes.

The Goods
The serialized version of the novels and the audio drama are available for free online at the Tokyo Demons website. Other bonus materials are also available for free: character guides, relationship charts, timelines, comics, illustrations, previews of the short stories, and so on. The Tokyo Demons visual novel Get It Together and the card game Your Number’s Up are currently in production. The finalized editions of the materials (both physical and digital) as well as additional content only available for purchase can be found through the Tokyo Demons store. Also available through the store are art prints, posters, bookmarks, key chains, buttons, and other merchandise.

The Creators
Lianne Sentar is Tokyo Demons writer and head administrator. She works very closely with Rebecca Scoble who serves as the head editor in addition to producing and directing the audio dramas. They are supported by multiple illustrators, designers, and an entire cast of voice actors. It’s obvious from wandering around the Tokyo Demons website and listening to the free talks that the creators have a tremendous amount of love for their work. They are all enjoying themselves and have a great sense of humor. Their enthusiasm is persuasive. In addition, Lianne and Rebecca are particularly accessible to fans on the website and through other social media outlets. My personal interactions have all been wonderful. (It’s nice to know that they’re great people.)

The Fans
I’ll readily admit that I tend to be more of a lurker when it comes to online communities but there are plenty of other fans of Tokyo Demons who regularly comment on the the site, interact with each other, and show their support through fan art and fan fiction (which the creators wholeheartedly encourage.) In 2012, a Tokyo Demons Kickstarter project was launched to fund the second novel and better audio equipment. It reached more than double its initial goal. In fact, there has been so much support for Tokyo Demons that the creators were able to quit their jobs to focus on Tokyo Demons and their manga-industry work full time in addition to helping to launch Chromatic Press.

The Publisher
In part, Tokyo Demons served as a test project for the newly formed Chromatic Press as a way to explore publishing formats and distribution models and to determine what sorts of multimedia opportunities would be possible. The first novel is currently being revised for a new Chromatic Press edition and the series will continue to be released by the publisher–Tokyo Demons is one of the flagships for Chromatic Press. I am very excited to see what Chromatic Press has in store, not just for Tokyo Demons but for all of its titles.

Guest Post: The Infernal Devices Vol 1: Clockwork Angel: Manga Review

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Not too long ago I reviewed The Infernal Devices, Volume 1: Clockwork Angel, HyeKyung Baek’s graphic novel adaptation of Cassandra Clare’s novel by the same name. While I am familiar with The Infernal Devices, I haven’t actually read any of the original trilogy. I do, however, know people who have and thought it might be interesting to get another perspective on the work. And so I decided to bribe my good friend Traci with manga in exchange for her thoughts on the adaptation. The video below (a first for Experiments in Manga) is the result. I’m extremely excited that she agreed and am very pleased to welcome Traci to Experiments in Manga!

Hello, all. My name is Traci and I am the mastermind behind the alwynuu channel and Traci Reads vlog on YouTube. I am a photographer by passion and trade and a wanderer, philosopher, and reader by desire and happenstance. I enjoy most things geeky and nerdy, odd literary adaptations, and any genre that includes some form of magic or supernatural business. Don’t be shy. Drop in on occasion and see what I’ve gotten up to and where I’ve wandered.

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New Licenses from Dark Horse and Yen Press

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Another week, another con. Two cons, in fact. Sakuracon was the place to be for manga folks, though, as both Dark Horse and Yen had panels with brand new announcements! (Viz had a panel as well, but they already did their big announcements last month, so did not have anything new on the print manga front.)

shinlone

New print titles to start. Fans of Lone Wolf and Cub will be pleased to see that Dark Horse has licensed the sequel, New Lone Wolf and Cub. Old-school manga followers may note that they announced this back in 2006, but it got put on the back burner for reasons that have to do with the Japanese licensor, I’m guessing. It has the same writer but a different artist, and ran in the magazine Jin till that folded, whereupon it moved to the online magazine Katana. Expect much samurai action.

vocaloid

Vocaloid is a fandom that has taken off both here and in Japan to an unprecedented degree, so it’s no surprise that someone was going to pick up a cute comic manga featuring the leads, though Dark Horse being the one may be a bit of a surprise. They’ve tried to shed their grim ‘n’ gritty manga image quite a few times recently, so my guess is this is another opportunity. Maker Hikoushiki Hatsune Mix ran in Comic Rush magazine a few years back, and sounds like it’s cute slice-of-idol life stuff.

The big news from Dark Horse may be on the digital front, though. They’ve already added quite a few of their Kadokawa titles to their online store, including Evangelion spinoffs, Kurosagi Corpse Delivery Service, and Ghost Talker’s Daydream. Trigun and Hellsing are also now on there, as is Appleseed, the classic Shirow title. That said, two of their biggest series were still missing. Well, that’s going to change. Starting next month we’ll be seeing Oh My Goddess! and Blade of the Immortal digitally. Given the length of both series, digital may definitely be the way to go in order to gain new readers.

inuboku1

Yen, meanwhile, had three new announcements, a couple of which will be quite exciting to fans who’ve seen the anime adaptations of these. Inu x Boku SS is a Gangan Joker series, still ongoing at 8+ volumes (I smell an omnibus release from Yen), and it’s got everything. Yokai schoolgirls, Fox-tailed secret service butler bodyguards, reincarnation, star-crossed love, and boarding houses. It also has quite a plot twist halfway through, which I won’t spoil here.

notpopular1

Do you love long drawn out manga titles that end in an exclamation point? Japan certainly does, and lately North America has started to as well. So on the heels of Oniichan no Koto Nanka Zenzen Suki ja Nain Dakara ne!! and Ore no Imouto ga Konna ni Kawaii Wake ga Nai comes Gangan Online’s Watashi ga Motenai no wa Dou Kangaete mo Omaera ga Warui!, aka WataMote, aka It’s Not My Fault I’m Not Popular!. This one stars a high schooler who is a master of otome game life, but fails at real life, possibly as she looks like a giant Gloomy Gus. The humor comes when she resolves to try and turn her life around and become sociable. This was a long-awaited title, and does not seem, at first glance, to be filled with incest, so I’m hoping Yen is on to a winner here.

wolfchildren

And for those who enjoyed the Wolf Children movie, Yen has licensed the 3-volume manga adaptation of it, Oukami Kodomo no Ame to Yuki, which ran in Kadokawa’s Young Ace. It’ll come out in a convenient one-volume omnibus, and is the touching story of a young mother trying to bring up her children… who are part-wolf. Judging by the cover art, I think ‘heartwarming’ is the word of the day for this series.

Lastly, they’ve rescued the Kingdom Hearts manga titles, and plan to start releasing those, with both stuff that already came out via Tokyopop and new material.

2013 solicits are almost over, as we’re seeing November release date news now! What’s your top license of the year?