Leiji Matsumoto

My Week in Manga: October 9-October 15, 2017

October 16, 2017 by Ash Brown

My News and Reviews

Last week at Experiments in Manga I posted the Bookshelf Overload for September which includes lists of some of the manga and other books that I picked up last month (along with some brief commentary). Looking forward to future manga releases, Vertical Comics recently announced two new titles: Pop Team Epic by Bkub Okawa and The Delinquent Housewife! by Yoko Nemu. Seven Seas also had an interesting announcement to make. In addition to two licenses–Yuuna and the Haunted Hot Springs by Tadahiro Miura and World’s End Harem by Link and Kotaro Shono–Seven Seas is launching Ghost Ship, a new imprint for the publishers’ more mature titles.

Quick Takes

Captain Harlock: Dimensional Voyage, Volume 1 written by Leiji Matsumoto, illustrated by Kouiti Shimaboshi. Although I immediately recognize the name of Captain Harlock, Dimensional Voyage is actually the first incarnation of his story that I’ve read or watched except for the short crossover manga included in Kodansha Comics’ recent release of Queen Emeraldas. (Emeraldas actually makes a brief appearance in the first volume of Dimensional Voyage, too.) My understanding is that Dimensional Voyage is either a reboot or retelling of Matsumoto’s original Captain Harlock manga, written by Matsumoto himself but illustrated by a different artist. The series is completely accessible to readers who are unfamiliar with Harlock though I suspect that established fans will find the manga to be appealing as well. Shimaboshi’s designs are obviously based on Matsumoto’s though many of the main characters are much more conventionally attractive in this version. Both the dialogue and the artwork of Dimensional Voyage tends to be very dramatic and at times even melodramatic, but I don’t at all consider that to be a bad thing. As for the story itself, the manga is just getting started. The first volume establishes the basic setting and premise, but much of it is spent introducing the legends surrounding Harlock, the series’ titular space pirate.

Jackass! by Scarlet Beriko. I forget exactly how Beriko’s work as a whole was first brought to my attention, but my curiosity was immediately piqued by Jackass! when SuBLime announced that it would be publishing the manga. It’s not a terribly uncommon trope in boys’ love for two friends to ultimately fall deeply in love with each other, so Jackass! isn’t particularly surprising in that way. However, it is the first manga that I’ve read in the genre in which women’s stockings provide the initial impetus for a relationship to take that particular turn. Keisuke’s best friend Masayuki has a leg fetish. In a rather awkward turn of events, and much to Keisuke’s embarrassment, Masayuki catches a glimpse of him wearing his sister’s pantyhose. Masayuki is instantly smitten with Keisuke’s perfect legs, which understandably complicates their relationship somewhat. At times Jackass! can be unexpectedly sweet and even touches on more sobering subject matter like homophobia, but for the most part it reads as a comedy not to be taken too seriously. Jackass! includes a strong supporting cast, including Keisuke’s older sister and his confidently gay cousin, which add a great deal to the manga; the entertaining and occasionally ridiculous character interactions are the highlight of the story. I enjoyed Jackass! and would certainly be interested in reading more of Beriko’s work.

Kiss Me at the Stroke of Midnight, Volume 1 by Rin Mikimoto. Hinana is known for her seriousness so most of her friends and classmates are unaware that she’s also a romantic hoping to find a fairy tale-like love. Kaede is a celebrity and rising star, admired for both his talent and incredibly good looks. The two of them meet, somewhat by chance, when Kaede is shooting on location at Hinana’s high school for an upcoming film and they end up hitting it off. Mikimoto’s artwork in Kiss Me at the Stroke of Midnight comes across as attractive but a little generic overall except for the hilariously exaggerated reaction shots drawn for comedic effect. And there is plenty of humor in the series. Kaede, idolized by his fans, does not at all have the personality that they would expect. He can be kind but, despite how he generally presents himself professionally, Kaede’s not exactly a refined gentleman. He’s also really into butts, and isn’t ashamed of that fact. Most people would probably be slightly taken aback by this, but Hinana finds his candidness refreshing. (I appreciated that aspect of his personality as well.) I was a little surprised by how much I enjoyed the first volume of Kiss Me at the Stroke of Midnight. I’m not overly interested in manga about celebrities, but Kaede is such a weirdo and Hinana is likeable, so I’m curious to see what turns their relationship might take from here.

My Week in Manga: September 18-September 24, 2017

September 25, 2017 by Ash Brown

My News and Reviews

I was running a little behind my intended schedule last week (and today for that matter–this seems to be somewhat par for the course lately), but over the weekend I was finally able to post my review of the ninth omnibus of Vinland Saga, an award-winning historical manga by Makoto Yukimura which has become one of my favorite series currently being released in English. Last week I also attend a talk by Hiroshi Yoshioka, a professor at Kyoto University’s Kokoro Research Center, called Hiroshima, Fukushima, and Beyond: Borders and Transgressions in Nuclear Imagination. Yoshioka’s research addresses the portrayal of nuclear power within popular culture, whether that be manga like Keiji Nakazawa’s Barefoot Gen, Sunao Katabuchi’s In This Corner of the World anime adaptation, other visual arts, or even Giant Baba’s “atomic drop” in professional wrestling. I won’t be doing a full write-up of the talk (although perhaps I should), but I did find it to be fascinating. A couple of other interesting things that I’ve come across recently include Ryan Holmberg’s two part article “Yokoyama Yuichi and Audiovisual Abstraction in Comics” as well as an edited version of a talk by Tyran Grillo, the translator working on the Legend of the Galactic Heroes novels, about the series and its author Yoshiki Tanaka.

Quick Takes

Frau Faust, Volume 1 by Kore Yamazaki. The German legend of Faust, a scholar who sells his soul to the Devil in order to gain great knowledge and worldly delights, has had numerous interpretations over the centuries. (Considering my background in music, I’m personally most familiar with the various operatic and symphonic renditions of the tale.) Faust being the subject of a manga would be enough for me to take an immediate interest, but the fact that Frau Faust is by Yamazaki, the creator of The Ancient Magus’ Bride which I greatly enjoy, made it a series that I absolutely knew I needed to read. One volume in, not only am I intrigued, I am completely on board with Yamazaki’s reimagining of the classic tale. As can be gathered from the title, Faust in this case is a woman. Johanna is strikingly enigmatic, the complexity of her true nature slowly revealed over the course of the first volume of the manga. The pacing of Frau Faust is excellent. Plenty of mystery remains by the first volume’s end, but rather than the story feeling like it’s being unnecessarily drawn out, it simply makes me want to read more. The only real complaint I have about the manga, and it’s a relatively minor one at that, is Johanna’s eyeglasses which tend to inexplicably appear and disappear from one panel to the next and I can’t tell if it’s meant to be intentional or not.

Kiss of the Rose Princess, Volumes 1-2 by Aya Shouoto. Since I’ve been enjoying The Demon Prince of Momochi House I’ve been making a point to try some of the other manga by Shouoto available in English. Sadly, I haven’t been nearly as taken with Kiss of the Rose Princess, one of Shouoto’s earlier series. I think that part of my lack of interest in the series stems from the fact that there’s not much of a plot even hinted at until the second volume. It’s almost as if the first volume, and much of the second, is devoted to a side quest before really getting to the meat of the story. Anise is a high school student who quite unexpectedly finds herself in command of a quartet of knights (who are also her classmates) that she can magically summon, a situation that hasn’t been fully explained. More than anything else, the setup comes across as a convenient excuse for the series’ heroine have a number of young men who are in some way bound to her if not vying for her attention. There’s nothing inherently wrong with that, but at this point most of the characters come across as “types” and any convincing romantic tension is nearly nonexistent. Everyone is very prettily drawn, however. Shouoto seems to be favoring silliness over seriousness in Kiss of the Rose Princess, which again isn’t necessarily bad, but a satisfying balance between the tones hasn’t been reached yet.

Queen Emeraldas, Volume 2 by Leiji Matsumoto. In addition to being a classic manga, which I’m always happy to see more of in translation, I found the first half of Queen Emeraldas to be wonderfully engrossing, so I was looking forward to reading the conclusion of the series. One of the things that particularly appeals to me about the Queen Emeraldas is the mood that Matsumoto is able to create–the melancholic atmosphere of the manga as well as the portrayal of the great expanse and loneliness of the universe. (I also adore Matsumoto’s illustrations of space.) Emeraldas is a woman traveling the stars, her ship her only constant companion. However, her destiny still frequently crosses paths with those of others. Hiroshi Umino repeatedly finds himself drawn into her orbit as he tries to establish a life of freedom in space. The chapters of Queen Emeraldas are loosely-connected stories with the presence of Emeraldas as the uniting factor. She herself is frequently the narrator of the tales, but the focus is often on the follies and arrogance of the men she meets. I was actually hoping to learn more about Emeraldas and her personal story, but by the end of the series very little has been explicitly stated about her past. Even so, Emeraldas is a marvelously charismatic character, capable of great empathy and compassion but dedicated to justice.

Manga Giveaway: Queen Emeraldas Giveaway Winner

May 3, 2017 by Ash Brown

And the winner of the Queen Emeraldas manga giveaway is… Sofia!

As the winner, Sofia will be receiving a copy of the first volume of Leiji Matsumoto’s Queen Emeraldas as published in English (and in hardcover!) by Kodansha Comics. Queen Emeraldas is a relatively recent example of a manga released in translation that is set in space. I happen to be rather fond of stories with space settings and so for this giveaway I asked that participants tell me a little about their favorite space manga. Check out below for a list of manga, but everyone’s detailed responses can be found in the giveaway comments.

Some of the manga with space settings released in print in English:
2001 Nights by Yukinobu Hoshino
A, A′ by Moto Hagio
Astra Lost in Space by Kenta Shinohara
Andromeda Stories written by Ryu Mitsuse, illustrated by Keiko Takemiya
Battle Angel Alita: Last Order by Yukito Kishiro
Bodacious Space Pirates: Abyss of Hyperspace by Chibimaru
Captain Harlock: Dimensional Voyage written by Leiji Matsumoto, illustrated by Kouichi Shimahoshi
Chronowar by Kazumasa Takayama
Earthian by Yun Kouga
Gankutsuou: The Count of Monte Cristo by Mahiro Maeda
Gin Tama by Hideaki Sorachi
Jyu-Oh-Sei by Natsumi Itsuki
Knights of Sidonia by Tsutomu Nihei
Mobile Suit Gundam: The Origin by Yoshikazu Yasuhiko
Mobile Suit Gundam: Thunderbolt by Yasuo Ohtagaki
Moon Child by Reiko Shimizu
Phoenix by Osamu Tezuka
Planetes by Makoto Yukimura
Please Save My Earth by Saki Hiwatari
Queen Emeraldas by Leiji Matsumoto
Stellvia by Ryo Akitzuki
Saber Tiger by Yukinobu Hoshino
Saturn Apartments by Hisae Iwaoka
Terra Formars written by Yu Sasuga, illustrated by Ken-ichi Tachibana
They Were Eleven by Moto Hagio
To Terra… by Keiko Takemiya
Trigun by Yasuhiro Nightow
Twin Spica by Kou Yaginuma
The Two Faces of Tomorrow by Yukinobu Hoshino
The Voices of a Distant Star written by Makoto Shinkai, illustrated by Mizu Sahara

As usual, the above list is not at all comprehensive (and there’s even more available digitally), but it should hopefully provide a good launching point. I’ve personally read and am quite fond of many of the titles listed, but there are some that I have yet to try, too. Thank you to everyone who took time to share your favorite space manga with me! I hope to see you all again for the next monthly giveaway.

Manga Giveaway: Queen Emeraldas Giveaway

April 26, 2017 by Ash Brown

It’s that time again! The end of the month is fast approaching which means another giveaway at Experiments in Manga is now underway! This month’s giveaway features Queen Emeraldas, Volume 1 by Leiji Matsumoto as published in English by Kodansha Comics. (It’s a hardcover!) The second and final volume of the series will be released later this year (I believe it’s scheduled for July), so this giveaway is a great opportunity for a chance to win the first volume to give the series a try. And, as always, the giveaway is open worldwide!

I have been a long-time fan of speculative and science fiction of all types, but I do seem to particularly fond of those that somehow involve space. Taking that into consideration, it probably shouldn’t be too surprising that manga about space travel and exploration especially tend to appeal to me. When Leiji Matsumoto’s Queen Emeraldas was licensed it immediately caught my attention. Not only does it take place in space, it’s also a series from the 1970s. “Classic” manga aren’t frequently released in English (unless they’re by Osamu Tezuka), so that aspect of Queen Emeraldas interested me, too. And indeed, I enjoyed the first volume a great deal.

So, you may be wondering, how can you a copy of the Queen Emeraldas, Volume 1?

1) In the comments below, tell me about your favorite manga set in space. (Don’t have a favorite or have never read one? Simply mention that instead.)
2) If you’re on Twitter, you can earn a bonus entry by tweeting, or retweeting, about the contest. Make sure to include a link to this post and @PhoenixTerran (that’s me).

And there you have it. Everyone participating in the giveaway can earn up to two entries and has one week to submit comments. If needed or preferred, entries can also be sent directly to me at phoenixterran(at)gmail(dot)com. The comments will then be posted here in your name. The giveaway winner will be randomly selected and announced on May 3, 2017. Good luck!

VERY IMPORTANT: Include some way that I can contact you. This can be an e-mail address in the comment form, a link to your website, Twitter username, or whatever. If I can’t figure out how to get a hold of you and you win, I’ll just draw another name.

Contest winner announced–Manga Giveaway: Queen Emeraldas Giveaway Winner

My Week in Manga: September 12-September 18, 2016

September 19, 2016 by Ash Brown

My News and Reviews

Last week at Experiments in Manga I posted the Bookshelf Overload for August. I picked up some great out-of-print (or soon to be out-of-print) manga and comics last month in addition to some highly-anticipated new releases. I was particularly busy with work and taiko last week so I wasn’t online much, but there is one thing that I’d like to draw attention to–the thirty-eighth and most recent issue of Sparkler Monthly. In it is the first part of a Skyglass side story written by Jenn Grunigen and illustrated by Mookie called “The Mud God” which, in addition to being adorably cute, is partly my fault as it’s related to another Skyglass commission that the author is working on for me. (Hopefully that one will be able to be shared soon, too!)

Quick Takes

Inuyashiki, Volume 4 by Hiroya Oku. The fourth volume of Inuyashiki begins immediately where the third volume ends, with the devastating and gruesome aftermath of Inuyashiki’s confrontation with an powerful organized crime group. It then turns to follow Shishigami’s story again. One thing that I found to be particularly interesting about Inuyashiki, Volume 4 is the character development of the two main leads. Since the beginning of the series, Inuyashiki and Shishigami have been opposites, using their newly-granted powers in vastly different ways. Though they both are mechanical monsters with many of the same abilities, Inuyashiki has focused on helping others, whether that be by curing major illnesses or fighting on behalf of those who are weaker, while Shishigami has been going on killing sprees for his own selfish reasons. Inuyashiki abhors violence, even when he is a willing participant; Shishigami delights in it. But the fourth volume of Inuyashiki sees some of that change. Inuyashiki is learning to consciously use and control his more deadly powers, specifically in order to put an end to Shishigami. He still considers it to be a necessary evil, though. As for Shishigami, his mother’s illness inspires him to use his abilities for less destructive purposes, but it’s still difficult to sympathize with him since he shows very little regret or remorse for the suffering he has wrought in the recent past.

One-Punch Man, Volumes 4-8 written by One and illustrated by Yusuke Murata. I continue to be greatly impressed by both the artwork and writing of One-Punch Man although the series is not without its flaws. The manga plays around with many of the tropes of the superhero genre and makes use of plenty of stereotypes in the process. Unfortunately, that means the introduction of an unquestionably gay hero and the perceived threat of his sexuality is intended to be comedic, resulting in an uncomfortable setup in which implied sexual assault is treated as a joke. Personally, I didn’t find this to be particularly funny. However, other than that glaring misstep, the humor in One-Punch Man is fantastic. A slew of new heroes and villains have been brought in; their powers are frequently over-the-top and frankly ridiculous, fitting the overall tone of the series perfectly. Murata’s artwork can be absolutely stunning and is incredibly dynamic, shifting from simplified illustrations to those that are nearly photo-realistic depending on the needs of the story and humor. The action sequences are great, filled with intense battles between absurdly powered opponents and accompanied by a suitably tremendous amount of destruction. It’s not at all surprising that One-Punch Man has been adapted into an anime series–the manga as a whole but especially the visual components seem to beg for it.

Queen Emeraldas, Volume 1 by Leiji Matsumoto. Older manga are not often released in English, so I was very excited to learn that Kodansha Comics would be publishing a classic series. I was even more interested when I found out that series would be Matsumoto’s space opera Queen Emeraldas which takes place in the same universe as his Captain Harlock stories. Although the hardcover English-language edition is based on a Japanese release from 2009, Queen Emeraldas was originally serialized in the late 1970s. The story largely follows a young man by the name of Hiroshi Umino, a runaway from Earth who crash lands on Mars in a spaceship he cobbled together himself. The titular Emeraldas is charismatic and enigmatic woman, a living legend who metes out justice as she wanders the stars. She takes a particular interest in the boy, repeatedly aiding him in his struggle to survive in space. Initially her concern seems to emerge from the fact that his story shares so many similarities with her own although later it is implied that she may have a deeper connection to him. However, like much of Queen Emeraldas, the nature of that connection is still a mystery. So far, I am thoroughly enjoying Queen Emeraldas. The manga is moody, atmospheric, and melancholic with a Western frontier flair. The characters are ambitious, seeking a life of freedom in a world that is harsh and unforgiving.

Yamada-kun and the Seven Witches, Volume 9 by Miki Yoshikawa. It’s fairly common for bodyswap manga to incorporate a fair amount of fanservice, especially when different genders are involved, and Yamada-kun and the Seven Witches is no exception to that trend. Generally, the fanservice in the series doesn’t bother me that much especially considering the context, but every once in a while it’s more of a distraction than anything else. A case in point is a completely inexplicable panty shot in the ninth volume which completely threw me out of the story; it served no purpose for either characterization or plot, and even how the scene was illustrated didn’t make any sense. Usually, Yoshikawa is much better than that. Otherwise, I really enjoyed the ninth volume of Yamada-kun and the Seven Witches. There are some interesting twists and revelations as Yamada tries to find a way to return everyone’s missing memories. I’m not always very fond of amnesia plotlines in stories simply because they can be a lazy way for creators to write themselves out of a corner or cause unnecessary drama, but in the case of Yamada-kun and the Seven Witches it actually works really well. At it’s very heart the series about friendship and overcoming isolation. Yamada, intentionally or not, was the one who brought so many of the characters together in the first place and he will do everything that he can to bring them together again.

The Most Anticipated Manga of 2016

January 4, 2016 by Katherine Dacey

We’re kicking off 2016 with a look at the manga titles and trends we’re most excited about. Joining me and Brigid is manga journalist and critic Deb Aoki, former guide to AboutManga.com, current host of Manga Comics Manga, and Publishers Weekly contributor.

What new manga are we looking forward to this year?

BRIGID: Fruits Basket! Natsuki Takaya’s tangled tale of a cursed family was one of the first shoujo manga I ever read, and I’m looking forward to re-reading it with a more experienced eye (and a better translation).

The other upcoming manga that everyone seems to be looking forward to is Princess Jellyfish, which Kodansha is publishing in double-sized omnibus volumes. This josei title about a bunch of nerdy girls living in their own rooming house sounds like it will be a lot of fun.

In terms of continuing series, I loved the first volume of Planetes and I’m looking forward to more. It’s a smart science fiction story with likeable characters and thoughtful storylines, and Dark Horse’s new edition is a beautiful two-volume omnibus that really feels like something special. I can’t wait to read more of Hiroya Oku’s Inuyashiki, about two humans given extreme superpowers in a freak accident—one uses them for good, one… doesn’t—and Yoshitoki Ōima’s A Silent Voice, an amazingly powerful story that’s about bullying but also about alienation and redemption. One more: Your Lie in April, which has kind of slid under the radar, a shonen romance about musicians that, like A Silent Voice, goes beyond the standard shonen romance tropes and has relatable characters experiencing real emotions.

On a general note: When I was compiling my lists of the best new and ongoing manga series of 2015, I was struck by how many really good manga debuted in 2015. From all accounts, 2016 is going to be even better.

DEB: I’m most excited about the trend where manga publishers are taking chances on titles and genres that were once considered the third rail/extra risky to license, like sports manga. Super excited about the Summer 2016 arrival of the first volumes of Haikyu!! by Haruichi Furudate and Kuroko’s Basketball by Tadatoshi Fujimaki from Shonen Jump/VIZ Media! I love Haikyu!! a lot — been watching the first and second seasons on Crunchyroll over and over again. the characters are really wonderful — it’s delightful to see the team grow and reach new heights every time. It’s got lots of heart and humor as well as exciting sports action. It’s now one of my all-time faves!

I’ve also been enjoying the recently released Yowamushi Pedal by Wataru Watanabe, a manga about a hapless anime otaku who discovers that he has a talent for bicycle racing. Big ups to Yen Press for publishing this fairly long series in double-sized volumes.

queen-emeraldas-small Another example of manga publishing biz in the US dipping their toes into riskier fare is the upcoming publication of three classics: Rose of Versailles by Riyoko Ikeda from Udon Entertainment, Queen Emeraldas by Leiji Matsumoto from Kodansha Comics, and Otherworld Barbara by Moto Hagio from Fantagraphics Books. For too long, the classics that are the foundation of manga in Japan have been largely unavailable in English. I’m hoping that these titles succeed so we can someday get more.

Also super excited about having more manga by Asano Inio available in English. Solanin and What a Wonderful World! are go-to recommendations for anyone who loves indie comics and is curious about manga. Now VIZ Media is publishing the mind-bending Goodnight Pun Pun, and A Girl on the Shore, coming from Vertical Comics. Both should be on your pre-order lists, as these are beautifully drawn, thought-provoking books that everyone will be talking about in the months to come.

KATE: I share Deb’s excitement about classic manga. It’s a risky undertaking for any publisher, especially when so many readers are young (under 20) and not particularly curious about the medium’s roots. It will be interesting to see if UDON can pitch Rose of Versailles to the Shojo Beat crowd; though the artwork is a little dated, the melodrama, costumes, and kick-butt female lead have obvious parallels with titles in VIZ, Kodansha, and Yen’s catalogs. Who knows? It could be a surprise hit.

Speaking of vintage titles, I’m ecstatic about Drawn & Quarterly’s new Kitaro volumes. D&Q will be releasing these previously untranslated stories in slimmer, kid-friendly editions–a departure from their 2013 Kitaro release, which screamed “prestige project!” I think that’s a smart move: adults with an interest in Shigeru Mizuki’s work will buy it in almost any format, but younger manga fans need a length and trim size that reflects their own reading habits.

Another title on my must-read list is Jiro Taniguchi’s Guardians of the Louvre, which NBM Publishing will be releasing in April. The previous installment of the Louvre series–Hirohiko Araki’s Rohan at the Louvre–was the ultimate otaku two-fer: a ghost story and a standalone chapter in the JoJo’s Bizarre Adventure saga. Taniguchi’s book will undoubtedly be a more sober affair, but one I’m anticipating with the same eagerness: I can’t wait to see how Taniguchi integrates the museum’s famous collection into his story.

In the just-for-fun department, I Am a Hero, a zombie thriller from Dark Horse, is near the top of my list, as are VIZ’s Haikyu! (mentioned by Deb above), Vertical’s FukuFuku: Kitten Tales, and the final installment of DC Comics’ Batman: The Jiro Kuwata Batmanga. I’m also looking forward to Wandering Island, a story about a gutsy young woman who runs an air mail service in a remote corner of Japan. The illustrations are by Kenji Tsurata, the creator of the criminally under-appreciated Spirit of Wonder, which was published by Dark Horse in 1998.

Last but not least, I’d also make a plug for The Osamu Tezuka Story: A Life in Anime and Manga. This visual biography clocks in at a hefty 900 pages, highlighting important periods in Tezuka’s career as an illustrator and animator. Its author, Toshio Ban, worked closely with Tezuka in the 1970s and 1980s, giving Ban a unique perspective on his subject. As an added bonus for American readers, Stone Bridge Press brought in Frederick L. Schodt to do the translation.

How about conventions—does anything look particularly tempting?

DEB: I’m always curious to see what Toronto Comic Arts Festival will be bringing as their guests this May. Last year was Gurihiru and Aya Kanno, prior years brought Konami Kanata, Moyoco Anno, Akira Himekawa, Usamaru Furuya, Est Em, Natsume Ono and Yoshihiro Tatsumi to name just a few. I don’t know what they have planned, but I know it’ll be worth the trip!

As booth space and tickets get harder and harder to get at San Diego Comic-Con, Anime Expo in Los Angeles has turned into the Japanese content biz must-go show. I’ve noticed that more companies from Japan are buying booths, and see lots of meetings / business being conducted at the show.

It’s great that AX is getting bigger and bigger, but I worry that it creates a situation where the anime/manga world becomes even more segregated/separated from the general pop culture community that converges at Comic-Con and similar American shows. This is especially irksome because it seems like most of the Western comics / pop culture press corps basically ignore / don’t report on / don’t attend Anime Expo or any of the announcements that come out of this show.

This pisses me off because anime/manga matter more than ever — especially as its fandom tend to skew younger, are more active, and more interested in all kinds of entertainment from US and Japan compared to their counterparts on the superhero side of the comic shop. So much for my “be less crabby in 2016” resolution… ;-)

KATE: I had a blast attending shows like New York Comic Con and Wondercon in the late 2000s. The last time I attended NYCC, however, I felt that the show had taken a much sharper turn towards the television, film, and gaming industries, and was losing its identity as a comics convention. The manga publishers were still there, of course, but it was harder to circulate and interact with editors and sales reps because of the enormous crowds. That experience pretty much soured me on going to any more big conventions. TCAF always sounds like a blast, but the timing never works for me; I’m always knee-deep in final exams and student papers when it rolls around!

BRIGID: I echo Deb’s concern about AX, but it does seem like this year, the news was spread across a broader swath of conventions—and many of the new licenses, including Fruits Basket, were announced on Twitter. The presence of so many people from the Japanese publishers—not just creators but editorial staff as well—was very noticeable this year and shows that the publishers are taking the American audience seriously. It also enhanced the experience to see, for instance, the editor of Noragami explaining the process of how it went from sketches to finished page. I’m looking forward to more of that at the larger shows as well as the more intimate experience at the smaller shows, where the creators and their readers are not so far apart.

Any predictions about the industry?

DEB: Almost all signs point to a healthier, more robust manga publishing business in 2016, which is a great thing. I don’t see the same rush to publish anything and everything vaguely manga-ish (even crappy manga) that I saw prior to the crash of the late 2000’s — publishers seem to be making more careful choices, more calculated risks. The fact that they’re taking any risks at all — by expanding genres, offering their stories via more digital channels and doing more simulpub/same day as Japan releases, is a good sign.

I’m also intrigued/encouraged by the efforts being made by Japanese manga publishers to welcome submissions by creators from outside of Japan, like Comics Zenon’s Silent Manga Audition contests and the Japanese edition of Shonen Jump’s latest contest to get published in their online magazine, Jump Plus. It’s no secret that many up-and-coming comics creators from around the world are inspired by manga, so it’ll be very interesting to see what happens when more of these creators get exposure in Japan and guidance from Japan’s top-notch manga editors.

KATE: I’m consistently impressed by Seven Seas’ tenacity and business acumen, but not so impressed with the actual titles they license. Last year, however, Seven Seas published The Ancient Magus’ Bride and acquired Orange, neither of which fit the profile of a typical Seven Seas manga; if anything, both seemed like the kind of titles that CMX used to license. That gamble has paid off with Bride, which recently cracked the NY Times Manga Bestseller list. My prediction: Seven Seas will continue to make bold licensing choices in 2016, even as vampire-monster girls remain their core business.

BRIGID: I see publishers taking manga more seriously as the audience expands. While the “pile ‘em high and sell ‘em cheap” attitude that made Tokyopop and Viz’s Shonen Jump lines such a success ten years ago works well with teen readers, who gobble up manga in quantity, publishers are starting to cater to older readers who want a somewhat better experience. The oversized omnibus isn’t that much more expensive than single volumes, but it allows for a more satisfying reading experience, and publishers often include extras like better quality covers and color pages. Viz’s new edition of Monster, Dark Horse’s Planetes, and Yen Press’s Emma are all examples of this, and Kodansha gets a shoutout for not only its superb editions of Vinland Saga but its deluxe Attack on Titan Colossal Edition. This seriousness goes beyond production values to the licensing of quality manga that might not have found a market in earlier years, including Inuyashiki and Naoki Urasawa’s Master Keaton.

gekiga01 If any publishers are reading this, I have a very specific licensing request. There’s a small French publisher called Lezard Noir that is publishing some amazing manga in French; I spoke to the publisher when I was in Angouleme two years ago and was really impressed with his line, which includes Minetaro Mochizuki’s Chiisakobé, Bonten Taro’s Sex & Fury, and Masahiko Matsumoto’s Gekiga Fanatics. I’m not the only one—every year at least one of his books is picked as an official selection by the Angouleme festival. I’d love to see some U.S. publishers pick up these titles in a similar format—I think they would have a lot of appeal to those older, more sophisticated manga readers.