Skip to main content

Home/ Let's Manga/ Group items tagged comic

Rss Feed Group items tagged

Nele Noppe

About the word manga - 15 views

Sorry for the late reply! Yes, I don't think it's very useful to try and draw conclusions about manga based on some aspect of Hokusai's work. Hokusai may have made the word "manga" famous, but his ...

manga meaning

Nele Noppe

iPad Publishing No Savior for Small Press, LGBT Comics Creators - 3 views

  • Anticipated as a potential savior of the comics industry, distribution of digital comics through Apple's iPhone and iPad is proving not to be the magic bullet many had hoped for. Format issues, pricing concerns, and censorship of content are hindering many creators, particularly those making lesbian and gay comics, from taking full advantage of this new outlet for their work.
  • But Apple chose ePub as the format for books sold through iBooks; the format is not designed to support fully illustrated projects like art books and comic books, and presents them with large white margins on each page. There are only a handful of graphic novels available in the iBooks store; most have been modified to show a few panels per page to avoid shrinking the content excessively.
  • Even if a creator happened to have the technical proficiency to write her own comics app, going from iBooks to a boutique comics app is hardly ideal for a small publisher or self-published creator. You have no opportunity to reach readers unless they specifically look for comic books; you don't benefit from the browsing and search traffic on the larger store and your books won't appear in searches. But even if a creator or small publisher persevered and created and successfully promoted his own comics app, there is the last, and possibly most significant, hurdle to overcome: Apple censorship.
  • ...14 more annotations...
  • Digital magazine store Zinio, like all content suppliers for iPhone and iPad, agreed to Apple's "Regional Content Review" for all items sold through their app. This means that all "in-app purchasable" content must be approved by Apple to be acceptable to the broad U.S. population (the United States is one "region") or it will block it. The more obvious targets for censorship in the Zinio store included Playboy and Penthouse magazines, but Vogue France was also rejected because it features artistic and occasional use of nudity. Vogue France is also not stocked at Wal-Mart stores for the same reason.
  • Stories have surfaced about comic books being blocked as well. In February, Stephen Lindsay, the creator of Jesus Hates Zombies, discovered that a link to buy his book through the ComiXology app had stopped working. A ComiXology rep explained in a tweet that Apple "deemed it inappropriate according to their SDK guidelines" and they were forced to remove it.
  • "Here's the thing," said Lindsay. "Jesus Hates Zombies doesn't involve any sex whatsoever. None. It has violence and swearing, but that's because it's a mature readers horror comedy. But the violence isn't even intense. And being a black and white comic, there's zero red blood, which means any gore is dramatically cut down."
  • When asked if it would be fair to say that any comics with content that would fit in an R-rated movie (violence, brief nudity without explicit sex) would fit into Apple's guidelines, Murphey agreed.
  • "People seem to think that Apple is slamming our hands down every day saying 'No — we shall oppress this material— you are not permitted to do anything that we do not deem to be family friendly'… and that's not what's happening at all," Murphey continued. "Apple has not censored what we publish in a way that we feel has been terribly oppressive. When things first started in 2008, before they had the parental controls in effect, they were much more strict about what could and couldn't be allowed in the store. Now things are much better."
  • "My problem with Apple banning [Jesus Hates Zombies] is simply this," says Lindsay. "They allow the Marvel book Kick-Ass. How in God's name is my book worse than Kick-Ass when it comes to content? The simple answer, it's not. But because Kick-Ass is a Marvel book, it gets a pass."
  • The experience of smaller publishers producing books with LGBT characters and situations also seems hard to reconcile with Murphey's assessment of Apple's guidelines. Tom Bouden's adaptation of The Importance of Being Earnest was rejected as an iPad app for the App Store, again due to "materials that may be considered obscene, pornographic, or defamatory." A handful of sexually suggestive images depicting men, some extremely mild, were specifically flagged as problematic in the 80-page graphic novel.
  • perhaps to avoid calling attention to its restrictions, Apple did not allow black censor bars to appear in content.
  • Yaoi Press packaged their graphic novel Zesty for submission to the App Store with the assistance of digital provider Fika Publishing
  • The book was rejected without explanation.
  • "I'm not as hopeful about the iPad as I was this morning," said Abraham in an article about Manga on the iPad for About.com. "The iTunes store just rejected Zesty, our tamest graphic novel, without citing a reason. We thought this could be a bright spot for us, akin to our sales on Amazon Kindle, but we're very discouraged right now."
  • We have snuck onto Apple platforms through the Kindle app." A search on Amazon's Kindle Store for Yaoi Press titles yields a wide range of prose and graphic novels, all of which can be purchased and synced to an iPad or iPhone. Kindle purchases do not happen "in-app", and are not required to be reviewed and approved by Apple. Amazon appears to have no content restrictions with regard to sexual content; even explicit sexual material appears to be fair game for Kindle books.
  • "Amazon doesn't seem to have a problem with the story," Bonte said. "They accepted it for digital distribution. The problem with Amazon is that they take 70% and Apple only 30%, plus the platform is absolutely not usable for comics.
  • "If Dylan was 20 today," Tate wrote, "how would he feel about your company? Would he think the iPad had the faintest thing to do with 'revolution'? Revolutions are about freedom." "Yep, freedom from programs that steal your private data," Jobs responded. "Freedom from programs that trash your battery. Freedom from porn. Yep, freedom. The times they are a changin', and some traditional PC folks feel like their world is slipping away. It is."
  •  
    It looks like I'm not about to get an iPad! I have already decided not to get an iPhone (short-lived batteries, locked software, cost of mobile internet subscription) but it looks like Apple is heading in a direction with which I can't agree, meaning that my next computer certainly won't be from this brand. There were things I didn't like with Microsoft either, but it seems that Apple is doing even worse. And Google isn't walking that much of a more satisfying path. After I'm done with my dissertation, I'm definitely planning on learning better how to use linux and other open-source materials.
  • ...2 more comments...
  •  
    I did get an iPhone last year. The very high cost is somewhat balanced out by the great ease of use, but after all the random app-banning and the launch of this new reactionary device, I have to agree with you and quit buying Apple products. This kind of content censorship is incredibly harmful.
  •  
    Ah! So, you were also a victim of the iPhone craze! ;-) I must say that it does look very enticing and seducing, but I feel that Apple is going too far with all these automatisms, to the point that you don't even know where the stuff you download or even write is stored on your device. There was a time when Apple products were more transparent than Microsoft's. But now, ergonony for the sake of ergonony and design have taken over completely to the point that Apple products are becoming complete "black boxes". My next cell-phone will certainly look a lot more like a smart phone than mine does now, but it won't be an Apple product, nor probably an Android one. I don't like all these geolocalization softwares. I'm not sure what it will be, because my present cellphone is doing ok and have no idea how long it will last, so it will depend on what's available and within the reach of my wallet.
  •  
    Yes yes, it was a bad call, thank you for rubbing it in ;) In my defense, they hadn't started with the app-bannings and absurd censorship policies back then. Listening to Jobs defining "freedom" now, it's like hearing Agent Smith explain the purpose of the Matrix. I'm not sure what my next phone will be, either. Android looks better, but Google owns quite enough of me as it is.
  •  
    Well, I don't blame you! My father got one as soon as he was able to. His excuse was that he needed to receive emails on his cellphone, but there were other brands and models who could do the same. They just weren't as sexy and let's face it, not as frequently displayed in public spaces. As for me, since I didn't want to get a mobile internet subscription, as they are quite expensive in Switzerland (around 60 Euros/month and for a limited amount of downloaded data), an iPhone would have been pretty much useless and would have costed me a fortune (without phone subscription, they were sold between 700 and 800 Euros a piece). So, what saved me, in reality, was simply lack of money and other priorities than mobile telephony. Moreover, I have an iPod mini on which I can download music, radio recording and video shows, so I don't need anything else to entertain me during my train travels. So, really, I have absolutely no merit whatsoever for not following fashion...if I had had the money, who knows...I might have fallen to the craze too! ^_^
Nele Noppe

Comic Market: How the World's Biggest Amateur Comic Fair Shaped Japanese Dōji... - 0 views

  • the world's largest regular gathering of comic fans today is Tokyo's biannual Comic Market
  • dōjinshi phenomenon did not start with Comic Market, Comike and dōjinshi are inextricably linked, having shaped each other's history for three decades.
  • Comike convention has shaped the most important trends defining the development of dōjinshi in Japan today
  • ...29 more annotations...
  • In 1975, a woman who had made critical remarks about the Manga Taikai was excluded from that convention, and [End Page 234] subsequently a firestorm of anger among fans produced a movement against the Manga Taikai led by the famous circle Meikyū (Labyrinth), which resulted in the conception of a new alternative convention. On December 21, 1975, the first Comic Market—"a fan event from fans for fans"—was held in Tokyo.6
  • [End Page 232]
  • [End Page 233]
  • Comike's underlying vision was of an open and unrestricted dōjinshi fair, offering a marketplace without limitations on content or access.
  • With the advent of these fan-consumers (as opposed to fan-creators), dōjinshi became demand-driven publications. Greater competition gradually fostered rising standards of quality, which in turn attracted more circles and buyers. Higher sales shrank production costs and boosted profits, which could then be reinvested in the dōjinshi themselves. Small printing companies, many of which had begun in the minikomi (microcommunication) boom of the early 1970s, were able to use the profits derived from greater demand for their services to modernize their equipment, lowering production costs further and enabling them to construct their production schedules around each Comike.8 Additionally, lower printing costs freed smaller groups from the dependence on bigger groups, which often had strict rules on content and style to avoid conflict among their many members. Having lost their raison d'être, these big clubs and circles gradually faded away, leaving dōjinshi creators to produce stories they liked, in the manner they liked.9
  • [End Page 235]
  • aniparo parodied popular anime series, and in doing so, attracted a new type of fan to Comike, beyond its core group of 2000 or so attendees. These were female fans, mostly middle and high school students strongly influenced by the 1970s florescence of shōjo manga. They began to create and consume dōjinshi in which the (bishōnen or "pretty boy") male protagonists of popular anime and manga were transposed into a very particular sort of erotic story typified by the phrase: "without tension" (yama nashi), "without punchline" (ochi nashi), and "without meaning" (imi nashi)—and hence the contemporary genre title, yaoi.10
  • The eleventh Comic Market in spring 1979 saw the popularity of the cute and pure bishōjo or "pretty girl" (strongly influenced by 1970s shōjo manga) skyrocket among men's dōjinshi circles, attracting many new male participants.
  • The Comic Market was dominated by women from the beginning (90 percent of its first participants were female), but in 1981, thanks to lolicon, male participants numbered the same as female participants for the first time in Comike's history.13
  • [End Page 236]
  • Internal conflicts on the Comike planning committee underlay some of these developments: they marked the ascendancy of the faction led by Yonezawa Yoshihiro, who favored Comike's unlimited expansion.15 Though he was criticized for purportedly selling dōjinshi out to commercialism, Yonezawa couched his plans for Comike in terms of a collective organization of the convention by all participants, including staff, circles, and visitors.16 Whatever the underlying reality, these public principles remain little changed today.17
  • Faced with this loss of identity, talent, and space, every other large fan convention except Comike dissolved. Yaoi Boom But in the middle of the decade, one manga and its anime not only saved dōjinshi fandom from near extinction but was responsible for its biggest boom yet. Takahashi Yōichi's Captain Tsubasa (1981–88, Kyaputen tsubasa),
  • [End Page 237]
  • New dōjinshi conventions appeared, and manga shops began selling dōjinshi on commission. Comparatively lush, custom-made, oversized dōjinshi with more than one hundred pages became common, and popular circles could now live on their fanworks' profits
  • professional creators like Toriyama Akira of Dragonball fame participating,
  • [End Page 238]
  • Despite the self-censorship brought on by the mass media's criticism, Comike nevertheless continued to thrive. Young men tired of new, tighter restrictions on professional manga turned to Comike, and attendance once again swelled to 230,000 in the summer of 1990.23 Hardcore lolicon was now passé, and erotic dōjinshi for men had greatly changed. New genres were introduced with such aspects as fetishism and a new style of softcore eroticism enjoyed by men and women alike; in particular, yuri (lily), or lesbian stories, emerged.24Dōjinshi also became smaller and shorter due to professional publishers recruiting talented dōjinshi creators en masse: the bulk of dōjinshi were the works of the less talented creators left behind.25
  • Other factors contributing to the increased interest in dōjinshi and in fanworks were the development of fixed otaku landmarks and the spread of computers. Almost everyone could now afford to make digital dōjinshi as well as audiovisual or even interactive dōjinshi (i.e. dōjin music and dōjin games).
  • The personal technology revolution meant [End Page 239] simplification of fanworks' production processes as well as completely new possibilities for communication and new digital genres. With the growth of dōjinshi in other media, the term "dōjin products" (dōjin seihin) has gradually come into use to describe fanworks of all genres.
  • Further, the conversion of Tokyo's Akihabara "Electric Town" into a district full of shops selling otaku-related goods, as well as the nationwide expansion of otaku-goods retailers and the establishment of Internet communities and message boards in the late 1990s, enabled otaku to live out their interests and to communicate nonstop with like-minded people everywhere. Their interests and culture were easily shared, and consequently information on Comic Market and dōjin culture spread around the world.
  • The rise of the Internet also meant that Comike lost its monopoly as the center of otaku and dōjinshi culture. Nevertheless, Comike remained the most important event for Japanese fans, especially after companies with otaku-related products started to exploit it.28 Firms had been interested in Comic Market for decades as a never-ending pool of promising new talent and as a place to exploit them commercially, and they were willing to pay much money for direct access to these masses of otaku.29 Starting with NEC in the summer of 1995, companies were granted exhibition space to market or to sell their newest products. This was the birth of the dealer booth at Comike, and, as with dōjinshi circles, the number of applicant companies was much higher than that of available spaces: a self-sustaining event with such high attendance was too important for any related company to ignore.30 Companies accepted the existence of unlicensed parody dōjinshi using copyrighted material (albeit in a transformative and thus arguably fair-use manner) since they could now sell exclusive goods at Comike (Figure 3) or use it as a marketing place, attracting to the convention people who were not interested in dōjinshi.
  • In the summer of 2004, 5 percent of all circles participating in Comike were headed by a professional mangaka or illustrator, while another 10 percent had some professional experience.
  • Despite its relative newness, Higurashi became one of Japan's biggest media phenomena, and at the seventy-sixth Comic Market in summer 2009, Tōhō Project became the first dōjin title ever to receive the honor of being considered its own genre.
  • [End Page 243]
  • It seems that dōjinshi circles are not switching entirely to the Internet but rather are using it as an informational and marketing platform for themselves and their creations, spreading the knowledge of and fascination with Comic Market to new spheres.
  • With high attendance, positive media attention, and industry support, Comike's position seems invulnerable. Even the deaths of important figures such as Iwata Tsuguo in 2004 and Yonezawa Yoshihiro—who was the face of Comike for decades—in 2006 did not harm its position. But unresolved problems, such as the use of copyrighted material in parody dōjinshi and the child pornography questions inherent in lolicon and shotakon, remain.
  • Comike was neither the first nor the biggest dōjinshi fair when it was established; its main purpose was to provide the freest market possible, and that freedom has come at a price. The dream of a Comic Market open to every one and everything was never realized, as there were too many physical, financial, and legal restrictions. Even today, the Comic Market suffers from a lack of space, a lack of money, and a lack of legal security. Only two-thirds of applicant circles can participate due to constraints, since, as a small independent operator Comike's financial resources are limited and most of the work is done by volunteers.
  • s the center of attention, with its size and its links to the industry, it is undeniable that Comike possesses the power and the means to influence social, market, and even political developments. In [End Page 244]
  • recent years it has not been reluctant to use this power. Whether through conferences on copyright issues or on the establishment of a "National dōjinshi fair liaison group" (Zenkoku dōjinshi sokubaikai renrakukai) in 2000, it has taken on the responsibility of representing and of regulating Japanese dōjinshi culture.
Nele Noppe

CFP: From an Intercultural Crossover to a TransculturalPhenomenon: Manga, Comic, Graphi... - 0 views

  • CALL FOR PAPERS Title: From an Intercultural Crossover to a Transcultural Phenomenon: Manga, Comic, Graphic Novel International Conference at the Cultural Institute of Japan, Cologne (Japanisches Kulturinstitut Köln, The Japan Foundation), September 30 – October 2, 2010, in cooperation with CITS (Center for Inter- and Transcultural Studies, University of Cologne) Manga, comics and graphic novels are shaped by different cultural codes and shifting visual and narrative conventions. This conference focuses on the historical development and theoretical aspects of comics and manga by stressing their mutual influences. Whereas European and North American art and popular culture exert a great impact on Japanese manga, such as the Franco-Belgian tradition of “ligne claire” on Ōtomo Katsuhiro and Taniguchi Jirō, Walt Disney’s animated films on Tezuka Ōsamu and Christian and Antique ideas on Miyazaki Hayao, Japanese manga influence the concept and visual conventions of modern European and American comics as well, as can be seen in the work by Frédéric Boilet, Moebius, and Frank Miller, among others. Moreover, the intercultural exchange between the Japanese manga tradition and equivalent forms of sequential art in other Asian countries (i.e. China, India, and Korea) largely contributes to the dissemination of new hybrid art forms in the realm of comics and manga. The purpose of this conference is to bring together scholars and other experts of different countries and different fields, i.e. literary studies, picture theory, cultural studies, linguistics, narratology, film studies, and semiotics, who pursue different areas of investigation in this field. In order to adhere to a general outline for this conference, the papers might deal with one or several of the following topics: • Intermedial, intercultural and narrative perspectives for the interpretation of the graphic novel and other genres of sequential art prominent in both comics and manga • Comparative analysis of the construction of time and setting in comics and manga • The functions of color in comics and manga • Similarities and differences between Japanese and other Asian manga and European and North American comics • Impact of wordless comics and manga • Historical development of the mutual influence of comics and manga • Change of the conventional verbal signs (such as speech balloons, sound effects, typography) • Influence of films and cinematic style on the production of comics and manga • Influence of visual codes derived from art history and popular culture in order to create an individual artistic style Contributions from academics and experts interested in any of these areas and in international perspectives are particularly welcome. There are plans to publishing the proceedings of the conference afterwards in book form. The deadline for proposals is: *31 August 2009*. Please email a 300 word abstract (for a thirty minute paper, followed by 15 minutes for discussion) and a short biography as an attached word document to Bettina Kümmerling-Meibauer at: bettina.kuemmerling@t-online.de and Franziska Ehmcke at: amm07@uni-koeln.de Notification of the acceptance of proposals will be made by 30 September 2009. The conference fee will be 120 Euro, including catering, technical equipment, conference folders and various arrangements. The conference venue is located in the Cultural Institute of Japan, not far from the University of Cologne. For details, go to www.jki.de (text in German and Japanese). For further inquiries contact the conference convenors: Bettina Kümmerling-Meibauer Universität zu Köln Institut für deutsche Sprache und Literatur II Gronewaldstr. 2 50931 Köln Germany E-Mail: bettina.kuemmerling@t-online.de Franziska Ehmcke Universität zu Köln Ostasiatisches Seminar (Japanologie) Albertus Magnus-Platz 50923 Köln Germany E-Mail: amm07@uni-koeln.de
Nele Noppe

Economic competitive advantage and cultural exports: how Japan got round cultural dista... - 0 views

  •                                   H-JAPAN                                April 5, 2009 From: David Slater <d-slater@sophia.ac.jp> Graduate Fieldwork Workshop April 18th, 2009 Sophia University (Yotsuya Campus) http://www.fla.sophia.ac.jp/about/location.html Bldg. #10, room 301 10 am-noon ----------------------------------------------------------------------------------------------- Title: Economic competitive advantage and cultural exports: how Japan got round cultural distance to claim global leadership in comic book publishing. Julien Vig (Sociology MSc candidate at Hitotsubashi University and research student at the Institute of Innovation Research) ABSTRACT: Since the 1990s, the joint influences of nation branding efforts and the increasing globalization of the economic and technological contexts within which media organizations operate have brought upon an era where America's dominant position as an exporter of contents is becoming increasingly challenged by new entrants, often industrial consortia backed by state agencies. Serious contenders may include India's Bollywood movies, Brazil's telenovelas, or South Korea's array of dynamic entertainment industries. Yet beyond the cultural significance of the phenomenon, their actual export performance only qualifies them as cultural niches when compared to the incumbent transnational American corporations, whose distribution monopolies and market power make their economic control of global flows a reality that remains hardly escapable. Japan, however, distinguished itself by securing global leadership in no less than three content industries. In videogames, animation and comic books, it stands out a leading exporting country, boasting impressive trade surpluses with America and Europe. There is a solid, established interdisciplinary body of international literature dedicated to Japan's videogame industry, and the anime industry has been similarly attracting increasing attention in the past ten years. The comic book industry on the other hand, arguably because of its limited legitimacy and economic significance outside the $4bn+ Japanese domestic market, remains largely understudied except for comic book and popular culture scholars. An overlooked specificity of the comic book industry stems from the most peculiar pattern of globalization it has experienced. From the 1950s onwards, the United States, France and Japan each developed their own publishing paradigm and standard formats: *comic book*, *album* and *manga*. These path-dependent creative and industrial trajectories would hardly interact until the second half of the 1990s. After their late encounter, Japanese manga emerged as the undisputed winner, reaching shares of about 1/3 of total comic book sales in value in both France and America in 2007. This achievement has interesting theoretical implications. On the one hand, media scholars showed that the primary vehicles for the development of * contra-flows* (defined as non-Western media flows which counter the previously established one-way information flow from western to non-west countries) are geographic, cultural or linguistic regionalism; yet this framework cannot account for how Japanese manga could succeed in Western markets, as none of the above patterns seems to apply. On the other hand, management scholars, in the dominant models of firm- and industry-level internationalization, accept as a prerequisite that agents are actively and strategically trying to internationalize; yet Japanese manga publishers long maintained a passive attitude towards market expansion outside of Asia. Drawing upon fieldwork in France and Japan, international comparisons of industry data and evidence from a consumer survey conducted in France in December 2008, my research aims to uncover the economics at work behind the success of Japanese manga on the global comic book scene. What are the conditions for the emergence of sustainable contra-flows? The study of Japan's prominent success in exporting domestic contents may hold the answer to this question and provide a blueprint for later entrants in the global cultural market. -- David H. Slater, Ph.D. Faculty of Liberal Arts Sophia University, Tokyo The Sophia server rejects emails at times. Should your mail to me get returned, please resend to: dhslater@gmail.com. Sorry for the inconvenience. 
Nele Noppe

The Future Is Almost Now - 8/18/2008 - Publishers Weekly - 0 views

  • Publishers are taking a close look at a variety of models—from the Web and mobile phones to iTunes and the Sony Reader—for the digital delivery of comics.
  • Examples of digital comics date back to as early as 1985, and pirated comics have long been available to savvy Web users on underground BitTorrent sites. But publishers, for the most part, have ignored the whole issue of digital comics for years. But no longer.
  • But as publishers scatter in a variety of different digital directions, it's hard to know when—or whether—some kind of industry standard will emerge.
  • ...2 more annotations...
  • Although Web comics have the distinct advantage of being native denizens of the Internet, they've also been much faster to capitalize on cross-media possibilities. While the Web model of distributing content for free has often been met with skepticism or even fear in the print industry, Web comics have used their free content to attract huge online audiences, and publishers are successfully monetizing them by collecting their free Web content in hardcovers and trade paperbacks.
  • Nowhere is that more true than in manga, or Japanese comics, which have become the most popular form of published sequential art in America. Manga is published overwhelmingly in the paperback book format and its success is largely driven by a younger audience that also happens to be more Web-savvy and less wedded to print than its forbears. As cell phone and smart phone technology in America finally catches up with what's available in Japan and Europe, some comics publishers have moved quickly into mobile phone distribution, a format that has proved enormously popular and lucrative for manga in its native land.
Nele Noppe

Call for papers: IBBY UK/NCRCL MA CONFERENCE, 14 NOVEMBER 2009 Roehampton University, L... - 0 views

  • IBBY UK/NCRCL MA CONFERENCE, 14 NOVEMBER 2009 Roehampton University, London - Call for Papers The theme this year is Comics and Graphic Novels. Graphic novels are becoming increasingly popular and diverse in the UK and have been highly valued in many countries, notably France, Belgium and Japan, for many years. The 2009 IBBY UK/NCRCL MA conference will explore the developing interest in this medium from a variety of perspectives, in addition to considering developments in the range and content of comics available to children and young people. The conference will include keynote presentations by well-known writers, publishers and academics. Proposals are welcomed for workshop sessions (lasting about 20 minutes) on the following or other relevant issues: International perspectives – comics and graphic novels in a particular culture and/or across cultures Comics from a contemporary or historical perspective. Has the number and range of comics declined and, if so, why? Manga - its origins in Japan and developments and adaptations in other cultures New literacies – the changing interface between visual images and text Links between media – computer games, films, internet comics, character toys Animations and cartoons The work of individual and collective creators of comics and graphic novels. What collaborations are involved in the production of a graphic novel? Is the author a major or minor player in the design of a graphic novel? Use of artistic styles – colour/black and white artwork/photography/fonts and typography. What are the technical complexities of producing comics and graphic novels? Engagement of children and young people with/through this medium. Is there a particular appeal to the `reluctant' reader? Gendered reading. Do comics and graphic novels have more appeal to male readers? Controversial issues/taboo subjects – the notion of `appropriate' material for What is the appeal of a graphic novel as against an illustrated book? How do picture books compare in popularity with graphic novels for a younger age group? We welcome contributions from interested academics and others. of these areas. Brief accounts of the papers that are presented at the conference will be published in the Spring 2010 issue of IBBYLink, the journal of British IBBY. Also we hope that the proceedings of the conference will be published later that year in full in book form. The deadline for proposals is 20 July 2009. Please email a 200-word abstract (for a 20-minute paper) as an attached Word document to Pat Pinsent and also contact her if your require any further information on this call for papers. Please also include a short biography and affiliation. Pat Pinsent, 23 Burcott Road, Purley, CR8 4AD. Tel: (020) 8668 4093. Email: patpinsent@aol.com The IBBY has just opened the CFP for its September 2010 conference in Santiago de Compostela, Spain. The theme is "The Strength of Minorities". Details here: http://www.ibbycompostela2010.org/ Topics Children's and young people's literature: a minority area within the literature arena Despite the high quality and notable presence of children's book editions and the general growth of literature, they still hold a minority status in the eyes of editors, writers and the media, generally. Why are we writing or illustrating for children in these conditions? Children's and young people's literature in minority languages: from difference to survival Literature written in minority languages invariably face a wide set of challenges. Its survival is dependent on factors such as socio-political context, the extent of the official status bestowed on them and the general public response to cultural and linguistic diversity. Children's books can contribute towards the standardization of the edition in minority languages. However, publishers targeting a reduced market undoubtedly encounter many difficulties. Readers in a minority situation Children and young people with disabilities or special needs usually encounter many obstacles with regards to access to books or the pleasure of reading. We must find solutions to help combat these difficulties. A readership bereft of childhood Books and reading matter are generally considered staples for intellectual and cultural development and the growth of the youngest members of society. However, not all children have easy access to books. How do we broach the subject of books and reading material with those readers who missed out on their childhood: exploited children and those without even enough to eat? I am a reading girl, you are a reading boy... Do we still need children's literature which takes into account the gender issue? How do we tackle questions relating to sexual orientation and the rights of sexual minorities within children's books? Globalizing diversity and tolerance through children's books The 21st century must ensure the survival of minorities on the road to a better future. Diversity and tolerance - which are vital for a fairer world - must respectively make inroads in relation to minority groups.
Ariane Beldi

Underground Manga Find A Home in France - 2 views

  •  
    The Ankama Group has announced their plans to move deeper into comics publishing, specifically manga publishing, with an initiative to kick off January 2011. Ankama, the Roubaix, France-based developer and publisher of comics, games, and cartoons in the DOFUS and Wakfu universes, has always maintained a sensitive if not sentimental connection to the visual and narrative disposition of manga artwork. Now, the group will put their passions for underground Japanese comics and art to healthy use by publishing a manga anthology, Akiba. The monthly collection presently aims to print the works of young or new Japanese manga-ka for consumption by French-speaking comics enthusiasts.
Nele Noppe

The Comics Reporter - 0 views

  • Although I imagine the finger will be pointed at a lack of effective marketing -- 1) every market failure can be seen as a failure of marketing, 2) effective target marketing is a legitimate problem within comics, 3) people in comics like to invoke marketing as a sort of magic pixie dust -
  • My gut says that a bigger set of factors may have been more along the lines of what I would call structural: how/if to sell these books through Direct Market accounts,
  • where to shelve them in bookstores,
  • ...4 more annotations...
  • Minx did a good job with the marketing. They just forgot to ask us to put the books in the right place. It's that simple.
  • "Where to shelve them is everything," Smith wrote. "The spine is everything. Manga publishers understand this. Marvel and DC don't have a clue."
  • No matter how much money you spend on outside marketing, twenty-two months is a brutally short time in which to nurture a comics imprint.
  • it also stands as a vote of no-confidence from one of comics' biggest entities in doing comics their way for that market -- or, really, any market not superheroes.
Zero Time

The difference between Manga and American comic books - 0 views

  •  
    "There is a big difference in art styles between Manga, which is more stylized (exaggerated) and American comics, which tend to be more "realistic". There are also quite a few serious differences between the two types of comics. Some of the differences, just to mention a few of them are the cost, creation, diverse audience and genres, presentation and even size...."
Nele Noppe

Manga on cell phones in de US - 0 views

  • With these new platforms, GoComics reaches every comic fan with a mobile phone, including iPhones and smart phones. Comics and manga can be read for free with ads, or they can be purchased individually using points-based subscriptions. “Our Mobile Manga is a great user experience and satisfies discriminating creators, editors and fans alike. A major reason for this is GoComics’ commitment to quality, simplicity, and an artistic adaptation that preserves the manga pacing while converting pages into a panel-by-panel format,”
  •  
    With these new platforms, GoComics reaches every comic fan with a mobile phone, including iPhones and smart phones. Comics and manga can be read for free with ads, or they can be purchased individually using points-based subscriptions. "Our Mobile Manga is a great user experience and satisfies discriminating creators, editors and fans alike. A major reason for this is GoComics' commitment to quality, simplicity, and an artistic adaptation that preserves the manga pacing while converting pages into a panel-by-panel format,"
Nele Noppe

Comic Book Resources > Problems with the non-Japanese manga industry - 0 views

  • As I mentioned, people tend to forget that manga struggled for decades to get a foothold, but what really put manga over was anime. When anime - SAILOR MOON, DRAGONBALL Z and YU-GI-OH, mainly, with NARUTO firming up the rear - got regular spots on American TV, in syndication and on basic cable channels like Cartoon Network, they created fans, the fans sought out the manga, and because stores began giving manga its own section, it became easy to for those fans to check out other manga, word spread, sales rose, and "suddenly" manga was cool, and being read by lots of people, especially teenagers, who had never even thought of opening an American comic. That's what propelled manga. Prior to that, Viz and other manga publishers had followed the traditional route - dump their product in the American comics stream and hope for the best - and made only a little inroad. Manga's content hadn't changed, but the manga experience had. So any foreigners eyeing the American comics market, seeing manga's success, and figuring this means American comics readers are now hungry for foreign material are in for painful, especially financially painful, disappointment. (American publishers who make the same leap of faith will too.) All manga proves is that you can crack the American market, now that it's likely. And you'd better be in it for the long haul.
Nele Noppe

The Graphic Classroom: MACBETH: THE GRAPHIC NOVEL - 0 views

  • Sometimes you have those moments, the ones when you look at a product and wonder why you did not think of it first.
  • jaw dropping in its ingenuity, approach to comic literature, and classroom utility.
  • Classical Comics kneaded the word “adaptation” in such a common sense way, I am befuddled that no one thought of it before. Other comic adaptations of classic literature make a choice: Replicate every word and every scene exactly as it was in the original text, or take liberties with the language and the storyline. Classical Comics, on the other hand, takes what should be the obvious choice – all of the above – and creates different versions of the story to suit both traditional purists and modern audiences. The result is a brilliant product in three volumes, perfect to suit the needs of many, while still maintaining the authenticity of the original text. It is brilliant.
  • ...2 more annotations...
  • The illustrations are also very appealing as they are detailed, colorful, and representative of modern comics. The art does not play to the child, but caters to a wide audience, pulling no punches and showcasing the story conscientiously.
  • Shakespeare was meant to be seen, not read.
Nele Noppe

韓国少女マンガにおける日本少女マンガの受容 : 初期少女マンガの視覚表現を中心に - 0 views

  •  
    Reception of Japanese Girls' Comics in Korean Girls' Comics : Focusing on the Visual Expression of Early Girls' Comics
Ariane Beldi

The Center for Book Arts ~ Garo Manga, 1964-1973 - 1 views

  •  
    "Garo Manga, 1964-1973" will be an exhibition focused around the renowned manga (Japanese comics) journal Garo during the period of its greatest aesthetic experimentation and political commitment. Garo is well-known amongst comic enthusiasts and historians of postwar Japanese culture both for its challenging of formal and thematic conventions within the field of comics as well as for its engagement with the main political issues of the day, from rightwing incursions into national education policy to Japanese involvement in the Vietnam War.
Nele Noppe

マスメディアにおける女性表現の単一次元性 : 雑誌メディアにおけるマンガとグラビアの分析 - Unidimensional expression of f... - 0 views

  •  
    収録誌 社会心理学研究 Research in social psychology Vol.8, No.1(19930122) pp. 1-8 日本社会心理学会 ISSN:09161503 書誌情報 マスメディアにおける女性表現の単一次元性 : 雑誌メディアにおけるマンガとグラビアの分析 Unidimensional expression of female figures in mass media : The analysis of comics and gravures in magazines 豊田 秀樹 1 福富 護 2 西田 智男 3 TOYODA Hideki 1 FUKUTOMI Mamoru 2 NISHIDA Tomoo 3 1大学入試センター研究開発部 2東京学芸大学教育学部 3東京学芸大学教育学研究科 1Research Division National Center for University Entrance Examination 2Department of Educational Psychology, Tokyo Gakugei University 3Graduate School of Education, Tokyo Gakugei University キーワード 性的次元 マンガ グラビア 数量化III類 人物描写         sexual dimension comic gravure Quantification Type III,expression of figure 抄録 The purpose of this study is to show the existence of sexual unidimension of female expressions in comics and gravures in the magazines. 1221 comics and 6861 gravures in 332 magazines published in June, 1989 were collected. The numbers of figures which can be categolized with sex and certain conditions of expression were counted. The frequency tables were analyzed by Quantification type III. The major findings were: (1) most of the expression of female figures in magazines can be explained by an unidimensional scale, named Degree of Exposure. (2) The degree of female expression tends to be more unidimensional in gravures than in comics.
Nele Noppe

Manga iconography - Wikipedia, the free encyclopedia - 0 views

  • Expressive dialogue bubbles: The borders of the speech/thought bubbles changes in pattern/style to reflect the tone and mood of the dialogue. For example, an explosion-shaped bubble for an angry exclamation. Also, manga does not usually follow the normal Western comic conventions for speech (solid arc extending from the character's head) and thought bubble (several small circles used in place of the arc). The latter bubble style is often used for whispered dialogue in manga, which can confuse Western readers.
  • Speed lines:
  • Mini flashbacks:
    • Nele Noppe
       
      also in text form
  • ...12 more annotations...
  • Abstract background effects:
  • Symbols:
  • Sweat drops, usually drawn largely on the head region, commonly indicate bewilderment, nervousness, social discomfort, or mental weariness. On a sidenote, actual physical perspiration in manga is signified by even distribution of sweat drops over the body. A round swelling, sometimes drawn to the size of baseballs, is a visual exaggeration of swelling from injury. A nosebleed indicates sexual excitation following exposure to stimulating imagery or situation. It is based on a Japanese old wives' tale[1] Throbbing veins, usually depicted as a cruciform in the upper head region, indicate anger or irritation. Hatchings on the cheek represent blushing, usually used when embarrassed by romantic feelings, while oval "blush dots" on the cheeks represent rosy cheeks.
  • line over form
  • Impressionistic backgrounds
  • sequences in which the panel shows details of the setting rather than the characters.
  • right to left,
  • small noses, tiny mouths, and flat faces.
  • the transparent feeling of pupils and the glares, or small reflections in the corners of the eyes are often exaggerated,
  • eyes of characters who have died are the colour of the iris, but darker.
  • hair partially covering the face, the eyes that would otherwise be covered are often outlined to make them visible,
  • The following is a non-exhaustive and incomplete list of artistic conventions used in mainstream manga and their place of origin. A white cross-shaped bandage symbol denotes pain. A large sweat drop on the side of the face denotes a broad spectrum of emotions, usually embarrassment or exasperation. A scribble on the cheek can show injury; it is also used in black-and-white media to denote red cheeks, i.e. blushing. A red cheek denotes embarrassment or blushing. A throbbing vein, sometimes comically simplified to a "+" shaped outline on the head (or occasionally other body parts, especially fists), represents anger or irritation. A balloon dangling from one nostril (a "snot bubble") indicates sleep. Electricity shoots out on the eyes of two characters when they are fighting. Nosebleeds, usually caused by shocking sights - especially those with a sexual undertone. There are many eye symbols such as love-hearts, crosses, flames, stars, and spirals. A character suddenly falling onto the floor, usually with one or more extremities twisted above him or herself, is a typically humorous reaction to something ironic happening. The pupils disappearing from the eyes, and the iris gaining a glass-like glare smoothness denotes loss of conscious control because of possession (ghost, demon, zombie, magic, etc). The eyes becoming huge and perfectly round with tiny pupils and no iris and going beyond the reach of the face, plus the mouth becoming like a stretched semicircle, the point of which extends past the chin, symbolises extreme excitement. All facial features shrinking, the nose disappearing, the character lifting off the floor and the limbs being multiplied as if moving very fast symbolizes panic; if the same but with larger facial features it symbolises comic rage. Tear drops everywhere indicate intense joy or sadness. An ellipsis appearing over a character's head indicates a silence, implying that something is going unsaid. Eye shapes and sizes are often symbolically used to represent the character. For instance, bigger eyes will usually symbolize beauty, innocence, or purity, while smaller, more narrow eyes typically represent coldness and/or evil. More often than not, character colorizations tend to represent the character in some way. A more subdued character will be colored with lighter tones, while a flamboyant character will be done in bright tones. Similarly, villains are often colored in darker tones, while colder character will be given neutral tones (black, white, grey, etc.). An odd white shape (more often than not, something close to a mushroom) that appears during an exhale represents a sigh of awkward relief or depression. Completely blackened eyes (shadowed) indicates a vengeful or deep anger. It could also indicate that someone's being sort of a wise-guy, grinning. Characters push their index fingers together when admitting a secret or telling the truth to another. A character's eyes are shadowed regardless of the lighting in the room when they become angry, upset, something is wrong with them, or they are emotionally hurt. The anime character's eyes turn into two thick half-circles, conveying a cute, delighted look. Face expressions change depending on their mood, and can look from apple shaped to a more subtle carrot shape. Parallel vertical lines with dark shading over the head or under the eye may represent mortification or horror. If the lines are wavy, it may represent disgust. A wavy ghost coming out of the mouth is often a comical representation of depression or mortification. Cherry blossoms indicate a sweet or beautiful moment. This is a reference to Mono no Aware. A flower blossom falling off its stem may indicate death or, more commonly, sex. A fang peeking from the corner of the mouth indicates mischief or feistiness. (Unless, of course, the character has fangs normally). A cat mouth (like a number "3" rotated 90° clockwise) replacing the character's normal mouth, and usually accompanied by larger eyes may also represent mischief or feistiness. Unbound hair may represent freedom, while hair that is tied back may represent some form of either literal, figurative or emotional enslavement of some kind.
Nele Noppe

Modern 'Bible Illuminated' Includes Celebrity Photos - 0 views

  • Another new version of the Bible, based on Japanese comics, gives the Scriptures a futuristic twist. Mecha Manga Bible Heroes, a line of comic books hitting stores in November, is meant to teach and entertain. “They have robots, advanced technology, and we’re using manga animation, which is the Japanese style of comics,” said Paul Castiglia, managing editor of the publisher JMG Comics. “In Mecha Manga, we’ve changed the setting, but the characters are the same. The names are the same. The themes and morals are the same,” Castiglia said. “We tried to adhere to the Bible as closely as possible.” The creators hope that the manga version of the Bible will pique the interest of a younger audience, so that they would read the standard editions of the Bible as well.
1 - 20 of 492 Next › Last »
Showing 20 items per page