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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

Youth Brigade: Clearing up the Tokyo Youth Ordinance Bill - 0 views

  • This bill is not good for the Japanese anime and manga industry as a whole; it is not good for publishers, and it is not good for the creators. As anime and manga fans, we are constantly fighting against the preconceived notion that such entertainment is just for kids. Unfortunately, if this law remains on the books and creators cannot make the daring works they wish, anime and manga may indeed turn into unquestioning, lobotomized entertainment for little kiddies from here on out.
  • Bill 156 is not an across the board muzzling of creativity and critical art in Japan. However, it is potentially a hollowing out of two of Japan's most noteworthy art forms.
  • novels and films are not affected by this law
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  • At the very least, for the time being there is going to be a chilling effect on anime and manga creators. They will constantly have to stop and assess their works against the law, or what the lawyers in the company interpret the law to be. Publishers will be forced to become more conservative with their stories, potentially sidestepping any criticism or commentary on major social issues.
  • As Simon Jones of Icarus Publishing pointed out in a blog post in June celebrating the defeat of the “Nonexistent Youth Bill” (possibly NSFW content), the anime and manga industries are “predominantly female” and any legislation restricting creativity in these industries would have a disproportionate effect on the female workforce. I think this is even more of a concern with Bill 156. I don't think the majority of shounen series will experience much fallout from the bill. However, an emphasis on sex and relationships is more frequently seen in shoujo, josei, and yaoi manga, where both the creators and consumers are largely female. Although it seems gender-neutral on the surface, it could be women who feel the brunt of the enforcement of Bill 156.
  • Many Japanese publishers are against this bill for many of the same reasons they were against the first “nonexistent youths” bill – it unevenly restricts freedom of speech and is so vaguely worded that they are unsure if the manga or anime they are putting out would be in violation.
  • The bill also doesn't mention doujinshi and other works created by fans. Of course, a lot of doujinshi with sexual content are already for adults only, so it would have little effect even if the law applied to such fan creations. Also, the main punishment for breaking the law is removal of access to distribution and retail, which wouldn't really impact artists who may make more of their sales directly to fans at Comiket.
  • the bill has nothing to say about any manga or anime that's currently considered adult. All of those titles that are currently for sale only to people over the age of eighteen won't be directly impacted by this. I've seen a number of people saying that they might be in favor of this bill because it would get rid of some of the horribly violent manga that feature sex with underage characters. However, this bill has absolutely nothing to say to anime or manga like that – they would still be able to be sold to adult consumers.
  • The bill puts an emphasis on self-regulation, with the expectation that publishers will begin policing themselves. (However, this may be hard to do since the bill is still vaguely worded.) If a publisher runs afoul of the bill too many times, then they may face what is in essence a blacklist, with no distributors or retailers able to carry their products.
  • The bill goes into effect in April 2011, and it's presumed that materials that were published before this date won't be affected. However, new editions of previously published anime and manga will presumably fall under this law.
  • Since Dan Kanemitsu has been writing frequently about this bill, I'll just quote his summary of the relevant portion of it, which will restrict “any manga, anime and video games that feature any sexual acts that would violate criminal codes or Tokyo ordinances OR sexual depictions between close relatives who could not legally get married to be treated as adult material IF they are presented in [an] ‘unjustifiably glorified or exaggerated manner.’” In some ways the language of the bill clarifies things, since we no longer have to try to figure out if a character meets the qualifications of being a “youth” in order for the restrictions in the bill to apply. However, by taking out the language regarding youth, it actually means that Bill 156 could have a potentially wider reach than the one that was defeated earlier in the year. Additionally, the part about presenting such scenes in an “unjustifiably glorified or exaggerated manner” is open to a wide variety of interpretations.
Nele Noppe

Opinion Prone: Digital Distribution of Manga - 0 views

  • digital manga...? I have mixed feelings about how well this will work out. Unlike anime, the format of reading a book doesn't translate as neatly as the format of watching a show on a screen. Manga sales haven't lagged as much as DVD sales partially because many people still prefer holding a physical book in their hands as opposed to reading on a computer screen (the other reason might be because they're cheaper).
  • I'm not sure if scanlations have as much an impact on manga sales as fansubs do on DVD sales though. Various experiments conducted by both fiction and nonfiction authors suggest that the availability of an e-book actually boosts real book sales.
  • The pricing model Digital Manga is using is kind of interesting. It's cheaper than buying the physical thing by more than 50%. The experiment I mentioned above had the people release their e-books free, which spurred their real book sales.
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  • I wonder if anyone will try to release digital manga by chapter shortly after release in Japan though. For long-running shounen series like Bleach and Naruto, it seems like it would be much easier than any attempt to release anime concurrently (though Crunchyroll and partners seem to be doing reasonably well). Viz already has the license. It doesn't take nearly as long to translate a chapter. It would be gold. Just figure out how to price a chapter.
  • The only issue would be that a chapter of manga is much easier to find online than an episode of anime, or at least, they're easier to access. No having to deal with torrents. You don't even have to download anything! Just pop over to Mangashare or Onemanga and you're set. Then again, if Viz did create a legal way for readers to have timely access to Japan's newest manga, I feel that many scanlators would hang up their work hats in good faith.
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
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  • 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.
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  • 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.
Ariane Beldi

Manga Publishers, Comics Creators React to the Apple iPad - 2 views

  • One thing the iPad does that the Kindle and other e-readers can't match (yet) is that it presents pages in color, which opens up all kinds of possibilities, especially for magazines, graphic novels and yes, manga
    • Ariane Beldi
       
      Colour for manga??? Besides the first few pages of each chapter or album, they have been in black and white for the last 80 years! Actually, Kindle and other e-book readers were perfectly fit for manga!
  •  
    Several interesting issues are laid out here: that of access to more mangas, but also the issue of country-by-country copyrights, the potential censorship exerted by Apple on adult contents, the issue of format lock, etc.
Ariane Beldi

Digital Manga Publishing Detail New Venture to Launch Over 1,000 Manga Online // Silico... - 2 views

  •  
    Hikaru Sasahara, president of Digital Manga Publishing (Berserk), revealed, this week, to Anime News Network, a new venture his company is planning, by which fans will be able to provide their scanlations online, and these would then be distributed legally with the permission of the original copyright holders.
Nele Noppe

13th Tezuka Osamu Cultural Prize Winners Announced - 0 views

  • The Asahi Shimbun paper has announced the winners for the 13th Annual Tezuka Osamu Cultural Prizes this weekend. For the first time, two manga titles shared the Grand Prize: Fumi Yoshinaga's Ōoku: The Inner Chamber, and Yoshihiro Tatsumi's A Drifting Life. Ōoku had been nominated three years in a row before winning this year. Hikaru Nakamura won the Short Work Prize for Saint Young Men, her comedy manga about Buddha and Jesus sharing a Tokyo low-rent apartment. Suehiro Maruo won the "New Artist Prize" for Panorama Tōkitan.
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
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  • 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

Cartoon physics - Wikipedia, the free encyclopedia - 0 views

  • Anime physics can be considered a subset of cartoon physics.
  • important distinction to make is that while the rules of Western cartoon physics are used as a source of comedy, several of the following are used in perfectly serious situations with the intent of conveying genuine drama or action.
  • many of these laws only apply to the shōnen genre.
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  • Dramatic moments tend to distort time, either by slowing it down (usually long enough to call out the name of an attacker or the name of the "special move" used in the attack, or for bystanders to comment on the situation), or by looping three times. Similarly, transformations (especially those animated with stock footage) also seem to stop time until completed, allowing them to be used to counter attacks, or not allowing the person to be attacked while performing them. Death is not instantaneous to significant characters. Permanent death is also a rare occurrence. Humans are capable of instantaneously freezing into solid ice or transforming into stone when surprised and/or embarrassed. In lesser cases, a person's forehead will instantly turn blue. When a character is in an extremely pensive mood, the entire area around him/her will disappear into a featureless black void, while he/she remains illuminated by a misty light coming from an unknown but vertically located source. Intense emotion can be manifest in audible artifacts as well as physical/visual ones. For example, intense grief or concern imparts a slow repeat echo to the human voice in dramatic situations, even when appropriately placed reflective surfaces are not present. However, the amount of echo thus imparted is inversely proportional to the number of words, with anguished cries of another person's name usually receiving the most echo.
  • In a series where characters change size, the opponents must be of the same size to battle. The hero(es) cannot use their mech or their larger form to squish the monster, nor can the monster grow and squish the hero(es). This is also found in Tokusatsu series, especially Super Sentai, but not in Kaiju films, where monsters such as Godzilla often stomp humans at will. Sorrowful crying with much feeling can force tears to gush out like waterfalls. Usually used only during humorous situations, while in dramatic situations, the tear flow is more realistic. Angry scolding to another character causes the scolder to enlarge and grow sharp fangs while the person being scolded will shrink. Attacks strong enough to shred entire planets will not destroy anyone's clothes or hair. Conversely, certain explosions can destroy a female character's clothing without significantly harming her body—in some cases, without her initially noticing this. Any fire-based attack on a character will not completely burn his/her clothes but will leave black stains instead.
  • A single cut can be made swiftly, cleanly. This is possible with any object, particularly with hands, paper, swords, and even air. A sword, especially a katana, can cleanly cut through anything, even including large objects (such as ships) and hair, but not through other swords. There is a slight loophole in this law - if an expert fighter (even if using hand-to-hand techniques) wishes to end a duel with an obviously lesser opponent in an appropriately dramatic way, he can execute an appropriately dramatic attack that destroys his opponent's weapon-often without their knowledge; after completing a seemingly successful attack, they will notice the expert is unharmed and look at their weapon quizzically, at which point it will either fall into two cleanly cut pieces (in a dramatic battle) or shatter like glass (in a comedic battle). Wooden katanas (bokken) can cut just as well as the real thing (and are almost never destroyed by the aforementioned loophole), if not better. Faster than light travel is possible with many characters, particularly those engaged in martial art battles; and so a vehicle is not required. Trains and other unlikely forms of transportation can fly, through either technology or magic. And the bigger it is, the faster it moves. Any female can, if angered by someone, pull out a wooden rice mallet, of any proportions, from hammerspace and hit the offender with it to let go of some aggressions. It should be noted that, no matter how large the mallet is, or how flat the offender gets after the pounding, he/she will always revert to original shape without having to experience any lasting health deterioration from the whole ordeal. A good example of this is in the anime Pokémon: when Misty explained her hatred of bugs, she whacked Caterpie with a rice mallet.
  • Death can be suspended until it is appropriate, suspenseful, or ironic. During the end part of some battles, characters may opt to charge at one another with their sword, meaning to chop the other in half. At the point of contact, all that will be seen is a bright white slash going across the screen, but it will remain unclear who is hurt. The two characters will then stay, kneeling on the floor, facing away from each other, until the evil character falls into pieces, having been killed minutes earlier. For added dramatic effect, the good character will clutch the area that they were hit or cough up blood, after the two have performed their attacks and are facing away from each other, making it appear as though they lost. A few moments later, the evil character will fall to the ground, defeated. Also note, death is never, under ANY circumstance, certain, a character can be impaled, literally from navel to nose and come back later, unscathed. Every human body contains 16 gallons of blood under high pressure-a familiar term used is 'to make it rain blood'. This will not occur if whatever inflicts the wound is left in it, which allows the attacker to withdraw it, turn, wipe it clean and put it away-blood may begin spraying from the wound like a firehose after any one of these actions. Alternatively, the mortally wounded character may pull it out himself and use it to execute a final attack. Non-impaling wounds, such as being crushed or falling from a great height, usually do not cause these geysers of blood, but nosebleeds will often fountain impressively immediately upon a character's recognition of appropriate portions of an attractive female body. This is apparently true conversely, as sexual innuendo in the form of a guitar causes significant nosebleeds in the female cast of FLCL. Loud noises, such as screams of anguish and explosions, can be heard from space. All sounds can be transmitted in space, e.g. transmitted differently then with air-compression waves. Band-aids heal anything and everything, especially when applied with care. Any pain inflicted in a humorous fashion will almost never cause any lasting damage.
  • Whenever a female character falls down while running in any non-humorous scene, she will almost certainly sprain her ankle in such a way that movement becomes impossible. Furthermore, if the character is the leading female character, she will be found or be in the company of the male lead and he will carry her on his back, sparking a deeper romantic interest. Should two characters of the opposite sex fall within proximity of each other, the male's face will end up planted in the female's crotch or chest. Skirts will helpfully flip up to provide maximum humiliation to both parties, and shirts will open to reveal maximum cleavage. Towels will fly off both parties for this same reason. In the rare occasion that the female is wearing pants, the male will instead be on top of the female while groping the female's breast(s). In a similar sexual vein, a pre-adolescent girl will blossom out with full breasts and hips, sometimes growing instantly out of her clothing (common in erotic manga.) Characters, mostly men, can run perfectly and quickly, with their arms trailing behind them or sticking straight out from their sides. This is often done in a comical fashion, and possibly fleeing from an angered female character.
  • The hero always wins with two exceptions a. the other guy cheated b. the other guy is a master at fighting or something b1. Amendment: no matter how strong the other guy is, the hero will be able to beat him or her with an intense compacted training session, usually in the span of one day(unless handwaving time compression technology is available, enabling the hero to accomplish weeks or months of training in that same period of time). b2. Amendment: the other guy can win, but the hero will then proceed to train while dead in a variety of ultimate techniques, and will then return from the dead. All but the last technique trained in will cause damage, but will not defeat the other guy. The hero will then use the final technique. This technique often is said to result in death for the user, but almost always fails to do so. b3. Amendment: the other guy will eventually like the hero and instantly switch sides, often including a tear jerking, episode long flashback that involves crying, childhood memories, and random other events involving the other guy, often in the middle of a battle with time standing still (Often in tandem with first example). In most manga series the main characters (most times a boy) will always be secretly coveted by a girl, which later blooms into a relationship. In some occasions, some characters' injuries heal much quicker. (i.e. One Piece) No matter the relative strengths or abilities, a male character always takes a maximum amount of damage when punched by an angry female character in a comedic manner (often with the male being knocked bodily to the ground or across a room)
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    Animephysics can be considered a subset of cartoon physics.
Nele Noppe

Doujin Work's Hiroyuki to Oversee New Collaborative Comic Gear Mag - 0 views

  • However, Hiroyuki is vowing that all the manga creators in Comic Gear will be working together in the same studio everyday. Hiroyuki hopes that this work environment will encourage more collaboration between fellow manga creators so they can trade tips on techniques and share their knowledge. Hiroyuki also hopes that this environment will foster new talent by having more experienced creators mentor previously unpublished creators "from morning to night" about developing story and characters.
Manga_chronicle

Atori - Manga Chronicle - 0 views

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    Chasseuse de démon à temps partiel. C'est ainsi que l'on peut qualifier cette activité peu ordinaire qu'exerce Atori, jeune lycéenne sexy, dotée d'un appétit monstrueux. Parallèllement aux cours, qu'elle suit la journées, et à la chasse aux démons qu'elle pratique la nuit, pour le compte d'une mystérieuse organisation appelée N.U.E
Nele Noppe

Japanese Visual Culture: Explorations in the World of Manga and Anime - 1 views

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    By Mark W. MacWilliams (ed) e.a.
Claudia Márquez

U.S., Japanese Publishers Unite Against Manga Scan Sites - Anime News Network - 1 views

  • The Japanese Digital Comic Association is reportedly threatening legal action against 30 scanlation sites, whose names were not revealed.
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