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Manga

This article is about the Japanese medium. For other uses see Manga (disambiguation)

Manga is the Japanese word for comics; outside of Japan, it usually refers specifically to Japanese comics. Manga developed from a mixture of ukiyo-e and Western styles of drawing, and took its current form shortly after World War II.

A small amount of the total manga output of Japan is adapted into anime, which is usually created afterwards after a market interest has been established. Stories are often modified to appeal to a more mainstream market or meet broadcast regulations.

Contents

Origins

Literally translated, manga means "random (or whimsical) pictures". The word first came into common usage after the publication of the 19th century Hokusai Manga, containing assorted drawings from the sketchbook of the famous ukiyo-e artist Hokusai. However, gi-ga (lit. "funny pictures") drawn in the 12th century by various artists contain many manga-like qualities such as emphasis on story and simple, artistic lines.

Manga developed from a mixture of ukiyo-e and Western art movements. When the United States began trading with Japan, Japan tried to modernise itself and catch up with the rest of the world. Thus, they imported Western artists to teach their students things such as line, form and colour (things which were never concentrated on in ukiyo-e as the idea behind the picture was normally considered more important). Manga as people know it in the 20th and 21st centuries only really came into being after World War II when the government bans on any non-propaganda were lifted and many publishers sprang up.

In the 20th century, manga came to refer to comics. Though roughly equivalent to the American comic book, manga holds more importance in Japanese culture than comics do in American culture. Manga is well respected both as an art form and as a form of popular literature. Like its American counterpart, manga has been criticized for being violent and sexual; however, there have been no official inquiries or laws that have tried to limit what can be drawn in manga, except for fuzzy decency laws that apply to all published materials, stating that "overly indecent materials should not be sold". This freedom has allowed artists to draw manga for every age group and about every topic.

Manga format

Manga magazines usually have many series running concurrently with approximately 20–40 pages allocated to each series per issue. These manga magazines, or "anthology magazines", as they are also known, are usually printed on low-quality newsprint and can be anywhere from 200 to more than 850 pages long. Manga magazines also contain one-shot comics and various four-panel yonkoma (equivalent to comic strips). Manga series can run for many years if they are successful. Manga artists sometimes start out with a few "one-shot" manga projects just to try to get their name out. If these are successful and receive good reviews, they are continued.

When a series has been running for a while, the stories are usually collected together and printed in dedicated book-sized volumes, called tankobon. These volumes use higher-quality paper, and are useful to those who want to "catch up" with a series so they can follow it in the magazines or if they find the cost of the weeklies or monthlies to be prohibitive. Recently, "deluxe" versions have also been printed as readers have gotten older and the need for something special grew. Old manga have also been reprinted using somewhat lesser quality paper and sold for 100 yen each to compete with the used book market.

Manga are primarily classified by the age and gender of the target audience. In particular, books and magazines sold to boys (shonen) and girls (shojo) have distinctive cover art and are placed on different shelves in most bookstores.

Japan also has manga cafיs, or manga kissaten. At a manga kissaten, people drink coffee and read manga.

Many things appear in manga format, including wanted posters for criminals.

Traditional Mangas are read from right to left. Some publishers keep that format when they translate the Mangas, but some publishing companies switch the direction to left to right, so it doesn't confuse the readers.

Manga outside Japan

Manga has been translated into many different languages in different countries including Korea, China, France, Germany, Italy, and many more. In the USA, manga is still a rather small industry, especially when compared to the inroads that Japanese animation has made in the USA. An example of a manga publisher in the United States is VIZ Media, the American affiliate of publishers Shogakukan (Shogakukan) and Shueisha (Shueisha). They have many popular titles such as Neon Genesis Evangelion, Dragon Ball Z, Tenchi Muyo!, Rurouni Kenshin, YuYu Hakusho, (Yuyu Hakusho), Yu-Gi-Oh! (Yugio) and the various works of Rumiko Takahashi. The UK has fewer manga publishers than the US.

Since Japanese is usually written right-to-left in works of fiction, manga is drawn and published this way in Japan. When various titles were first translated to other languages, the artwork and layouts were flipped and reversed in a process known as "flopping", so that the book may be read from left-to-right. However, various creators (such as Akira Toriyama) did not approve of their work being modified this way, and requested that foreign versions retain the right-to-left format of the originals. Soon, due to both fan demand and the requests of creators, more publishers began offering the option of right-to-left formatting, which has now become commonplace in North America. Left-to-right formatting has gone from the rule to the exception.

Translated manga often includes cultural notes for details of Japanese culture that may not be familiar to foreign audiences.

Another company, TOKYOPOP, is producing manga widely in the United States, with the right-to-left format as a highly publicized point. They are widely credited with starting the current boom in manga sales, particularly amongst teenage girls. Some critics have complained that their aggressive publishing schedule emphasizes quantity over quality, and might be responsible for translations which many feel to be of sub-optimal quality. However, even their critics tend to admit that their contributions to the success of manga in America have been considerable.

Although the popularity of manga has greatly risen in the past years within the United States, it is important to recognize how the American consumer expectation of manga (or manga style) is greatly narrow and limiting compared to other countries and their consumer base. Popular titles sold aside from big names like Akira, usually are titles tailored toward children or drawn in the 'typical' Manga format. Meanwhile other influential, intellectual titles Tezuka Osamu's Phoenix and Black Jack or long-running popular comics like Golgo 13 are completely ignored or under appreciated outside of Japan, most likely due to the 'un-Manga like' drawing style and its position of being a comic book that requires intellect to fully appreciate rather than it being solely character and plot driven with a heavy emphasis on action. Perhaps the introduction of "Jojo's Bizarre Adventure" the manga in the fall of 2005 will shed new light to the consumer base of America in new styles that excel beyond the cliche stereotype of 'manga style' that is plaguing America today.

France is noted for having a particularly strong and diverse manga market. Many works that are published in France fall into genres that aren't well represented outside of Japan, such as adult oriented drama, or experimental and avant garde works. Authors such as Jiro Taniguchi who are relatively unknown in other western countries have received much acclaim in France. Part of the reason for the sheer popularity and diversity of manga in this country is due to it having a well established and respected comics market of its own (see Franco-Belgian comics).

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

In Indonesia, manga has quickly become one of fastest growing consumer industries, and Indonesia has become one of the biggest manga markets outside of Japan. Manga in Indonesia is published by Elex Media Komputindo, Garuda publishing, Gramedia, and many other companies. Manga has greatly influenced Indonesia's original comic industry.

Another popular form of manga distribution outside of Japan is through the Internet as (mostly illegal) scanlations.

In Thailand before 1992-1995 almost all avaliable manga was fast, unlicensed, poor quality bootlegs. More recently, licensed translations have begun to appear, but are still inexpensive compared to other countries. Thailand's manga publishers include Vibunkij, Siam Inter Comics, Nation Edutainment, and Bongkouh.

Manga has proved so popular that it has led to other companies such as Antarctic Press, Oni Press, Seven Seas Entertainment, TOKYOPOP and even Archie Comics to release their own manga-inspired works that apply the same artist stylings and story pacing seen in Manga. The first of these such works came in 1985 when Ben Dunn, founder of Antarctic Press, released Mangazine and Ninja High School.

While Antarctic Press actively refers to its works as "American Manga", not all of these manga-inspired works are made by Americans. Many of the artists working on Seven Seas Entertainment series such as Last Hope and Amazing Agent Luna are Filipino and TOKYOPOP has hired a variety of Asian artists to work on titles such as Warcraft and Princess Ai.

The manga style

The most popular and recognizable style of manga is very distinctive. Emphasis is often placed on line over form, and the storytelling and panel placement differ from those in Western comics. Panels and pages are typically read from right to left, consistent with traditional Japanese writing. While the art can be incredibly realistic or cartoonish, it is often noted that the characters look "Western", or have large eyes. Large eyes have become a permanent fixture in manga and anime since the 1960s when Osamu Tezuka, creator of Astro Boy and considered the father of modern manga, started drawing them that way, mimicking the style of Disney cartoons from the United States. Being a very diverse artform, however, not all manga artists adhere to the conventions most popularized in the west through anime such as Akira, Sailor Moon, Dragon Ball Z and Ranma 1/2.

A fair number of manga artists don't feel that their stories and characters are set in stone. So a set of characters may build relationships, jobs, etc. in one set of stories ("story arc") only to have another story arc run where the same characters do not know each other. The Tenchi series in particular is known for this; there are more than thirteen different pretty-much unrelated story arcs based around Tenchi and his friends.

International influence

Manga has long had an influence on international comics and animation the world over. American alternative comics artists such as Frank Miller and Scott McCloud were somewhat influenced by manga in a few of their works.

Other artists such as Americans Brian Wood and Becky Cloonan (Demo) and Canadian Bryan Lee O'Malley (Lost At Sea) are heavily influenced by the mainstream manga style and have received acclaim for their work outside of anime/manga fan circles. These artists have many other influences that make their work more palatable to non-manga readers. These artists have their roots in the anime/manga subculture of their particular regions.

American artist Paul Pope worked in Japan for Kodansha on the manga anthology Afternoon. Before he was fired (due to an editorial change at Kodansha) he was developing many ideas for the anthology that he would later publish in the US as Heavy Liquid. As a result his work features a strong influence from manga without influences from international otaku culture.

In France there is a "Nouvelle Manga" movement started by Frיdיric Boilet which seeks to combine mature sophisticated daily life manga with the artistic style of traditional Franco-Belgian comics. While the movement also involves Japanese artists, a handful of French cartoonists other than Boilet have decided to embrace its ideal.

In addition, there are many amateur artists who are influenced exclusively by the manga style. Many of these have their own small publishing houses, and some webcomics and webmanga in this style have become very popular (see Megatokyo). For the most part, these artists are not yet recognized outside of the anime and manga fan community. Many people outside of those circles view those works as being too focused on the American anime subculture, and not focused enough on telling stories that resonate with a wider audience.

Off the main path

Some manga artists will produce extra, sometimes unrelated material, which are known as omake (lit. "bonus" or "extra"). They might also publish their unfinished drawings or sketches, known as oekaki (lit. "sketches").

Unofficial fan made comics are called dojinshi. Some dojinshi continue with a series' story or write an entirely new one using its characters, much like fan fiction. In addition other dojinshi is produced by small amateur publishers outside of the mainstream commercial market in a similar fashion to small-press independently published comic books in the United States. Comiket, the largest comic book convention in the world with over 400,000 gathering in 3 days, is devoted to dojinshi.

Types of manga

Many of these genres apply equally well to anime and Japanese computer games.

By target audience

Genres

Popular shonen manga series

Popular shojo manga series

Popular seinen manga series

Distributors of manga

Major Japanese distributors

Major English-language distributors

Other English-language distributors

Major Chinese-language distributors

Major French-language distributors

Major German-language distributors

Major Indonesian-language distributors

Major Spanish-language distributors

Major Italian-language distributors

Major Polish-language distributors

Major Brazilian Portuguese-language distributors

List of manga magazines

See: List of manga magazines

Language notes

Because nouns in Japanese don't change based on pluralization, manga is the form for both plural and singular.

Mangaka is the corresponding Japanese word for a manga author/artist.

See also

For an extensive list of Japanese manga and Webmanga, see List of manga, List of manga by Japanese title, and List of dojinshi (manga). For a list of Manga artists (or Japanese Cartoonists), see Mangaka. For an international list of manga magazines see List of manga magazines. For a list of pornographic manga, see List of H manga, and List of H dojinshi (manga). See also: List of anime games.

References

  • Schodt, Frederik L. Dreamland Japan: Writings on Modern Manga. Berkeley, Calif.: Stone Bridge Press, 1996. ISBN 188065623X.
  • Schodt, Frederik L. Manga! Manga!: The World of Japanese Comics. New York: Kodansha International, 1983. ISBN 870117521, ISBN 4770023057.

External links

  • Anime News Network- A huge databse of information on anime as well as manga.
  • Anime Fridge - Archive of anime and manga reviews.
  • How to draw manga - A popular series of art instruction books
  • Manganews.net - Contains a large database of manga titles with useful descriptions, and also lists recently scanlated manga, with manga news and reviews updated daily.
  • Anime University - History of Manga History of Manga article from AnimeInfo.
  • Baka-Updates Manga Lists manga title and author information, and has information pertaining to manga scanlations.
  • Mangaka.co.za A South African manga community site with artist profiles, video manga tutorials & forum discussions.
  • Noated: Very active community forum, including anime/manga db, book store, and site directory.
  • Manga Life- Manga reviews, news, and information updated daily.
  • Manga Jouhou- Manga news
  • Mangallery- The Biggest Manga and Anime Gallery in Poland.

 

This article is licensed under the GNU Free Documentation License.
It uses material from the http://en.wikipedia.org/wiki/Manga".

 
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