Search

The article focuses on Gengoroh Tagame, an openly gay, erotic manga artist, and his portrayal of gay life and issues for the general audience. It highlights several of Tagame's comic works including "My Brother's Husband," "Gekkan Manga Akushon" and "Our Colors." It discusses Tagame's portrayal of hardcore sexual manga, novel and illustrations, the manga principle of deformation which he follows for his works, and his quest to get involved with gay media and reform the gay culture industry.

The article explores how Canada can draw on Japanese manga and its own diverse communities to promote its own comic creators. It examines the works of Canadian comic creators including Brian Lee O'Malley, Mariko and Jillian Tamaki and Indigenous author Michael Nicoll Yahgulanaas and how they adapt manga styles and techniques to tell their own stories. It argues for the embrace of manga to allow the creation of sequential art and storytelling that express Canadian values, tradition and identity.

The article highlights forms of Japanese popular culture that helped the entry of manga into the Canadian market through various channels. An overview of economic and technological factors favorable to the export and diffusion of Japanese anime and manga into Canada between 1952 and 1990 is provided. Information is presented on the broadcasting of Japanese anime series in French-speaking networks, the publication of manga books, and rise of a system of sharing and trading in videotapes.

The article explores the rise of Japanese manga in Quebec focusing on the webcomic series "Frivolesque" by Dez and its illustration of the intersection between virtual community and national identity. Topics discussed include sense of place and traces of nationalism depicted in "Frivolesque," position of "Frivolesque" in the global manga explosion and the transnational dream of free-flowing cultural transfers, and social norms in Japan and Quebec that were questioned in the series.

An interview with Haitian visual designer, artist and cartoonist Thony Loui is presented. Loui describes his comic work as Creole-futurism, fantasy and educational. He talks about his love for comic books, his training and education in cartooning, and work as an apprentice with cartoonist Rich Buckler. He tells about doing a portrait of television comedian Conan O'Brien and his plan to release a nonfungible token (NFT) collection of the comic book "Tanama: Metamorphosis."

An introduction to a series of articles on Canada's manga culture is presented, with topics including novelist Jane Austen in Canadian Shôojo manga, gekiga publications by publisher Drawn & Quarterly, and differences between two linguistic communities in their reception and understanding of manga.

The article discusses the development of the manhua trade press in the People's Republic of China from 1978 to the present. Cited are the four major periods that marked the development of this specialized press, each marked by the seal of opulence and acceleration in a society idealized by the establishment of a period of reform and opening, and the path taken, the ending, and the changes of itineraries of this mass production-dominated press.

The article offers a comparison of the origins and shaping of the geek culture in the U.S. with the friki culture in Mexico. Cited are the cultures' characteristics, the fan communities that comprise them and their cultural expressions, how they both belong to a glocal, cross-border, incidental, and heterogeneous community despite their geographical, cultural, and historical differences, and the important elements which distinguish and define them.

The article discusses research which attempted to show the various ways mermaids are expressed in manga, focusing on manga creators Tezuka Osamu and Takahashi Rumiko. Cited are how the gender-neutral term merfolk might mean in regards to monstrosity and gender, the visual expression of the bodies of merfolk, and the associations among these ideas through various lenses of cultural theory, but mostly gender and monster theories.

The article explores the teaching approach of Japanese manga artist Ishinomori Shotaro with regards to manga panel. Topics include how his stylized points can open new insights into the nature of manga panel, his interest in the implications of the manga panel that is evident throughout the entirety of his career, and how he first expressed his thoughts on the art form.

The article explains the importance of the study of erotic comics for manga studies in Japan and beyond in an bid to make the legal and institutional barriers to expressing certain manga/anime images and content less of an obstacle. It discusses the diversity, social and cultural complexity of eromanga as an extension of manga expression for boys, girls, young men and women. Examples of the consequences of eromanga as a hyper-sensitized word and content for making informed judgment are cited.

An introduction to a series of articles on the shift of moral codes against sexual expression in contemporary Japanese manga is presented with topics including censorship of sexual expression in artworks, regulation of sexual expression and distribution in public and social construction of moral panic debates.

The article explores the limits of expression of female subjectivity in women's manga and discusses how they deal with censorship and double standards for male and female created art and art works depicting male and female sex organs and bodies. It cites the case of manga artist Rokudebashiko, who used reproduction part of her own body in her artistic expression, as representation of the vagueness of Japan's obscenity law. It discusses the subversion of gender roles in girls and women's manga.

The article considers essay manga by women on contemporary social networking services (SNS) as places for women's self-expression and independence. It discusses the importance of eromanga as a place for female manga creators, creating diverse representations and freedom of expression. It identifies underlying media circumstances behind the emergence of amateur manga creators including lower threshold for manga production and publication and expansion of the culture of individual transmission.

The article considers the novelty of shojo manga or Japanese comics for girls, their difficulties and challenges for freedom and expression, as well as the globalization of shojo manga as a genre. It offers a look into the post-war culture in which manga established a market and its transformation in the 1970s from compulsory heterosexual suppression under the male dominant society to women's expression of sexuality and love. It examines the effect of shojo manga on children and young adults.

The article focuses on the representations of erotic images in Japanese comics or manga. It provides a view of Pawel Jaszczuk's photographic images and memes of the changing representation of girls and a brief history of representations of sexual expression and eroticism pioneered by cartoonist Tezuka Osamu. It offers a look into the current state of Japanese erotic comics and explores its ambiguity and diversity from adult comics for men, boys love for women and male homosexuality.

A personal narrative is presented which explores the author's experience of his academic and career journey and activities related to comics from the 1960s to 200s.

The article discusses the representation of Quetzalcoatl and the pre-Hispanic images of the dragon, feathered serpent and Shenlong in the Mexican comic book "Aztectopia," published by Mexican artist Pedro Larez in 20107. It analyzes the graphic and compositional characteristics of the images of the dragon and serpent and examines the book's format and structure. It explores the iconographic convergences and divergences in the representations of the serpent and the Chinese Oriental dragon.

The article explores the comic strip "Fuichin-san" as a parallel dramatization of the life of Japanese manga artist Ueda Toshiko who lived in Harbin, Manchuria, China, as well as the graphic style of Toshiko in comparison with other Japanese girls' comics from 1957 to 1962. It provides a historical background of the characters and cultural climate of Harbin landscape and the importance of Manchuria as a stage of Japanese manga works. It examines the humor and laughter in Toshiko's comics.

The article explores the influence of Japanese manga in Spain, considering the works of Spanish authors and artists. It highlights the generations of manga artists in Spain classified into groups, including those born between 1970 and the beginning of 1980 classified as precursors of the first manga and anime and pioneers in drawing short comics, those born after the 1980s who consumed fanzines and gained popularity via Internet and those born after 1990 who specialized outreach publications.

The article focuses on South Korea as a cartoon powerhouse in East Asia. It discusses reasons for acknowledging South Korea as a cartoon powerhouse including its rivalry with Japan, role of government in facilitating comic art, offshore production of animation for North American and European studios, women participation in comic art as creators and readers, independence from colonialism and media/comics imperialism and innovative forms and genres of Korean manhwa to curb manga.

In the article, the author discusses the social functions and effects of popular manga in contemporary Japan by examining the serialized manga "Golden Kamuy" by Satoru Noda. The manga was published in the weekly comic magazine "Shukan Young Jump" since August 2014. Also cited are the various awards received by Noda for his manga like the Japan Expo Award, and how manga can promote empathy, friendship, and solidarity among its readers.

The article informs that Biennial was framed in the complex process of a strong and novel political mobilization in Argentina and globally. Topics include politicization included certain singular phenomena: the expansion of the armed struggle in the region known as Third World; and put the construction of knowledge and culture at the service of the revolutionary transformation of a social order perceived as unfair and inequitable.

The article reviews the exhibitions "Illustrating Batman: Eighty Years of Comics and Pop Culture," "Batman Collected: Chip Kidd's Batman Obsession, and Bat-Manga!: The Secret History of Batman in Japan" at the Society of Illustrators' Museum of Illustration in New York on June 12-October 12, 2019.

An interview with Alexander Braun, the curator of the exhibition "Comics! Mangas! Graphic Novels!" at the Bundeskunsthalle in Bonn, Germany, is presented. Topics discussed include difference of the exhibition in Bonn from the one he did on his own and his views on the increasing media interest in comics exhibitions.

The article discusses ambition and women in the works of female author Anno Moyoco, the manga series "Sakuran" and "Hataraki-Man." Topics discussed include how ambitions are characterized in these works and how their depictions reflect the author's contemporary society, analysis of texts, readership, and production, and the appeal and meaning of these ambitious women.

The article explores the presence of the political ideology of Marxism across media and other boundaries, focusing on characterization and on the use of montage in the comic book "Capital in Manga," by Variety Artworks. Topics discussed include the history of Marxist comics in Japan, focus of the comic book on humanlike actions and intentions, and the use of character speech in the comic book to illustrate Marx's theories.

The article profiles Ishii Takashi, Japanese film director, ero gekiga artist, sh#333;ojo manga artist and "GARO" magazine inheritor. Topics discussed include personal background of Ishii, how Ishii began his career as an ero-gekiga artist, his visual style in ero-gekiga, definition of gekiga, or realistic manga, and background on Nami, the most famous female character Ishii has drawn.

The article examines representations of the Christian other in the manga "20th Century Boys," by Naoki Urasawa, and "Judas," by Suu Minazuki. It analyzes the comic books' depiction of the popular notion of Christians being sincerely engaged in social causes and the reservations many Japanese have toward internalizing the faith itself. It also discusses portrayals of Christianity in manga which often reveal popular Japanese attitudes toward the Christian faith.

The article explores the use of sound effects in "Insufficient Direction," an autobiographical josei manga about Anno Moyoco's life with her husband, director Anno Hideaki, and their otaku lifestyle. It examines the couple's use of giongo, or onomatopoeia, and gitaigo, or mimetic words describing action or emotion, to remember their favorite anime, manga and films. It also analyzes how the connection to memory in the josei manga is rooted in earlier forms of Japanese art, primarily haiku.

The article examines the portrayal of national identity in Malaysian autobiographical comics. It explores the contributions of cartoonists Lat and Ujang to the discussion of autobiographical comics in Malaysia showing a local comics style. It also discusses the history of the popularity of Japanese manga among Malaysian comics readers and artists and of the development of the concept of a Malaysian comics style.

The article explores the publication in the U.S. of the manga "Interview With the Vampire: Claudia's Story" by the Yen Press imprint of Hachette USA. It describes the use of visual conventions of Japanese shoujo manga by Ashley Marie Witter in adapting Anne Rice's novel. It examines the role of U.S. manga publishers and their transnational publishing practices in the rise of original global manga in the country, as well as the specific socio-historical conditions under which it happened.

The article examines Japanese manga adaptations of the "Grimms' Fairy Tales" collection of the German brothers Jacob and Wilhelm Grimm. It describes the general aim of the book, its international popularity and its influence on Germans' public image and self-image. It also analyzes manga retellings that can be found in the German market to illustrate the different approaches of various manga-ka to adaptations of "Grimms' Fairy Tales."

An introduction is presented in which the author discusses articles within the issue on topics including Canada's manga culture, interviews with Russian and Ukrainian cartoonists relating to the war in Ukraine, and imitation/plagiarism/outright swipe.

The article discusses varied mass media forms of Japanese shōnen manga, comics designed to appeal to boys ages 4 to 18, focusing particularly on "Toriko," by Shimabukuro Mitsutoshi. The gourmet-battle-fantasy hybrid first appeared in the manga magazine "Weekly Shōnen Jump's" in 2002. Topics include world settings and characters used by alternate sources such as video game designs, anime, television series, motion pictures, and advertisers.

The author presents a memoir of his involvement with comic books, anime, and science fiction films. He mentions his interest in manga and other foreign comics, his role in the growth of interest in anime in the U.S., and his participation in science fiction film societies, mostly in Los Angeles, California.

A literary analysis of the manga series "Inuyasha" by Rumiko Takashi is presented. It looks at the role of the Master-Slave dialectic concept developed by philosopher Georg Hegel in terms of the manga's portrayal of battles, killings, and conflict. Particular attention is given to how women characters refuse to engage in the Master-Slave dialectic as the author suggests the feminine refusal allows the protagonists to succeed in saving Feudal and modern Japan.

A literary analysis of the horror manga "The Kurosagi Corpse Delivery Service" by Eiji Otsuka and Housui Yamazaki is presented. It examines the use of "giongo," the onomatopoeic sound effects representing actual sounds, and "gitaigo," or words that represent psychological states and non-auditory sounds. Particular attention is given to how these effects are used in the manga for reflection on nature, haiku, and Japanese literature.

A personal narrative is presented in which the author reflects on his lifelong appreciation for Manga graphic novels and comics.

The article examines the theme of incest between brothers and sisters in shojo manga, or Japanese comics for girls. It looks at how incest is treated as a serious social taboo in shojo as the notion of the genre refers to the purity of females before marriage. Particular attention is given to how such manga influence culture of Japanese girls and their social position.

An interview with Japanese manga artist Chikae Ide is presented. She reflects on her 50 year career in manga, commenting on the relationships she has developed, her experience as a female manga artist in the 1960s, and her relationship with editors. Other topics covered include her personal life, finances, and the business side of manga.

The article provides information on the history of American comic strip translations in Japan prior to World War I. It covers the first known translation of an American comic strip into Japanese, citing the strip "Mr. Jack" by Jimmy Swinnerton in a 1908 issue of the Japanese humor magazine "Tokyo Puck." The author goes on to explore how these translations influenced the development of modern narrative Manga.

The article discusses the history and philosophy of manga translation in North America. It highlights trends within the history of English language translation of manga and comments on the significance of translation decisions and norms of American comic books. It analyzes the separation between intention and result in manga translation using translation scholar Lawrence Venuti's concept of foreignization and domestication. An approach that improves upon cultural norms is proposed.

The article examines the development of Hong Kong comics after the mid-1990s focusing on the slim-volume, or bozhuang, format of comics publication in Hong Kong. It discusses developments that had negative impacts on local comics development such as failure to develop comics themes, entrance of Japanese comics into the Hong Kong market, and cultural ethics and society and changes in the comics industry. It analyzes the heavy use of text and detailed illustration style of Hong Kong comics.

The article explores the personifications of death in comics and manga as represented by the Grim Reaper and shinigami in Western and Japanese cultures. Topics discussed are traditions of the Triumph of Death and Dance of Death, appearance of Grim Reaper in several comics as representation of the villainous incarnations of death such as in issues of "Wonder Comics," and the reference to shinigami including in "Yu Yu Hakusho," "Descendants of Darkness" and "Imishi Magical Theater: Risky Safety."

The article explores the ways in which gitaigo, an effect that one encounters when reading Japanese manga, work on connecting an audience to the silent medium of comics in ways similar to the work of silent film narrators known as benshi. Topics mentioned include the book "Projections: Comics and the History of Twenty-First Century Storytelling," by Jared Gardner, film in Japan in the early 20th century, and the effectiveness of sound in manga.