ADV back in action?

ICv2 reports this morning that a Japanese holding company, the Sojits Corporation, has made a substantial investment in ADV through two of its subsidiaries.

Why?

Shinichi Uchiyama, Senior Vice President of Sojitz’ New Business Development Group, said of the investment, “Anime has become a global phenomenon, and the North American and European markets are slated for sustained growth. As the market leader, A.D. Vision is the best partner to realize that growth.”

So naturally, this is about anime, but manga is in the mix as well:

The investment will allow ADV Films to raise its output of new anime titles, which had dropped in 2006, back to previous levels or above. And an ADV spokesperson told ICv2 that in the wake of this new agreement, “ADV has big plans for its manga business.”

Emphasis mine. If this pans out, it’s obviously good news for all the fans who have been complaining over the last few weeks about their favorite series disappearing.

One wonders, though. It seems the problems came about the first time because ADV had big plans; people more knowledgeable than I feel that they overextended themselves, bringing out too many titles too quickly. I think we’d settle for a modest stream rather than a flood, perhaps finishing out some of the more popular series before starting anything new.

Volume 4 of Yotsuba&! would be an excellent start.

Posted in Mangablog | 2 Comments

Censoring CGE

I held off over the weekend, but I guess it’s time to add my two cents to the controversy over the censorship/editing of Cannon God Exaxxion.

Here’s the story in a nutshell: Dark Horse publishes the series, which was included in Dark Horse’s anthology magazine, Super Manga Blast, until SMB was discontinued last year. In a posting on the Dark Horse forums, series editor Chris Warner explained that

work with very strong adult content was created in Japan long after the series began running in the States, content much stronger than what had been established when the license was secured. Publishing this more adult content unaltered would have pulled the book into an adults-only category, which would have cut it off from a large number of its regular readers.

Dark Horse contacted the creator, who authorized some edits to bring it back to the 16+ age category.

For his trouble, Warner has been slammed by posters on that forum. Reaction in the blogosphere has been a bit more measured. At MangaCast, Ed Chavez says,

Personally, I think a mangaka can do what he wants. The creation process has artists changing things all the time (the artist might do so and who knows what editors will do, right). But as a fan, and there is no logic to being a fan, I would like to get what was licensed. So I want Kodansha’s eXaXXion.

And at Love Manga, David Taylor is sympathetic to Warner but thinks the the-manga-ka-said-it-was-OK excuse is a little wishy-washy. Also, shouldn’t Dark Horse have seen this coming?

Was Cannon God Exaxxion (CGE) a playful children’s series in the first four volumes and then suddenly took on a wholly unexpected adult theme in volume five?

David checks back to make sure, but the answer is no. Also, Warner’s argument that the pages had to be edited to be suitable for Super Manga Blast falls apart when you observe, as David does, that Super Manga Blast is no more. (Presumably the editing was done before that happened, but that’s an awful long lead time.)

With the caveat that I have never read Cannon God Exaxxion (hell, I can barely spell it), here are my observations:

1. First off, Dark Horse is a pretty good publishing house. As Chris Warner points out, they have plenty of books with serious adult content, and that’s OK because they plan and market them as such.

2. As much as we would like to pretend otherwise, manga is a commercial product. If the publishers lost money, there would be no manga.

3. Because Dark Horse does a good job with mature manga, I do think the change may have caught them unawares.

4. Warner presents this as a change-or-die scenario. The book isn’t selling all that well to begin with, and putting an M rating on it will hurt sales, as many bookstores won’t carry it, and probably kill the series. I’m inclined to believe him, because this sounds like a strictly marketing decision.

5. Hey, they talked to the artist, and he OK’d it. Presumably if he’d found the changes offensive, he would have objected, but he didn’t.

6. Major points to Warner for going on the boards and trying to explain this. Even though he got slammed, I’m glad he did it. It’s better than CMX’s obstinate silence.

I would like to see Dark Horse make another gesture, either putting uncensored pages up on the site or making the uncensored volumes (yes, that would be another edition) available through other channels, but if the series is as marginal as they say, they probably can’t spare the expense.

I also think we need to be clear on what we mean by “censorship.” I think of it as restraint imposed by the government. Self-censorship by artists, writers, and publishers happens all the time—it’s part of the creative process. I don’t use profanity when I write for a community newspaper, for example, and I usually have to cut out information for space or because it doesn’t flow logically with the rest of the story.

Here’s another example. I used to edit how-to-paint books, in which the author gave examples of his or her work and explained the techniques. I was showing a set of color proofs to my editor when she picked up her lupe, squinted at a painting, and said, “Look at that guy’s hard-on!” Yes, a figure in one of the paintings had a full erection, and I had totally missed it. Ulp! This is not something our audience would expect, and since we would be mailing it out sight unseen to our book club, the painting would have to go. We contacted the artist, and he chuckled (“I was wondering if that was going to get by you!”) and sent a replacement. No harm, no foul, except that color proofs are expensive to change.

So. We all want authentic manga, but the fact is that the marketplace sometimes dictates against it. If things have to be changed, I’m happy that Dark Horse was at least thoughtful about it, got the creator’s OK, and explained themselves to fans. I’m just sorry that Warner got slammed so badly by the fans. He was respectful to them, and he deserved the same in return.

Posted in Mangablog | 5 Comments

A few more things…

Found on the referrer logs: Bento Physics, a brand-new blog that aims to take a fresh approach to anime and manga. It starts off strong with posts on Ouran High School Host Club and yaoi manga.

The Honolulu Star-Bulletin takes a look at a couple of manga that weren’t blockbuster successes, and explains why. Also, a peek at internet reactions to their article on ADV manga, or rather, the lack thereof.

At Love Manga, David Taylor comments on the latest Flipped.

Posted in Mangablog | 3 Comments

Review: Amazing Agent Luna

Amazing Agent Luna
Writers: Nunzio DeFilippis and Christina Weir
Artist: Shiei
Publisher: Seven Seas

Amazing Agent Luna mixes a crazy sci-fi plot, ninja action, and romance in a schoolgirl story that doesn’t quite live up to its potential but is still a good read for a summer’s day.

Luna is a test-tube teen, grown in a lab from special genetic material and raised in isolation to be a ruthless secret agent. She’s sent to Nobel High School to figure out why the evil Count von Brucken is taking such an interest in the school. Could it be simple fatherly interest, since his hunky son Jonah just started there? Nope. He’s cooking up a plot to (spoilers ahead!) clone owls and give them human personalities, a plot that will be familiar to watchers of Saturday morning TV. The bad guys kidnap the school principal, the delightfully ditzy Miss Ohlinger, and swap her personality with an owl’s.

Luna has the standard group of classmates: mean-girl Elizabeth, sweet Francesca, handsome rebel Jonah, and nice-guy skateboarder Oliver, who has a crush on Luna but knows he’s doomed to be the perpetual friend. Luna and Jonah are attracted to one another, but various complications (including Elizabeth) conspire to keep them apart. The characters get more complex, and interesting, as the series goes on. At home, Luna’s surrogate family consists of her control agent, the steely but sexy Control, and sensitive-guy psychologist Andrew Collins.

This scenario presents plenty of opportunities for comedy and intrigue—Luna’s cluelessness, her mixed feelings about Jonah, the interplay between Control and Collins—but the writers don’t always exploit them. The strongest volume is volume 2, which had both my husband and I laughing out loud when the writers sent the evil count and Control’s control-freak parents to the school for Parents’ Day. This volume combined fresh humor with flashes of real insight, and I almost forgot about the cloned-owls thing.

The owls come back in Volume 3, which begins with a much darker scenario: Luna remembers seing Control kill a woman to keep her identity a secret, and she realizes that she will never have real friends. There is more ninja action as Luna rescues Miss Ohlinger and foils the count once more. The book ends on a promising note as the students are introduced to a new teacher: Control.

Overall, the intrigue is weak and won’t set your heart pounding, but the characters are interesting enough to make this a pleasant read, and I hope the writers break their stereotyped roles a bit more. Shiei’s clean-lined art is easy on the eye. This series would be a great choice for pre-teens, but it has enough personality to amuse older readers as well.

(Volume 3 was a review copy provided by the publisher, but volumes 1 and 2 were purchased by the sweat of my brow.)

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Morning links

The latest Manga Curry No Maki is up from MangaCast, and it features a look at June titles, how Jarred would fix some manga faux pas, and comments on Whistle! and the World Cup.

In Flipped, David Welsh takes a look at Megatokyo, the first OEL manga from CMX, and Boogiepop Doesn’t Laugh, the first Japanese manga from Seven Seas.

ComiPress draws our attention to a blog by a someone who has been a manga assistant for 30 years. The introduction is by Kentaro Takekuma, author of Even a Monkey Can Draw Manga. Both the blog and the intro are in Japanese, but ComiPress provids summary and commentary.

Looking for something to read? Mely has some suggestions (warning—spoilers). And Kirkus Reviews takes a look at what’s new this summer, including a whole page of manga. KR also gives their list of top sellers in the graphic novels category, and manga—specifically, Fullmetal Alchemist, Naruto, and Fruits Basket—dominate.

Going to AnimeExpo? Pata has the rundown on what’s happening when.

On the ANN Forums, people are discussing the ethics of posting doujinshi scans online. And for those who just like to read the words, here’s a list of Naruto fanfiction.

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Friday links

Dark Horse has posted previews of a number of new titles, including one I’m looking forward to, Kurosagi Corpse Delivery Service.

Seven Seas has an interview with Shiei, the artist for two of their OEL titles, Aoi House and Amazing Agent Luna.

At MangaCast, Ed Chavez gives his take on the new titles announced in Previews.

From ComiPress, two brief articles, one on an anime and manga research center starting up in Beijing and the other about Comic Valkyrie, a new bishoujo battle magazine (!) starting up in Japan.

Heading to Anime Expo? Go!Comi has a heap of freebies and they’re blogging about it just to torture the rest of us.

More signs of manga creep: the Los Angeles Times is publishing a guide to Anime Expo, the first time that august paper has published an advertising supplement focused on anime and manga.

In its farewell issue, Ninth Art, hands out The Ninth Art Lighthouse Awards: The Best Of The Best, and one of them goes to Tokyopop. I’m quoting the first graf for the sheer joy of the writing, and the second for the substance:

Mainstream comic publishers are like dinosaurs blinking at a meteorite crackling through the sky. Its smoke trails are spelling out the letters M-A-N-G-A, and it’s the last thing they’ll see before they’re obliterated.

A new breed of comics publisher has emerged, and Tokyopop has led the way. The new breed won’t necessarily all publish manga, but they’ll be using the same tactics. They’re going to sidestep the direct market ghetto and go straight to the bookstores; they’re going to publish in black and white, and offer comics at a low price point; and they’ll vie for the attentions of a broader audience beyond fanboys and schoolgirls. In short, the new publishers are going to be everything that the current publishers are not.

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