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Manga#Digital manga
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{{Short description|Comics or graphic novels created in Japan}}{{About|Japanese comics|Chinese comics|Manhua|Korean comics|Manhwa}}{{Pp|small=yes}}{{Use American English|date=December 2021}}{{Use dmy dates|date=January 2022}}- the content below is remote from Wikipedia
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Etymology
File:Manga in Jp.svg|thumb|left|upright=0.5|The kanjikanjiThe word “manga” comes from the Japanese word {{nihongo2|漫画}}{{Harvnb|Rousmaniere|2001|p=54}}, {{Harvnb|Thompson|2007|p=xiii}}, {{Harvnb|Prohl|Nelson|2012|p=596}},{{Harvnb|Fukushima|2013|p=19}} (katakana: ; hiragana: ), composed of the two kanji {{nihongo2|漫}} (man) meaning “whimsical or impromptu” and {{nihongo2|ç”»}} (ga) meaning “pictures”.WEB, Shiji no yukikai(Japanese National Diet Library),dl.ndl.go.jp/info:ndljp/pid/2534277/5?contentNo=5&itemId=info%3Andljp%2Fpid%2F2534277&__lang=en, 6 December 2015, 11 April 2022,web.archive.org/web/20220411045911/https://dl.ndl.go.jp/info:ndljp/pid/2534277/5?contentNo=5&itemId=info%3Andljp%2Fpid%2F2534277&__lang=en, live, {{Harvnb|Webb|2006}},{{Harvnb|Thompson|2007|p=xvi}},{{Harvnb|Onoda|2009|p=10}},{{Harvnb|Petersen|2011|p=120}} The same term is the root of the Korean word for comics, manhwa, and the Chinese word manhua.{{Harvnb|Thompson|2007|p=xiii}}, {{Harvnb|Onoda|2009|p=10}}, {{Harvnb|Prohl|Nelson|2012|p=596}}, {{Harvnb|Fukushima|2013|p=19}}The word first came into common usage in the late 18th century{{Harvnb|Prohl|Nelson|2012|p=596}},{{Harvnb|McCarthy|2014|p=6}} with the publication of such works as SantÅ KyÅden’s picturebook Shiji no yukikai (1798),WEB, SantÅ KyÅden’s picturebooks,heartland.geocities.jp/hamasakaba/44kyoden/, 6 December 2015,heartland.geocities.jp/hamasakaba/44kyoden/," title="web.archive.org/web/20160106014407heartland.geocities.jp/hamasakaba/44kyoden/,">web.archive.org/web/20160106014407heartland.geocities.jp/hamasakaba/44kyoden/, 6 January 2016, dead, and in the early 19th century with such works as Aikawa Minwa’s Manga hyakujo (1814) and the celebrated Hokusai Manga books (1814–1834)WEB, Hokusai Manga (15 Vols complete),www.dh-jac.net/db1/books-e/results.php?f39[]=%2A%2F000&f40[]=SB4738&-sortField1=f39&skip=0&enter=portal, 17 May 2018, 9 April 2023,web.archive.org/web/20230409002427/https://www.dh-jac.net/db1/books-e/results.php?f39[]=*/000&f40]=SB4738&-sortField1=f39&skip=0&enter=portal, live, containing assorted drawings from the sketchbooks of the famous ukiyo-e artist Hokusai.{{Harvnb|Bouquillard|Marquet|2007}} Rakuten Kitazawa (1876–1955) first used the word “manga” in the modern sense.{{Harvnb|Shimizu|1985|pp=53–54, 102–103}}In Japanese, “manga” refers to all kinds of cartooning, comics, and animation. Among English speakers, “manga” has the stricter meaning of “Japanese comics”, in parallel to the usage of “anime” in and outside Japan. The term “ani-manga” is used to describe comics produced from animation cels.WEB,www.animecornerstore.com/inuyaanno.html, Inu Yasha Ani-MangaGraphic Novels, Animecornerstore.com, 1 November 1999, 1 November 2010,www.animecornerstore.com/inuyaanno.html," title="web.archive.org/web/20101204093242www.animecornerstore.com/inuyaanno.html,">web.archive.org/web/20101204093242www.animecornerstore.com/inuyaanno.html, 4 December 2010, dead,History and characteristics
{{See also|KibyÅshi|Kamishibai}}File:Sazae-san kamishibai.jpg|thumb|right|A kami-shibai story teller from Sazae-san by Machiko HasegawaMachiko HasegawaManga originated from emakimono (scrolls), ChÅjÅ«-jinbutsu-giga, dating back to the 12th century. During the Edo period (1603–1867), a book of drawings titled Toba Ehon further developed what would later be called manga.WEB, Kageyama, Y., A Short History of Japanese Manga,www.widewalls.ch/japanese-manga-comics-history/, dead,www.widewalls.ch/japanese-manga-comics-history/," title="web.archive.org/web/20200528051728www.widewalls.ch/japanese-manga-comics-history/,">web.archive.org/web/20200528051728www.widewalls.ch/japanese-manga-comics-history/, Widewalls.ch, 24 September 2016, 28 May 2020, 27 July 2020, WEB,artscape.jp/artscape/eng/ht/0712index.html,web.archive.org/web/20210421042205/https://artscape.jp/artscape/eng/ht/0712index.html, MedievalManga in Midtown: The Choju-Giga at the Suntory Museum, Dai Nippom Printing Co., Ltd., 21 April 2021, 22 December 2022, The word itself first came into common usage in 1798, with the publication of works such as SantÅ KyÅden’s picturebook Shiji no yukikai (1798), and in the early 19th century with such works as Aikawa Minwa’s Manga hyakujo (1814) and the Hokusai Manga books (1814–1834).{{harvp|Kern|2006|loc=pp. 139–144, Fig. 3.3}} Adam L. Kern has suggested that kibyoshi, picture books from the late 18th century, may have been the world’s first comic books. These graphical narratives share with modern manga humorous, satirical, and romantic themes.{{Harvnb|Kern|2006}} Some works were mass-produced as serials using woodblock printing. however Eastern comics are generally held separate from the evolution of Western comics and Western comic art probably originated in 17th century Italy.BOOK,books.google.com/books?id=3bfPAgAAQBAJ, Gothic in Comics and Graphic Novels by Julia Round page 24 and 25, 978-0-7864-4980-4, 17 March 2023, 6 April 2023,web.archive.org/web/20230406230749/https://books.google.com/books?id=3bfPAgAAQBAJ, live, Round, Julia, 12 February 2014, McFarland, Writers on manga history have described two broad and complementary processes shaping modern manga. One view represented by other writers such as Frederik L. Schodt, Kinko Ito, and Adam L. Kern, stress continuity of Japanese cultural and aesthetic traditions, including pre-war, Meiji, and pre-Meiji culture and art.{{Harvnb|Schodt|1986}}, {{Harvnb|Ito|2004}}, {{Harvnb|Kern|2006}}, {{Harvnb|Kern|2007}} The other view, emphasizes events occurring during and after the Allied occupation of Japan (1945–1952), and stresses U.S. cultural influences, including U.S. comics (brought to Japan by the GIs) and images and themes from U.S. television, film, and cartoons (especially Disney).{{Harvnb|Kinsella|2000}}, {{Harvnb|Schodt|1986}}Regardless of its source, an explosion of artistic creativity occurred in the post-war period,{{Harvnb|Schodt|1986}}, {{Harvnb|Schodt|1996}}, {{Harvnb|Schodt|2007}}, {{Harvnb|Gravett|2004}} involving manga artists such as Osamu Tezuka (Astro Boy) and Machiko Hasegawa (Sazae-san). Astro Boy quickly became (and remains) immensely popular in Japan and elsewhere,{{Harvnb|Kodansha|1999|pp=692–715}}, {{Harvnb|Schodt|2007}} and the anime adaptation of Sazae-san drew more viewers than any other anime on Japanese television in 2011. Tezuka and Hasegawa both made stylistic innovations. In Tezuka’s “cinematographic” technique, the panels are like a motion picture that reveals details of action bordering on slow motion as well as rapid zooms from distance to close-up shots. This kind of visual dynamism was widely adopted by later manga artists.{{Harvnb|Schodt|1986}} Hasegawa’s focus on daily life and women’s experience also came to characterize later shÅjo manga.{{Harvnb|Gravett|2004|p=8}}, {{Harvnb|Lee|2000}}, {{Harvnb|Sanchez|1997–2003}} Between 1950 and 1969, an increasingly large readership for manga emerged in Japan with the solidification of its two main marketing genres, shÅnen manga aimed at boys and shÅjo manga aimed at girls.{{Harvnb|Schodt|1986}}, {{Harvnb|Toku|2006}}In 1969, a group of female manga artists (later called the Year 24 Group, also known as Magnificent 24s) made their shÅjo manga debut (“year 24” comes from the Japanese name for the year 1949, the birth-year of many of these artists).{{Harvnb|Gravett|2004|pp=78–80}}, {{Harvnb|Lent|2001|pp=9–10}} The group included Moto Hagio, Riyoko Ikeda, Yumiko ÅŒshima, Keiko Takemiya, and Ryoko Yamagishi. Thereafter, primarily female manga artists would draw shÅjo for a readership of girls and young women.{{Harvnb|Schodt|1986}}, {{Harvnb|Toku|2006}}, {{Harvnb|Thorn|2001}} In the following decades (1975–present), shÅjo manga continued to develop stylistically while simultaneously evolving different but overlapping subgenres.{{Harvnb|ÅŒgi|2004}} Major subgenres include romance, superheroines, and “Ladies Comics” (in Japanese, redisu , redikomi , and josei ).{{Harvnb|Gravett|2004|p=8}}, {{Harvnb|Schodt|1996}}Modern shÅjo manga romance features love as a major theme set into emotionally intense narratives of self-realization.{{Harvnb|Drazen|2003}} With the superheroines, shÅjo manga saw releases such as Pink Hanamori’s Mermaid Melody Pichi Pichi Pitch, Reiko Yoshida’s Tokyo Mew Mew, and Naoko Takeuchi’s Pretty Soldier Sailor Moon, which became internationally popular in both manga and anime formats.{{Harvnb|Allison|2000|pp=259–278}}, {{Harvnb|Schodt|1996|p=92}} Groups (or sentais) of girls working together have also been popular within this genre. Like Lucia, Hanon, and Rina singing together, and Sailor Moon, Sailor Mercury, Sailor Mars, Sailor Jupiter, and Sailor Venus working together.{{Harvnb|Poitras|2001}}Manga for male readers sub-divides according to the age of its intended readership: boys up to 18 years old (shÅnen manga) and young men 18 to 30 years old (seinen manga);{{Harvnb|Thompson|2007|pp=xxiii–xxiv}} as well as by content, including action-adventure often involving male heroes, slapstick humor, themes of honor, and sometimes explicit sex.{{Harvnb|Brenner|2007|pp=31–34}} The Japanese use different kanji for two closely allied meanings of “seinen“— for “youth, young man” and for “adult, majority“—the second referring to pornographic manga aimed at grown men and also called seijin (“adult” ) manga.{{Harvnb|Schodt|1996|p=95}}, {{Harvnb|Perper|Cornog|2002}} ShÅnen, seinen, and seijin manga share a number of features in common.Boys and young men became some of the earliest readers of manga after World War II. From the 1950s on, shÅnen manga focused on topics thought to interest the archetypal boy, including subjects like robots, space-travel, and heroic action-adventure.{{Harvnb|Schodt|1986|pp=68–87}}, {{Harvnb|Gravett|2004|pp=52–73}} Popular themes include science fiction, technology, sports, and supernatural settings. Manga with solitary costumed superheroes like Superman, Batman, and Spider-Man generally did not become as popular.{{Harvnb|Schodt|1986|pp=68–87}}The role of girls and women in manga produced for male readers has evolved considerably over time to include those featuring single pretty girls (bishÅjo){{Harvnb|Perper|Cornog|2002|pp=60–63}} such as Belldandy from Oh My Goddess!, stories where such girls and women surround the hero, as in (Negima!: Magister Negi Magi|Negima) and Hanaukyo Maid Team, or groups of heavily armed female warriors (sentÅ bishÅjo){{Harvnb|Gardner|2003}}By the turn of the 21st century, manga “achieved worldwide popularity”.WEB, 30 September 2022, comic book,www.britannica.com/art/comic-book, 22 May 2023, Encyclopedia Britannica, en, 22 May 2023,web.archive.org/web/20230522162505/https://www.britannica.com/art/comic-book, live, With the relaxation of censorship in Japan in the 1990s, an assortment of explicit sexual material appeared in manga intended for male readers, and correspondingly continued into the English translations.{{Harvnb|Perper|Cornog|2002}} In 2010, the Tokyo Metropolitan Government considered a bill to restrict minors’ access to such content.WEB,www.yomiuri.co.jp/dy/national/T101213003771.htm,www.yomiuri.co.jp/dy/national/T101213003771.htm," title="web.archive.org/web/20130120065145www.yomiuri.co.jp/dy/national/T101213003771.htm,">web.archive.org/web/20130120065145www.yomiuri.co.jp/dy/national/T101213003771.htm, 20 January 2013, The Yomiuri Shimbun, Tokyo Moves a Step Closer to Manga Porn Crackdown, 14 December 2010, dead, {{Update inline|reason=Was it passed by the full assembly?|date=July 2020}}The gekiga style of storytelling—thematically somber, adult-oriented, and sometimes deeply violent—focuses on the day-in, day-out grim realities of life, often drawn in a gritty and unvarnished fashion.WEB, Gekiga as a site of Intercultural Exchange,imrc.jp/images/upload/lecture/data/06ROSENBAUM_Cologne.pdf, Rosenbaum, Roman, 2011, Kyoto Seika University,imrc.jp/images/upload/lecture/data/06ROSENBAUM_Cologne.pdf," title="web.archive.org/web/20160418181649imrc.jp/images/upload/lecture/data/06ROSENBAUM_Cologne.pdf,">web.archive.org/web/20160418181649imrc.jp/images/upload/lecture/data/06ROSENBAUM_Cologne.pdf, 18 April 2016, live, {{Harvnb|Schodt|1986|pp=68–73}}, {{Harvnb|Gravett|2006}} Gekiga such as Sampei Shirato’s 1959–1962 Chronicles of a Ninja’s Military Accomplishments (Ninja BugeichÅ) arose in the late 1950s and 1960s, partly from left-wing student and working-class political activism,{{Harvnb|Schodt|1986|pp=68–73}}, {{Harvnb|Gravett|2004|pp=38–42}}, {{Harvnb|Isao|2001}} and partly from the aesthetic dissatisfaction of young manga artists like Yoshihiro Tatsumi with existing manga.{{Harvnb|Isao|2001|pp=147–149}}, {{Harvnb|Nunez|2006}}Publications and exhibition
File:Delegates of 3rd Asian Cartoon Exhibition.JPG|thumb|left|Delegates of 3rd Asian Cartoon Exhibition, held at Tokyo (Annual Manga Exhibition) by The (Japan Foundation]]Manga Hai Kya, Comics : Shekhar Gurera The Pioneer, New Delhi {{Webarchive|url=https://web.archive.org/web/20170510062823www.readwhere.com/read/154198/g4u-MEDIA/Manga-Hai-Kya-Comics-#page/1/2 |date=10 May 2017 }})(File:MangaStoreJapan.jpg|thumb|A manga store in Japan)In Japan, manga constituted an annual 40.6 billion yen (approximately US$395 million) publication-industry by 2007.{{Harvnb|Cube|2007}} In 2006 sales of manga books made up for about 27% of total book-sales, and sale of manga magazines, for 20% of total magazine-sales.WEB,www.jetro.org/trends/market_info_manga.pdf, Manga Industry in Japan,www.jetro.org/trends/market_info_manga.pdf," title="web.archive.org/web/20120406232125www.jetro.org/trends/market_info_manga.pdf,">web.archive.org/web/20120406232125www.jetro.org/trends/market_info_manga.pdf, 6 April 2012,
The manga industry has expanded worldwide, where distribution companies license and reprint manga into their native languages.
Marketeers primarily classify manga by the age and gender of the target readership.{{Harvnb|Schodt|1996}} In particular, books and magazines sold to boys (shÅnen) and girls (shÅjo) have distinctive cover-art, and most bookstores place them on different shelves. Due to cross-readership, consumer response is not limited by demographics. For example, male readers may subscribe to a series intended for female readers, and so on. Japan has manga cafés, or manga kissa (kissa is an abbreviation of kissaten). At a manga kissa, people drink coffee, read manga and sometimes stay overnight.The Kyoto International Manga Museum maintains a very large website listing manga published in Japanese.{{Harvnb|Manga Museum|2009}}Magazines
{{See also|List of manga magazines|List of Japanese manga magazines by circulation}}(File:Eshibun Nipponchi.jpg|thumb|upright|Eshinbun Nipponchi is credited as the first manga magazine ever made.){{Nihongo|Manga magazines or anthologies|漫画雑誌|manga zasshi}} usually have many series running concurrently with approximately 20–40 pages allocated to each series per issue. Other magazines such as the anime fandom magazine Newtype featured single chapters within their monthly periodicals. Other magazines like Nakayoshi feature many stories written by many different artists; these magazines, or “anthology magazines”, as they are also known (colloquially “phone books“), are usually printed on low-quality newsprint and can be anywhere from 200 to more than 850 pages thick. 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. Popular shonen magazines include Weekly ShÅnen Jump, Weekly ShÅnen Magazine and Weekly ShÅnen Sunday - Popular shoujo manga include Ciao, Nakayoshi and Ribon. 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. Magazines often have a short life.{{Harvnb|Schodt|1996|p=101}}Collected volumes
After a series has run for a while, publishers often collect the chapters and print them in dedicated book-sized volumes, called . These can be hardcover, or more usually softcover books, and are the equivalent of U.S. trade paperbacks or graphic novels. These volumes often 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. “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 (about $1 U.S. dollar) each to compete with the used book market.History
Kanagaki Robun and Kawanabe KyÅsai created the first manga magazine in 1874: Eshinbun Nipponchi. The magazine was heavily influenced by Japan Punch, founded in 1862 by Charles Wirgman, a British cartoonist. Eshinbun Nipponchi had a very simple style of drawings and did not become popular with many people. Eshinbun Nipponchi ended after three issues. The magazine Kisho Shimbun in 1875 was inspired by Eshinbun Nipponchi, which was followed by Marumaru Chinbun in 1877, and then Garakuta Chinpo in 1879.Eshinbun Nipponchi ShÅnen Sekai was the first shÅnen magazine created in 1895 by Iwaya Sazanami, a famous writer of Japanese children’s literature back then. ShÅnen Sekai had a strong focus on the First Sino-Japanese War.{{Harvnb|Griffiths|2007}}In 1905, the manga-magazine publishing boom started with the Russo-Japanese War,Poten Tokyo Pakku was created and became a huge hit.Shonen Pakku After Tokyo Pakku in 1905, a female version of ShÅnen Sekai was created and named ShÅjo Sekai, considered the first shÅjo magazine.{{Harvnb|Lone|2007|p=75}} ShÅnen Pakku was made and is considered the first children’s manga magazine. The children’s demographic was in an early stage of development in the Meiji period. ShÅnen Pakku was influenced from foreign children’s magazines such as Puck which an employee of JitsugyÅ no Nihon (publisher of the magazine) saw and decided to emulate. In 1924, Kodomo Pakku was launched as another children’s manga magazine after ShÅnen Pakku. During the boom, Poten (derived from the French “potin“) was published in 1908. All the pages were in full color with influences from Tokyo Pakku and Osaka Puck. It is unknown if there were any more issues besides the first one. Kodomo Pakku was launched May 1924 by Tokyosha and featured high-quality art by many members of the manga artistry like Takei Takeo, Takehisa Yumeji and Aso Yutaka. Some of the manga featured speech balloons, where other manga from the previous eras did not use speech balloons and were silent.Published from May 1935 to January 1941, Manga no Kuni coincided with the period of the Second Sino-Japanese War (1937–1945). Manga no Kuni featured information on becoming a mangaka and on other comics industries around the world. Manga no Kuni handed its title to Sashie Manga KenkyÅ« in August 1940.Manga no KuniDÅjinshi“>DÅjinshi
DÅjinshi, produced by small publishers outside of the mainstream commercial market, resemble in their publishing small-press independently published comic books in the United States. Comiket, the largest comic book convention in the world with around 500,000 visitors gathering over three days, is devoted to dÅjinshi. While they most often contain original stories, many are parodies of or include characters from popular manga and anime series. Some dÅjinshi continue with a series’ story or write an entirely new one using its characters, much like fan fiction. In 2007, dÅjinshi sales amounted to 27.73 billion yen (US$245 million). In 2006 they represented about a tenth of manga books and magazines sales.Digital manga
Thanks to the advent of the internet, there have been new ways for aspiring mangaka to upload and sell their manga online. Before, there were two main ways in which a mangaka’s work could be published: taking their manga drawn on paper to a publisher themselves, or submitting their work to competitions run by magazines.WEB,www.dailyherald.com/business/20171111/how-new-technology-could-alter-manga-publishing, How new technology could alter manga publishing, Washington, Post, 11 November 2017, Daily Herald, 17 January 2019, 19 January 2019,web.archive.org/web/20190119121243/https://www.dailyherald.com/business/20171111/how-new-technology-could-alter-manga-publishing, live,Web manga
In recent years, there has been a rise in manga released digitally. Web manga, as it is known in Japan, has seen an increase thanks in part to image hosting websites where anyone can upload pages from their works for free. Although released digitally, almost all web manga sticks to the conventional black-and-white format despite some never getting physical publication. Pixiv is the most popular site where amateur and professional work gets published on the site. It has grown to be the most visited site for artwork in Japan.WEB,techcrunch.com/2011/12/13/pixiv-manga-girl-japan-redesign/, How Pixiv Built Japan’s 12th Largest Site With Manga-Girl Drawings (Redesign Sneak Peek And Invites), 14 December 2011, 11 May 2018, 11 May 2018,web.archive.org/web/20180511150158/https://techcrunch.com/2011/12/13/pixiv-manga-girl-japan-redesign/, live, Twitter has also become a popular place for web manga with many artists releasing pages weekly on their accounts in the hope of their work getting picked up or published professionally. One of the best examples of an amateur work becoming professional is One-Punch Man which was released online and later received a professional remake released digitally and an anime adaptation soon thereafter.WEB,www.crunchyroll.com/anime-news/2015/03/07-1/one-punch-man-anime-greenlit, “One-Punch Man” Anime Greenlit, Paul, Chapman, Crunchyroll, 17 January 2019, 5 August 2017,www.crunchyroll.com/anime-news/2015/03/07-1/one-punch-man-anime-greenlit," title="web.archive.org/web/20170805063400www.crunchyroll.com/anime-news/2015/03/07-1/one-punch-man-anime-greenlit,">web.archive.org/web/20170805063400www.crunchyroll.com/anime-news/2015/03/07-1/one-punch-man-anime-greenlit, live, Many of the big print publishers have also released digital only magazines and websites where web manga get published alongside their serialized magazines. Shogakukan for instance has two websites, Sunday Webry and Ura Sunday, that release weekly chapters for web manga and even offer contests for mangaka to submit their work. Both Sunday Webry and Ura Sunday have become one of the top web manga sites in Japan.WEB,www.crunchyroll.com/anime-news/2017/12/28/watch-hayate-the-combat-butler-manga-authors-drawing-video-of-nagi, Watch “Hayate the Combat Butler” Manga Author’s Drawing Video of Nagi, Mikikazu, Komatsu, Crunchyroll, 17 January 2019, 30 June 2018,web.archive.org/web/20180630214137/https://www.crunchyroll.com/anime-news/2017/12/28/watch-hayate-the-combat-butler-manga-authors-drawing-video-of-nagi, live, WEB,www.crunchyroll.com/anime-news/2017/12/06/brawny-battling-manga-kengan-ashura-makes-the-leap-to-anime, Brawny Battling Manga “Kengan Ashura” Makes the Leap to Anime, Paul, Chapman, Crunchyroll, 17 January 2019, 15 May 2019,web.archive.org/web/20190515105713/https://www.crunchyroll.com/anime-news/2017/12/06/brawny-battling-manga-kengan-ashura-makes-the-leap-to-anime, live, Some have even released apps that teach how to draw professional manga and learn how to create them. Weekly ShÅnen Jump released Jump Paint, an app that guides users on how to make their own manga from making storyboards to digitally inking lines. It also offers more than 120 types of pen tips and more than 1,000 screentones for artists to practice. Kodansha has also used the popularity of web manga to launch more series and also offer better distribution of their officially translated works under Kodansha Comics thanks in part to the titles being released digitally first before being published physically.WEB,www.animenewsnetwork.com/press-release/2018-04-27/kodansha-comics-may-digital-first-debuts/.130955, Kodansha Comics May Digital-First Debuts, 12 November 2023, Anime News Network, 11 May 2018, 11 May 2018,web.archive.org/web/20180511214714/https://www.animenewsnetwork.com/press-release/2018-04-27/kodansha-comics-may-digital-first-debuts/.130955, live, The rise web manga has also been credited to smartphones and computers as more and more readers read manga on their phones rather than from a print publication. While paper manga has seen a decrease over time, digital manga have been growing in sales each year. The Research Institute for Publications reports that sales of digital manga books excluding magazines jumped 27.1 percent to Â¥146 billion in 2016 from the year before while sales of paper manga saw a record year-on-year decline of 7.4 percent to Â¥194.7 billion. They have also said that if the digital and paper keep the same growth and drop rates, web manga would exceed their paper counterparts.NEWS,www.japantimes.co.jp/news/2017/08/02/business/manga-goes-digital-via-smartphone-apps-paper-comics-still-place/, As manga goes digital via smartphone apps, do paper comics still have a place?, Kazuaki, Nagata, 2 August 2017, Japan Times Online, 11 May 2018, 22 July 2020,web.archive.org/web/20200722131014/https://www.japantimes.co.jp/news/2017/08/02/business/manga-goes-digital-via-smartphone-apps-paper-comics-still-place/, live, In 2020 manga sales topped the Â¥600 billion mark for the first time in history, beating the 1995 peak due to a fast growth of the digital manga market which rose by Â¥82.7 billion from a previous year, surpassing print manga sales which have also increased.NEWS,www.asahi.com/sp/ajw/articles/14282699, Manga sales top 600 billion yen in 2020 for first time on record, The Asahi Shimbun, 1 April 2021, NEWS, Japan’s Manga and Comic Industry Hits Record Profits in 2020,comicbook.com/anime/news/japan-manga-anime-industry-profit-2020-success/, Comicbook.com, 15 March 2021, 14 November 2021, 14 November 2021,web.archive.org/web/20211114204900/https://comicbook.com/anime/news/japan-manga-anime-industry-profit-2020-success/, live,Webtoons
While webtoons have caught on in popularity as a new medium for comics in Asia, Japan has been slow to adopt webtoons as the traditional format and print publication still dominate the way manga is created and consumed(although this is beginning to change). Despite this, one of the biggest webtoon publishers in the world, Comico, has had success in the traditional Japanese manga market. Comico was launched by NHN Japan, the Japanese subsidiary of Korean company, NHN Entertainment. As of now{{when|date=September 2020}}, there are only two webtoon publishers that publish Japanese webtoons: Comico and Naver Webtoon (under the name XOY in Japan). Kakao has also had success by offering licensed manga and translated Korean webtoons with their service Piccoma. All three companies credit their success to the webtoon pay model where users can purchase each chapter individually instead of having to buy the whole book while also offering some chapters for free for a period of time allowing anyone to read a whole series for free if they wait long enough.WEB,www.koreatimes.co.kr/www/tech/2019/01/133_236015.html, Kakao mulls listing Japan unit, 5 September 2017, koreatimes, 17 January 2019, 6 April 2023,www.koreatimes.co.kr/www/tech/2019/01/133_236015.html," title="web.archive.org/web/20230406230750www.koreatimes.co.kr/www/tech/2019/01/133_236015.html,">web.archive.org/web/20230406230750www.koreatimes.co.kr/www/tech/2019/01/133_236015.html, live, The added benefit of having all of their titles in color and some with special animations and effects have also helped them succeed. Some popular Japanese webtoons have also gotten anime adaptations and print releases, the most notable being ReLIFE and Recovery of an MMO Junkie.WEB,www.animenewsnetwork.com/news/2016-03-26/relife-anime-promotes-july-premiere-with-animated-promo/.100288, ReLIFE Anime Promotes July Premiere With Animated Promo, 12 November 2023, Anime News Network, 11 May 2018, 9 September 2020,web.archive.org/web/20200909073149/https://www.animenewsnetwork.com/news/2016-03-26/relife-anime-promotes-july-premiere-with-animated-promo/.100288, live, WEB,www.animenewsnetwork.com/news/2017-08-26/crunchyroll-to-stream-recovery-of-an-mmo-junkie-anime/.120552, Crunchyroll to Stream Recovery of an MMO Junkie Anime, 12 November 2023, Anime News Network, 11 May 2018, 11 May 2018,web.archive.org/web/20180511220359/https://www.animenewsnetwork.com/news/2017-08-26/crunchyroll-to-stream-recovery-of-an-mmo-junkie-anime/.120552, live,International markets
By 2007, the influence of manga on international comics had grown considerably over the past two decades.{{Harvnb|Pink|2007}}, {{Harvnb|Wong|2007}} “Influence” is used here to refer to effects on the comics markets outside Japan and to aesthetic effects on comics artists internationally.(File:Manga reading direction.svg|thumb|upright|The reading direction in a traditional manga)Traditionally, manga stories flow from top to bottom and from right to left. Some publishers of translated manga keep to this original format. Other publishers mirror the pages horizontally before printing the translation, changing the reading direction to a more “Western” left to right, so as not to confuse foreign readers or traditional comics-consumers. This practice is known as “flipping”.{{Harvnb|Farago|2007}} For the most part, criticism suggests that flipping goes against the original intentions of the creator (for example, if a person wears a shirt that reads “MAY” on it, and gets flipped, then the word is altered to “YAM“), who may be ignorant of how awkward it is to read comics when the eyes must flow through the pages and text in opposite directions, resulting in an experience that’s quite distinct from reading something that flows homogeneously. If the translation is not adapted to the flipped artwork carefully enough it is also possible for the text to go against the picture, such as a person referring to something on their left in the text while pointing to their right in the graphic. Characters shown writing with their right hands, the majority of them, would become left-handed when a series is flipped. Flipping may also cause oddities with familiar asymmetrical objects or layouts, such as a car being depicted with the gas pedal on the left and the brake on the right, or a shirt with the buttons on the wrong side, however these issues are minor when compared to the unnatural reading flow, and some of them could be solved with an adaptation work that goes beyond just translation and blind flipping.NEWS, Randal, Bill,archives.tcj.com/sp2005/intro.html, English, For Better or Worse, The Comics Journal, 2005, Special, Fantagraphics Books,archives.tcj.com/sp2005/intro.html," title="web.archive.org/web/20120323204112archives.tcj.com/sp2005/intro.html,">web.archive.org/web/20120323204112archives.tcj.com/sp2005/intro.html, 23 March 2012, dead,Asia
{{see also|Japanese influence on Korean culture|Japanese influence on Chinese culture}}File:Manga bookshop in Hanoi, Vietnam.jpg|thumb|150px|Manga shelf in “Kim Äồng” bookstore, 55 Quang Trung, HanoiHanoiManga has highly influenced the art styles of manhwa and manhua.Sugiyama, Rika. Comic Artists—Asia: Manga, Manhwa, Manhua. New York: Harper, 2004. Introduces the work of comics artists in Japan, Korea, and Hong Kong through artist profiles and interviews that provide insight into their processes.
Manga in Indonesia is published by Elex Media Komputindo, Level Comic, M&C and Gramedia. Manga has influenced Indonesia’s original comic industry. Manga in the Philippines were imported from the US and were sold only in specialty stores and in limited copies. The first manga in Filipino language is Doraemon which was published by J-Line Comics and was then followed by Case Closed.{{citation needed|date=February 2022}} In 2015, Boys’ Love manga became popular through the introduction of BL manga by printing company BLACKink. Among the first BL titles to be printed were Poster Boy, Tagila, and Sprinters, all were written in Filipino. BL manga have become bestsellers in the top three bookstore companies in the Philippines since their introduction in 2015. During the same year, Boys’ Love manga have become a popular mainstream with Thai consumers, leading to television series adapted from BL manga stories since 2016.{{citation needed|date=February 2022}} Manga piracy is an increasing problem in Asia which effects many publishers. This has led to the Japanese government taking legal action against multiple operators of pirate websites.WEB,edition.cnn.com/2019/07/10/asia/japan-philippines-manga-pirate-intl-hnk/index.html, Alleged manga pirate arrested in the Philippines, CNN, 10 July 2019,
Europe
File:Sakura Eldorado.jpg|thumb|300px|The comic book and manga store Sakura Eldorado in HamburgHamburgManga has influenced European cartooning in a way that is somewhat different from in the U.S. Broadcast anime in France and Italy opened the European market to manga during the 1970s.{{Harvnb|Fishbein|2007}} French art has borrowed from Japan since the 19th century (Japonism){{Harvnb|Berger|1992}} and has its own highly developed tradition of bande dessinée cartooning.{{Harvnb|Vollmar|2007}} Manga was introduced to France in the late 1990s, where Japanese pop culture became massively popular: in 2021, 55% of comics sold in the country were manga and France is the biggest manga importer.{{Harvnb|Mahousu|2005}}{{Harvnb|Mahousu|2005}}, {{Harvnb|ANN|2004}}, {{Harvnb|Riciputi|2007}}WEB, Hoad, Phil, 29 March 2023, Manga-nifique! How France became obsessed with Japanese anime,www.theguardian.com/film/2023/mar/29/france-manga-anime-murakami-macron, 11 July 2023, The Guardian, 11 July 2023,web.archive.org/web/20230711033110/https://www.theguardian.com/film/2023/mar/29/france-manga-anime-murakami-macron, live, By mid-2021, 75 percent of the €300 value of {{ill|Culture Pass|fr|Pass Culture}} accounts given to French 18 year-olds was spent on manga.NEWS, Breeden, Aurelien, 31 July 2021, France Gave Teenagers $350 for Culture. They’re Buying Comic Books., en-US, 170, C1, The New York Times, 59136,www.nytimes.com/2021/07/28/arts/france-culture-pass.html,ghostarchive.org/archive/20211228/https://www.nytimes.com/2021/07/28/arts/france-culture-pass.html, 28 December 2021, limited, 31 July 2021, 0362-4331, {{cbignore}} According to the Japan External Trade Organization, sales of manga reached $212.6 million within France and Germany alone in 2006. France represents about 50% of the European market and is the second worldwide market, behind Japan. In 2013, there were 41 publishers of manga in France and, together with other Asian comics, manga represented around 40% of new comics releases in the country,WEB,www.publishersweekly.com/pw/by-topic/booknews/comics/article/61030-strong-french-manga-market-begins-to-dip.html, Strong French Manga Market Begins to Dip, Brigid Alverson, 12 February 2014, 14 December 2014, publishersweekly.com, 9 April 2023,web.archive.org/web/20230409095632/https://www.publishersweekly.com/pw/by-topic/booknews/comics/article/61030-strong-french-manga-market-begins-to-dip.html, live, surpassing Franco-Belgian comics for the first time.WEB,www.bleedingcool.com/2014/01/french-comics-in-2013-its-not-all-asterix-but-quite-a-bit-is/, French Comics In 2013 – It’s Not All Asterix. But Quite A Bit Is., Rich Johnston, 1 January 2014, 14 December 2014, bleedingcool.com, 9 March 2024,web.archive.org/web/20240309130955/https://bleedingcool.com/comics/french-comics-in-2013-its-not-all-asterix-but-quite-a-bit-is/, live, European publishers marketing manga translated into French include Asuka, Casterman, Glénat, Kana, and Pika Édition, among others.{{citation needed|date=July 2015}} European publishers also translate manga into Dutch, German, Italian, and other languages. In 2007, about 70% of all comics sold in Germany were manga.NEWS,www.spiegel.de/international/business/0,1518,525417,00.html, Europe’s Manga Mania, Jennifer Fishbein, 27 December 2007, 30 January 2012, Spiegel Online International, 14 October 2008,www.spiegel.de/international/business/0,1518,525417,00.html," title="web.archive.org/web/20081014050847www.spiegel.de/international/business/0,1518,525417,00.html,">web.archive.org/web/20081014050847www.spiegel.de/international/business/0,1518,525417,00.html, live, Since 2010 the country celebrates Manga Day on every 27 August. In 2021 manga sales in Germany rose by 75% from its original record of 70 million in 2005. As of 2022 Germany is the third largest manga market in Europe after Italy and France.WEB,www.dw.com/en/manga-comics-keep-booming-in-germany/a-62913999, Manga comics keep booming in Germany, Deutsche Welle, DW, 27 August 2022, 4 May 2023, 6 May 2023,web.archive.org/web/20230506234731/https://www.dw.com/en/manga-comics-keep-booming-in-germany/a-62913999, live, In 2021, the Spanish manga market hit a record of 1033 new title publications. In 2022 the 28th edition of the Barcelona Manga Festival opened its doors to more than 163,000 fans, compared to a pre-pandemic 120,000 in 2019.WEB,www.euronews.com/culture/2023/01/16/spains-pandemic-fuelled-addiction-to-manga-sparks-sales-surge, Spain’s pandemic-fuelled addiction to Manga sparks sales surge, euronews.com, 16 January 2023, 11 May 2023, 11 May 2023,web.archive.org/web/20230511164757/https://www.euronews.com/culture/2023/01/16/spains-pandemic-fuelled-addiction-to-manga-sparks-sales-surge, live, Manga publishers based in the United Kingdom include Gollancz and Titan Books.{{citation needed|date=July 2015}} Manga publishers from the United States have a strong marketing presence in the United Kingdom: for example, the Tanoshimi line from Random House.{{citation needed|date=July 2015}} In 2019 The British Museum held a (The Citi Exhibition: Manga|mass exhibition dedicated to manga).WEB,www.britishmuseum.org/exhibitions/manga, The Citi exhibition Manga マンガ, The British Museum, 23 May 2019, 31 January 2022, 9 March 2024,web.archive.org/web/20240309131035/https://www.britishmuseum.org/exhibitions/manga, live, WEB,www.theguardian.com/books/gallery/2019/may/18/manga-images-british-museum-exhibition, Manga in the frame: images from the British Museum exhibition, The Guardian, 23 May 2019, 31 January 2022, 9 March 2024,web.archive.org/web/20240309131057/https://www.theguardian.com/books/gallery/2019/may/18/manga-images-british-museum-exhibition, live, WEB,www.theguardian.com/commentisfree/2019/may/23/manga-british-museum-elgin-marbles, Manga belongs in the British Museum as much as the Elgin marbles, The Guardian, 23 May 2019, 31 January 2022, 9 March 2024,web.archive.org/web/20240309130954/https://www.theguardian.com/commentisfree/2019/may/23/manga-british-museum-elgin-marbles, live,United States
File:Manga at Barnes & Noble, Tanforan 3.JPG|thumb|right|300px|The manga section at Barnes & Noble in San Bruno, CaliforniaCaliforniaManga made their way only gradually into U.S. markets, first in association with anime and then independently.{{Harvnb|Patten|2004}} Some U.S. fans became aware of manga in the 1970s and early 1980s.In 1987, “...Japanese comics were more legendary than accessible to American readers”, {{Harvnb|Patten|2004|p=259}} However, anime was initially more accessible than manga to U.S. fans,{{Harvnb|Napier|2000|pp=239–256}}, {{Harvnb|Clements|McCarthy|2006|pp=475–476}} many of whom were college-age young people who found it easier to obtain, subtitle, and exhibit video tapes of anime than translate, reproduce, and distribute -style manga books.{{Harvnb|Patten|2004}}, {{Harvnb|Schodt|1996|pp=305–340}}, {{Harvnb|Leonard|2004}} One of the first manga translated into English and marketed in the U.S. was Keiji Nakazawa’s Barefoot Gen, an autobiographical story of the atomic bombing of Hiroshima issued by Leonard Rifas and Educomics (1980–1982).{{Harvnb|Schodt|1996|p=309}}, {{Harvnb|Rifas|2004}}, Rifas adds that the original EduComics titles were Gen of Hiroshima and I SAW IT{{Sic}}. More manga were translated between the mid-1980s and 1990s, including Golgo 13 in 1986, Lone Wolf and Cub from First Comics in 1987, and Kamui, Area 88, and Mai the Psychic Girl, also in 1987 and all from Viz Media-Eclipse Comics.{{Harvnb|Patten|2004|pp=37, 259–260}}, {{Harvnb|Thompson|2007|p=xv}} Others soon followed, including Akira from Marvel Comics’ Epic Comics imprint, Nausicaä of the Valley of the Wind from Viz Media, and Appleseed from Eclipse Comics in 1988, and later Iczer-1 (Antarctic Press, 1994) and Ippongi Bang’s F-111 Bandit (Antarctic Press, 1995).During the 1980s and 1990s, Japanese animation, such as Akira, Dragon Ball, Neon Genesis Evangelion, and Pokémon, made a larger impact on the fan experience and in the market than manga.{{Harvnb|Leonard|2004}}, {{Harvnb|Patten|2004|pp=52–73}}, {{Harvnb|Farago|2007}} Matters changed when translator-entrepreneur Toren Smith founded Studio Proteus in 1986. Smith and Studio Proteus acted as an agent and translator of many Japanese manga, including Masamune Shirow’s Appleseed and KÅsuke Fujishima’s Oh My Goddess!, for Dark Horse and Eros Comix, eliminating the need for these publishers to seek their own contacts in Japan.{{Harvnb|Schodt|1996|pp=318–321}}, {{Harvnb|Dark Horse Comics|2004}}Simultaneously, the Japanese publisher Shogakukan opened a U.S. market initiative with their U.S. subsidiary Viz, enabling Viz to draw directly on Shogakukan’s catalogue and translation skills.File:Young boy reading manga.jpg|thumb|left|A young boy reading Black Cat]]Japanese publishers began pursuing a U.S. market in the mid-1990s, due to a stagnation in the domestic market for manga.JOURNAL, Brienza, Casey E., Books, Not Comics: Publishing Fields, Globalization, and Japanese Manga in the United States, Publishing Research Quarterly, 2009, 25, 2, 101–117, 10.1007/s12109-009-9114-2, 143718638, The U.S. manga market took an upturn with mid-1990s anime and manga versions of Masamune Shirow’s Ghost in the Shell (translated by Frederik L. Schodt and Toren Smith) becoming very popular among fans.BOOK, gho, Kwok Wah Lau, Jenny, 2003, 4, Multiple modernities: cinemas and popular media in transcultural East Asia, 78, Philadelphia, Temple University Press, An extremely successful manga and anime translated and dubbed in English in the mid-1990s was Sailor Moon.{{Harvnb|Patten|2004|pp=50, 110, 124, 128, 135}}, {{Harvnb|Arnold|2000}} By 1995–1998, the Sailor Moon manga had been exported to over 23 countries, including China, Brazil, Mexico, Australia, North America and most of Europe.{{Harvnb|Schodt|1996|p=95}} In 1997, Mixx Entertainment began publishing Sailor Moon, along with CLAMP’s Magic Knight Rayearth, Hitoshi Iwaaki’s Parasyte and Tsutomu Takahashi’s Ice Blade in the monthly manga magazine MixxZine. Mixx Entertainment, later renamed Tokyopop, also published manga in trade paperbacks and, like Viz, began aggressive marketing of manga to both young male and young female demographics.{{Harvnb|Arnold|2000}}, {{Harvnb|Farago|2007}}, {{Harvnb|Bacon|2005}}During this period, Dark Horse Manga was a major publisher of translated manga. In addition to Oh My Goddess!, the company published Akira, Astro Boy, Berserk, Blade of the Immortal, Ghost in the Shell, Lone Wolf and Cub, Yasuhiro Nightow’s Trigun and Blood Blockade Battlefront, Gantz, Kouta Hirano’s Hellsing and Drifters, Blood+, Multiple Personality Detective Psycho, FLCL, Mob Psycho 100, and Oreimo. The company received 13 Eisner Award nominations for its manga titles, and three of the four manga creators admitted to The Will Eisner Award Hall of Fame — Osamu Tezuka, Kazuo Koike, and Goseki Kojima — were published in Dark Horse translations.Horn, Carl Gustav. “Horsepower,” (Dark Horse Comics, March 2007).In the following years, manga became increasingly popular, and new publishers entered the field while the established publishers greatly expanded their catalogues.{{Harvnb|Schodt|1996|pp=308–319}} The Pokémon manga Electric Tale of Pikachu issue #1 sold over 1{{nbsp}}million copies in the United States, making it the best-selling single comic book in the United States since 1993.NEWS, The last million-selling comic book in North America? It’s Batman vs. Pokémon for the title,blog.comichron.com/2014/05/batman-vs-pokemon-last-million-selling.html, Comichron, 8 May 2014, 8 September 2018, 9 May 2021,web.archive.org/web/20210509012448/https://blog.comichron.com/2014/05/batman-vs-pokemon-last-million-selling.html, dead, By 2008, the U.S. and Canadian manga market generated $175 million in annual sales.{{Harvnb|Reid|2009}} Simultaneously, mainstream U.S. media began to discuss manga, with articles in The New York Times,WEB,www.nytimes.com/interactive/2023/07/14/books/manga-comic-books.html, How Manga Was Translated for America, The New York Times, 14 July 2023, Time magazine, The Wall Street Journal, and Wired magazine.{{Harvnb|Glazer|2005}}, {{Harvnb|Masters|2006}}, {{Harvnb|Bosker|2007}}, {{Harvnb|Pink|2007}} As of 2017, manga distributor Viz Media is the largest publisher of graphic novels and comic books in the United States, with a 23% share of the market.NEWS, Magulick, Aaron, Viz Manga Sales are Destroying DC, Marvel in Comic Market,goboiano.com/viz-manga-sales-are-destroying-dc-marvel-in-comic-market/, GoBoiano, 8 October 2017,goboiano.com/viz-manga-sales-are-destroying-dc-marvel-in-comic-market/," title="web.archive.org/web/20180710102607goboiano.com/viz-manga-sales-are-destroying-dc-marvel-in-comic-market/,">web.archive.org/web/20180710102607goboiano.com/viz-manga-sales-are-destroying-dc-marvel-in-comic-market/, 10 July 2018, dead, BookScan sales show that manga is one of the fastest-growing areas of the comic book and narrative fiction markets. From January 2019 to May 2019, the manga market grew 16%, compared to the overall comic book market’s 5% growth. The NPD Group noted that, compared to other comic book readers, manga readers are younger (76% under 30) and more diverse, including a higher female readership (16% higher than other comic books).NEWS, Sales of Manga Books are on the Rise in the United States, The NPD Group Says: A big wave of imported Japanese culture is finding a hungry and growing reading audience,www.npd.com/wps/portal/npd/us/news/press-releases/2019/sales-of-manga-books-are-on-the-rise-in-the-united-states-the-npd-group-says/, 17 June 2019, The NPD Group, 3 June 2019, 9 March 2024,web.archive.org/web/20240309131042/https://www.circana.com/intelligence/category/press-releases/, live, As of January 2020, manga is the second largest category in the US comic book and graphic novel market, accounting for 27% of the entire market share.WEB, 21 May 2020,qz.com/1806376/japans-image-has-changed-from-fierce-to-lovable-over-the-decades/amp/, Japan’s Image morphed from a fierce military empire to eccentric pop culture superpower, Quartz, 21 October 2021, 21 October 2021,web.archive.org/web/20211021121139/https://qz.com/1806376/japans-image-has-changed-from-fierce-to-lovable-over-the-decades/amp/, live, During the COVID-19 pandemic some stores of the American bookseller Barnes & Noble saw up to a 500% increase in sales from graphic novel and manga sales due to the younger generations showing a high interest in the medium.WEB, The pandemic has sparked a book craze – and Barnes & Noble is cashing in,www.foxbusiness.com/lifestyle/the-pandemic-has-sparked-a-book-craze-and-barnes-noble-is-cashing-in, Fox Business, 19 September 2021, 14 November 2021, 14 November 2021,web.archive.org/web/20211114145605/https://www.foxbusiness.com/lifestyle/the-pandemic-has-sparked-a-book-craze-and-barnes-noble-is-cashing-in, live, Sales of print manga titles in the U.S. increased by 3.6 million units in the first quarter of 2021 compared to the same period in 2020.NEWS, Streaming Anime Lifts Manga Sales,www.publishersweekly.com/pw/by-topic/industry-news/comics/article/86276-anime-readers-lift-manga-sales.html, Publishers Weekly, 7 May 2021, 2 January 2022, 2 January 2022,web.archive.org/web/20220102201945/https://www.publishersweekly.com/pw/by-topic/industry-news/comics/article/86276-anime-readers-lift-manga-sales.html, live, In 2021, 24.4 million units of manga were sold in the United States. This is an increase of about 15 million (160%) more sales than in 2020.NEWS, Manga Sales Managed to Double in 2021, Says New Report,comicbook.com/anime/news/manga-sales-2021-united-states/, comicbook.com, 1 March 2022, 3 April 2022, 8 April 2023,web.archive.org/web/20230408054952/https://comicbook.com/anime/news/manga-sales-2021-united-states/, live, WEB,www.statista.com/statistics/1090528/manga-sales-us/, Manga sales growth in the United States from 2019 to 2021, Statista, February 2022, 21 September 2022, 2 August 2023,web.archive.org/web/20230802233816/https://www.statista.com/statistics/1090528/manga-sales-us/, live, In 2022, most of the top-selling comic creators in the United States were mangaka.WEB,comicbook.com/anime/news/manga-anime-sales-2022-united-states-list/, New Report Confirms Manga Artists Led U.S. Comic Sales in 2022, comicbook.com, 6 April 2023, 11 April 2023, 9 March 2024,web.archive.org/web/20240309130954/https://comicbook.com/anime/news/manga-anime-sales-2022-united-states-list/, live, The same year manga sales saw an increase of 9%.WEB,www.animenewsnetwork.com/news/2023-03-03/icv2-u.s-manga-sales-increase-by-9-percent-in-2022/.195562, ICv2: U.S. Manga Sales Increase By 9% in 2022, Anime News Network, 3 March 2023, 11 April 2023, 9 March 2024,web.archive.org/web/20240309130955/https://www.animenewsnetwork.com/news/2023-03-03/icv2-u.s-manga-sales-increase-by-9-percent-in-2022/.195562, live,Localized manga
A number of artists in the United States have drawn comics and cartoons influenced by manga. As an early example, Vernon Grant drew manga-influenced comics while living in Japan in the late 1960s and early 1970s.{{Harvnb|Stewart|1984}} Others include Frank Miller’s mid-1980s Ronin, Adam Warren and Toren Smith’s 1988 The Dirty Pair,{{Harvnb|Crandol|2002}} Ben Dunn’s 1987 Ninja High School and Manga Shi 2000 from Crusade Comics (1997).By the beginning of the 21st century, several U.S. manga publishers had begun to produce work by U.S. artists under the broad marketing-label of manga.{{Harvnb|Tai|2007}} In 2002, I.C. Entertainment, formerly Studio Ironcat and now out of business, launched a series of manga by U.S. artists called Amerimanga.{{Harvnb|ANN|2002}} In 2004, eigoMANGA launched the Rumble Pak and Sakura Pakk anthology series. Seven Seas Entertainment followed suit with World Manga.{{Harvnb|ANN 10 May 2006}}
Simultaneously, TokyoPop introduced original English-language manga (OEL manga) later renamed Global Manga.{{Harvnb|ANN 5 May 2006}}
Francophone artists have also developed their own versions of manga (manfra), like Frédéric Boilet’s la nouvelle manga. Boilet has worked in France and in Japan, sometimes collaborating with Japanese artists.{{Harvnb|Boilet|2001}}, {{Harvnb|Boilet|Takahama|2004}}Awards
The Japanese manga industry grants a large number of awards, mostly sponsored by publishers, with the winning prize usually including publication of the winning stories in magazines released by the sponsoring publisher. Examples of these awards include:- The Akatsuka Award for humorous manga
- The Dengeki Comic Grand Prix for one-shot manga
- The Japan Cartoonists Association Award various categories
- The Kodansha Manga Award (multiple genre awards)
- The Seiun Award for best science fiction comic of the year
- The Shogakukan Manga Award (multiple genres)
- The Tezuka Award for best new serial manga
- The Tezuka Osamu Cultural Prize (multiple genres)
University education
Kyoto Seika University in Japan has offered a highly competitive course in manga since 2000.WEB, Obunsha Co., Ltd., ja:京都精è¯å¤§å¦ã€å…¥è©¦çµæžœ (å€çŽ‡)ã€ãƒžãƒ³ã‚¬å¦ç§‘。, Obunsha Co., Ltd., 18 July 2014,passnavi.evidus.com/search_univ/3940/bairitsu1.html#マンガ, 18 July 2014, ja, 17 July 2014,passnavi.evidus.com/search_univ/3940/bairitsu1.html," title="web.archive.org/web/20140717165416passnavi.evidus.com/search_univ/3940/bairitsu1.html,">web.archive.org/web/20140717165416passnavi.evidus.com/search_univ/3940/bairitsu1.html, WEB, Kyoto Seika University, Kyoto Seika University, Faculty of Manga, Kyoto Seika University,www.kyoto-seika.ac.jp/eng/edu/manga/, 18 July 2014, 17 July 2014,www.kyoto-seika.ac.jp/eng/edu/manga/," title="web.archive.org/web/20140717164445www.kyoto-seika.ac.jp/eng/edu/manga/,">web.archive.org/web/20140717164445www.kyoto-seika.ac.jp/eng/edu/manga/, Then, several established universities and vocational schools (å°‚é–€å¦æ ¡: Semmon gakkou) established a .Shuho Sato, who wrote Umizaru and Say Hello to Black Jack, has created some controversy on Twitter. Sato says, “Manga school is meaningless because those schools have very low success rates. Then, I could teach novices required skills on the job in three months. Meanwhile, those school students spend several million yen, and four years, yet they are good for nothing.” and that, “For instance, Keiko Takemiya, the then professor of Seika Univ., remarked in the Government Council that ‘A complete novice will be able to understand where is “Tachikiri” (i.e., margin section) during four years.’ On the other hand, I would imagine that, It takes about thirty minutes to completely understand that at work.“WEB, Shuho Sato, ja:漫画をå¦æ ¡ã§å¦ã¶æ„義ã¨ã¯, togetter, 26 July 2012,togetter.com/li/345327, 19 July 2014, ja, etal, 8 April 2023,web.archive.org/web/20230408215802/https://togetter.com/li/345327, live,See also
{{Div col|colwidth=15em}}- ACG (subculture)
- Alternative manga
- Anime
- Anime and manga fandom
- Cinema of Japan
- Cool Japan
- Culture of Japan
- Emakimono
- E-toki (horizontal, illustrated narrative form)
- Japanese language
- Japanese popular culture
- Kamishibai
- Lianhuanhua (small Chinese picture book)
- Light novel
- List of best-selling manga
- List of films based on manga
- List of licensed manga in English
- List of manga distributors
- List of manga magazines
- List of Japanese manga magazines by circulation
- Manga iconography
- Manga outside Japan
- Truyện tranh
- Manhua
- Manhwa
- Q-version (cartoonification)
- Ukiyo-e
- Visual novel
- Webtoon
- Weekly ShÅnen Jump
Explanatory notes
{{notelist}}References
Inline citations
{{reflist}}Works cited
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- JOURNAL, 10.1111/1540-5931.00045, ÅŒgi, Fusami, 2004, Female subjectivity and shÅjo (girls) manga (Japanese comics): shÅjo in Ladies’ Comics and Young Ladies’ Comics, The Journal of Popular Culture, 36, 4, 780–803,
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- BOOK, Thompson, Jason, 2007, Manga: The Complete Guide,books.google.com/books?id=GvEFDD4rdWMC, New York, Ballantine Books, 978-0-345-48590-8, 6 December 2015, 28 August 2023,web.archive.org/web/20230828140225/https://books.google.com/books?id=GvEFDD4rdWMC, live,
- JOURNAL, Thorn, Rachel, Rachel Thorn, July–September 2001, Shôjo Manga—Something for the Girls,matt-thorn.com/shoujo_manga/japan_quarterly/, The Japan Quarterly, 48, 3, 5 April 2008, 6 June 2011,www.matt-thorn.com/shoujo_manga/japan_quarterly/," title="web.archive.org/web/20110606180532www.matt-thorn.com/shoujo_manga/japan_quarterly/,">web.archive.org/web/20110606180532www.matt-thorn.com/shoujo_manga/japan_quarterly/, dead,
- JOURNAL, Toku, Masami, Spring 2006, Shojo Manga: Girl Power!,www.csuchico.edu/pub/cs/spring_06/feature_03.html, California State University, Chico, Chico Statements, 978-1-886226-10-4, 5 April 2008, dead,www.csuchico.edu/pub/cs/spring_06/feature_03.html," title="web.archive.org/web/20080411053104www.csuchico.edu/pub/cs/spring_06/feature_03.html,">web.archive.org/web/20080411053104www.csuchico.edu/pub/cs/spring_06/feature_03.html, 11 April 2008,
- JOURNAL, Vollmar, Rob, 1 March 2007, Frederic Boilet and the Nouvelle Manga revolution,goliath.ecnext.com/coms2/gi_0199-6318937/Frederic-Boilet-and-the-Nouvelle.html, World Literature Today, 14 September 2007, 15 June 2011,goliath.ecnext.com/coms2/gi_0199-6318937/Frederic-Boilet-and-the-Nouvelle.html," title="web.archive.org/web/20110615141406goliath.ecnext.com/coms2/gi_0199-6318937/Frederic-Boilet-and-the-Nouvelle.html,">web.archive.org/web/20110615141406goliath.ecnext.com/coms2/gi_0199-6318937/Frederic-Boilet-and-the-Nouvelle.html, dead,
- NEWS, Webb, Martin, 28 May 2006, Manga by any other name is...,search.japantimes.co.jp/cgi-bin/fl20060528x1.html, The Japan Times, 5 April 2008, 19 July 2012,www.japantimes.co.jp/text/fl20060528x1.html%23.UAhtoago9Rw," title="archive.today/20120719202730www.japantimes.co.jp/text/fl20060528x1.html%23.UAhtoago9Rw,">archive.today/20120719202730www.japantimes.co.jp/text/fl20060528x1.html%23.UAhtoago9Rw, live,
- BOOK, Wong, Wendy Siuyi, 2002, Hong Kong Comics: A History of Manhua, New York, Princeton Architectural Press, 978-1-56898-269-4,
- NEWS, Wong, Wendy Siuyi, 2006, Globalizing manga: From Japan to Hong Kong and beyond, (Mechademia, Mechademia: an Annual Forum for Anime, Manga, and the Fan Arts), 23–45,
- JOURNAL, Wong, Wendy, September 2007, The Presence of Manga in Europe and North America,www.rthk.org.hk/mediadigest/20070913_76_121564.html, Media Digest, 19 December 2007, 30 August 2013,www.rthk.org.hk/mediadigest/20070913_76_121564.html," title="web.archive.org/web/20130830211017www.rthk.org.hk/mediadigest/20070913_76_121564.html,">web.archive.org/web/20130830211017www.rthk.org.hk/mediadigest/20070913_76_121564.html, dead,
- WEB, About Manga Museum: Current situation of manga culture,www.kyotomm.com/HP/international/english/about_genjo.html, Kyoto Manga Museum, 6 September 2009, CITEREFManga Museum2009,www.kyotomm.com/HP/international/english/about_genjo.html," title="web.archive.org/web/20090528115502www.kyotomm.com/HP/international/english/about_genjo.html,">web.archive.org/web/20090528115502www.kyotomm.com/HP/international/english/about_genjo.html, 28 May 2009, dead,
- WEB, Correction: World Manga,www.animenewsnetwork.com/news/2006-05-10/correction-world-manga, Anime News Network, 10 May 2006, 19 December 2007, CITEREFANN 10 May 2006, 12 September 2010,www.animenewsnetwork.com/news/2006-05-10/correction-world-manga," title="web.archive.org/web/20100912141138www.animenewsnetwork.com/news/2006-05-10/correction-world-manga,">web.archive.org/web/20100912141138www.animenewsnetwork.com/news/2006-05-10/correction-world-manga, live,
- WEB, I.C. promotes AmeriManga,www.animenewsnetwork.com/news/2002-11-27/i.c-promotes-amerimanga, Anime News Network, 11 November 2002, 4 March 2008, CITEREFANN2002, 12 September 2010,www.animenewsnetwork.com/news/2002-11-27/i.c-promotes-amerimanga," title="web.archive.org/web/20100912195913www.animenewsnetwork.com/news/2002-11-27/i.c-promotes-amerimanga,">web.archive.org/web/20100912195913www.animenewsnetwork.com/news/2002-11-27/i.c-promotes-amerimanga, live,
- NEWS, Interview with Tokyopop’s Mike Kiley,www.icv2.com/articles/home/11249.html, ICv2, 7 September 2007, 19 December 2007, CITEREFICv22007, 20 February 2012,www.icv2.com/articles/home/11249.html," title="web.archive.org/web/20120220163117www.icv2.com/articles/home/11249.html,">web.archive.org/web/20120220163117www.icv2.com/articles/home/11249.html, live,
- BOOK, CITEREFKodansha1999, Japan: Profile of a Nation, Revised Edition, Tokyo, Kodansha International, 1999, 978-4-7700-2384-1,
- WEB, Japan’s Foreign Minister Creates Foreign Manga Award,www.animenewsnetwork.com/news/2007-05-22/international-manga-award, 22 May 2007, Anime News Network, 5 October 2009, CITEREFANN2007, 1 June 2008,www.animenewsnetwork.com/news/2007-05-22/international-manga-award," title="web.archive.org/web/20080601045952www.animenewsnetwork.com/news/2007-05-22/international-manga-award,">web.archive.org/web/20080601045952www.animenewsnetwork.com/news/2007-05-22/international-manga-award, live,
- WEB, manga,www.merriam-webster.com/dictionary/manga, Merriam-Webster Online Dictionary, 6 September 2009, CITEREFMerriam-Webster2009, 19 February 2010,www.merriam-webster.com/dictionary/manga," title="web.archive.org/web/20100219194151www.merriam-webster.com/dictionary/manga,">web.archive.org/web/20100219194151www.merriam-webster.com/dictionary/manga, live,
- WEB, Manga-mania in France,www.animenewsnetwork.com/news/2004-02-04/manga-mania-in-france, Anime News Network, 4 February 2004, 19 December 2007, CITEREFANN2004, 23 September 2010,www.animenewsnetwork.com/news/2004-02-04/manga-mania-in-france," title="web.archive.org/web/20100923011226www.animenewsnetwork.com/news/2004-02-04/manga-mania-in-france,">web.archive.org/web/20100923011226www.animenewsnetwork.com/news/2004-02-04/manga-mania-in-france, live,
- WEB, ‘Manga no Kuni’: A manga magazine from the Second Sino-Japanese War period,mmsearch.kyotomm.jp/infolib/search/CsvSearch.cgi?DEF_XSL=eng&GRP_ID=G0000002&DB_ID=G0000002GALLERY&IS_DB=G0000002GALLERY&IS_TYPE=csv&IS_STYLE=eng&SUM_KIND=CsvSummary&SUM_NUMBER=10&IS_SCH=CSV&META_KIND=NOFRAME&IS_KIND=CsvDetail&IS_NUMBER=1&SUM_TYPE=normal&IS_START=4&IS_KEY_A1=%22GALLERY%22&IS_TAG_A1=Cul11&IS_ADDSCH_CNT=1&VIEW_FLG=0, Kyoto International Manga Museum, 21 December 2008, Manga no Kuni,mmsearch.kyotomm.jp/infolib/search/CsvSearch.cgi?DEF_XSL=eng&GRP_ID=G0000002&DB_ID=G0000002GALLERY&IS_DB=G0000002GALLERY&IS_TYPE=csv&IS_STYLE=eng&SUM_KIND=CsvSummary&SUM_NUMBER=10&IS_SCH=CSV&META_KIND=NOFRAME&IS_KIND=CsvDetail&IS_NUMBER=1&SUM_TYPE=normal&IS_START=4&IS_KEY_A1=%22GALLERY%22&IS_TAG_A1=Cul11&IS_ADDSCH_CNT=1&VIEW_FLG=0," title="web.archive.org/web/20090409073253mmsearch.kyotomm.jp/infolib/search/CsvSearch.cgi?DEF_XSL=eng&GRP_ID=G0000002&DB_ID=G0000002GALLERY&IS_DB=G0000002GALLERY&IS_TYPE=csv&IS_STYLE=eng&SUM_KIND=CsvSummary&SUM_NUMBER=10&IS_SCH=CSV&META_KIND=NOFRAME&IS_KIND=CsvDetail&IS_NUMBER=1&SUM_TYPE=normal&IS_START=4&IS_KEY_A1=%22GALLERY%22&IS_TAG_A1=Cul11&IS_ADDSCH_CNT=1&VIEW_FLG=0,">web.archive.org/web/20090409073253mmsearch.kyotomm.jp/infolib/search/CsvSearch.cgi?DEF_XSL=eng&GRP_ID=G0000002&DB_ID=G0000002GALLERY&IS_DB=G0000002GALLERY&IS_TYPE=csv&IS_STYLE=eng&SUM_KIND=CsvSummary&SUM_NUMBER=10&IS_SCH=CSV&META_KIND=NOFRAME&IS_KIND=CsvDetail&IS_NUMBER=1&SUM_TYPE=normal&IS_START=4&IS_KEY_A1=%22GALLERY%22&IS_TAG_A1=Cul11&IS_ADDSCH_CNT=1&VIEW_FLG=0, 9 April 2009, dead,
- WEB, ‘Poten’: a manga magazine from Kyoto,mmsearch.kyotomm.jp/infolib/search/CsvSearch.cgi?DEF_XSL=eng&GRP_ID=G0000002&DB_ID=G0000002GALLERY&IS_DB=G0000002GALLERY&IS_TYPE=csv&IS_STYLE=eng&SUM_KIND=CsvSummary&SUM_NUMBER=10&IS_SCH=CSV&META_KIND=NOFRAME&IS_KIND=CsvDetail&IS_NUMBER=1&SUM_TYPE=normal&IS_START=3&IS_KEY_A1=%22GALLERY%22&IS_TAG_A1=Cul11&IS_ADDSCH_CNT=1&VIEW_FLG=0,mmsearch.kyotomm.jp/infolib/search/CsvSearch.cgi?DEF_XSL=eng&GRP_ID=G0000002&DB_ID=G0000002GALLERY&IS_DB=G0000002GALLERY&IS_TYPE=csv&IS_STYLE=eng&SUM_KIND=CsvSummary&SUM_NUMBER=10&IS_SCH=CSV&META_KIND=NOFRAME&IS_KIND=CsvDetail&IS_NUMBER=1&SUM_TYPE=normal&IS_START=3&IS_KEY_A1=%22GALLERY%22&IS_TAG_A1=Cul11&IS_ADDSCH_CNT=1&VIEW_FLG=0," title="web.archive.org/web/20090410081554mmsearch.kyotomm.jp/infolib/search/CsvSearch.cgi?DEF_XSL=eng&GRP_ID=G0000002&DB_ID=G0000002GALLERY&IS_DB=G0000002GALLERY&IS_TYPE=csv&IS_STYLE=eng&SUM_KIND=CsvSummary&SUM_NUMBER=10&IS_SCH=CSV&META_KIND=NOFRAME&IS_KIND=CsvDetail&IS_NUMBER=1&SUM_TYPE=normal&IS_START=3&IS_KEY_A1=%22GALLERY%22&IS_TAG_A1=Cul11&IS_ADDSCH_CNT=1&VIEW_FLG=0,">web.archive.org/web/20090410081554mmsearch.kyotomm.jp/infolib/search/CsvSearch.cgi?DEF_XSL=eng&GRP_ID=G0000002&DB_ID=G0000002GALLERY&IS_DB=G0000002GALLERY&IS_TYPE=csv&IS_STYLE=eng&SUM_KIND=CsvSummary&SUM_NUMBER=10&IS_SCH=CSV&META_KIND=NOFRAME&IS_KIND=CsvDetail&IS_NUMBER=1&SUM_TYPE=normal&IS_START=3&IS_KEY_A1=%22GALLERY%22&IS_TAG_A1=Cul11&IS_ADDSCH_CNT=1&VIEW_FLG=0, dead, 10 April 2009, Kyoto International Manga Museum, 21 December 2008, Poten,
- WEB, ‘Shonen Pakku’; Japan’s first children’s manga magazine,mmsearch.kyotomm.jp/infolib/search/CsvSearch.cgi?DEF_XSL=eng&GRP_ID=G0000002&DB_ID=G0000002GALLERY&IS_DB=G0000002GALLERY&IS_TYPE=csv&IS_STYLE=eng&SUM_KIND=CsvSummary&SUM_NUMBER=10&IS_SCH=CSV&META_KIND=NOFRAME&IS_KIND=CsvDetail&IS_NUMBER=1&SUM_TYPE=normal&IS_START=2&IS_KEY_A1=%22GALLERY%22&IS_TAG_A1=Cul11&IS_ADDSCH_CNT=1&VIEW_FLG=0,mmsearch.kyotomm.jp/infolib/search/CsvSearch.cgi?DEF_XSL=eng&GRP_ID=G0000002&DB_ID=G0000002GALLERY&IS_DB=G0000002GALLERY&IS_TYPE=csv&IS_STYLE=eng&SUM_KIND=CsvSummary&SUM_NUMBER=10&IS_SCH=CSV&META_KIND=NOFRAME&IS_KIND=CsvDetail&IS_NUMBER=1&SUM_TYPE=normal&IS_START=2&IS_KEY_A1=%22GALLERY%22&IS_TAG_A1=Cul11&IS_ADDSCH_CNT=1&VIEW_FLG=0," title="web.archive.org/web/20090410081500mmsearch.kyotomm.jp/infolib/search/CsvSearch.cgi?DEF_XSL=eng&GRP_ID=G0000002&DB_ID=G0000002GALLERY&IS_DB=G0000002GALLERY&IS_TYPE=csv&IS_STYLE=eng&SUM_KIND=CsvSummary&SUM_NUMBER=10&IS_SCH=CSV&META_KIND=NOFRAME&IS_KIND=CsvDetail&IS_NUMBER=1&SUM_TYPE=normal&IS_START=2&IS_KEY_A1=%22GALLERY%22&IS_TAG_A1=Cul11&IS_ADDSCH_CNT=1&VIEW_FLG=0,">web.archive.org/web/20090410081500mmsearch.kyotomm.jp/infolib/search/CsvSearch.cgi?DEF_XSL=eng&GRP_ID=G0000002&DB_ID=G0000002GALLERY&IS_DB=G0000002GALLERY&IS_TYPE=csv&IS_STYLE=eng&SUM_KIND=CsvSummary&SUM_NUMBER=10&IS_SCH=CSV&META_KIND=NOFRAME&IS_KIND=CsvDetail&IS_NUMBER=1&SUM_TYPE=normal&IS_START=2&IS_KEY_A1=%22GALLERY%22&IS_TAG_A1=Cul11&IS_ADDSCH_CNT=1&VIEW_FLG=0, dead, 10 April 2009, Kyoto International Manga Museum, 21 December 2008, Shonen Pakku,
- WEB, The first Japanese manga magazine: Eshinbun Nipponchi,mmsearch.kyotomm.jp/infolib/search/CsvSearch.cgi?DEF_XSL=eng&GRP_ID=G0000002&DB_ID=G0000002GALLERY&IS_DB=G0000002GALLERY&IS_TYPE=csv&IS_STYLE=eng&SUM_KIND=CsvSummary&SUM_NUMBER=10&IS_SCH=CSV&META_KIND=NOFRAME&IS_KIND=CsvDetail&IS_NUMBER=1&SUM_TYPE=normal&IS_START=1&IS_KEY_A1=%22GALLERY%22&IS_TAG_A1=Cul11&IS_ADDSCH_CNT=1&VIEW_FLG=0, Kyoto International Manga Museum, 21 December 2008, Eshinbun Nipponchi,www.webcitation.org/617dlBFZi?url=http://mmsearch.kyotomm.jp/infolib/search/CsvSearch.cgi?DEF_XSL=eng, 22 August 2011, dead,
- WEB, Tokyopop To Move Away from OEL and World Manga Labels,www.animenewsnetwork.com/news/2006-05-05/tokyopop-to-move-away-from-oel-and-world-manga-labels, Anime News Network, 5 May 2006, 19 December 2007, CITEREFANN 5 May 2006, 21 August 2010,www.animenewsnetwork.com/news/2006-05-05/tokyopop-to-move-away-from-oel-and-world-manga-labels," title="web.archive.org/web/20100821085106www.animenewsnetwork.com/news/2006-05-05/tokyopop-to-move-away-from-oel-and-world-manga-labels,">web.archive.org/web/20100821085106www.animenewsnetwork.com/news/2006-05-05/tokyopop-to-move-away-from-oel-and-world-manga-labels, live,
Further reading
- BOOK, Jones, Hattie, 2013, Manga Girls: Sex, Love, Comedy and Crime in Recent Boys’ Manga and Anime, Brigitte Steger, Angelika Koch, Manga Girl Seeks Herbivore Boy: Studying Japanese Gender at Cambridge, Zurich, Lit Verlag, 24–81, 9783643903198, 822667566,
- WEB, Un poil de culture – Une introduction à l’animation japonaise,www.metalchroniques.fr/guppy/articles.php?lng=fr&pg=437, 11 July 2007, fr, dead,www.metalchroniques.fr/guppy/articles.php?lng=fr&pg=437," title="web.archive.org/web/20080108163613www.metalchroniques.fr/guppy/articles.php?lng=fr&pg=437,">web.archive.org/web/20080108163613www.metalchroniques.fr/guppy/articles.php?lng=fr&pg=437, Metalchroniques.fr, 8 January 2008,
- JOURNAL, Unser-Schutz, Giancarla, 2015, Influential or Influenced? The Relationship Between Genre, Gender and Language in Manga, Gender and Language, 9, 2, 223–254, 10.1558/genl.v9i2.17331,
- Marcella Zaccagnino and Sebastiano Contrari. “Manga: il Giappone alla conquista del mondo” (limes.espresso.repubblica.it/wp-content/uploads/2007/10/manga-giapponeallaconquistadelmondo.pdf" title="web.archive.org/web/20130612232621limes.espresso.repubblica.it/wp-content/uploads/2007/10/manga-giapponeallaconquistadelmondo.pdf">Archive) {{in lang|it}}. Limes, rivista italiana di geopolitica. 31 October 2007. {{in lang|it}}
External links
{{Commons category}}{{Wikivoyage|Anime and manga in Japan}}- {{Curlie|Arts/Comics/Manga}}
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