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Manga) Market in the US
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Research Papers in Economics The Diffusion of Foreign Cultural Products: The Case Analysis of Japanese Comics (Manga) Market in the US Takeshi Matsui Working Paper #37, Spring 2009 The Diffusion of Foreign Cultural Products: The Case Analysis of Japanese Comics (Manga) Market in the US * Takeshi Matsui Graduate School Department of Sociology of Commerce and Management Princeton University Hitotsubashi University Princeton, NJ, US 08544 Tokyo, Japan 186-8601 [ Word Count: 8,230] January 2009 * I would like to thank Paul DiMaggio, Russell Belk, Jason Thompson, Stephanie Schacht, and Richard Cohn for helpful feedback and encouragement. This research project is supported by Abe Fellowship (SSRC/Japan Foundation), Josuikai (Alumni Society of Hitotsubashi University), and Japan Productivity Center for Socio-economic Development. Please address correspondence to Takeshi Matsui, Department of Sociology, Princeton University, Princeton, NJ 08544. E-mail: [email protected]. The Diffusion of Foreign Cultural Products: The Case Analysis of Japanese Comics (Manga) Market in the US Takeshi Matsui Hitotsubashi University/Princeton University Abstract This paper outlines the historical development of the US manga (Japanese comics) industry from the 1980s through the present in order to address the question why foreign cultural products become popular in offshore markets in spite of cultural difference. This paper focuses on local publishers as “gatekeepers” in the introduction of foreign culture. Using complete data on manga titles published in the US market from 1980 to 2006 (n=1,058), this paper shows what kinds of manga have been translated, published, and distributed for over twenty years and how the competition between the two market leaders, Viz and Tokyopop, created the rapid market growth. -
Major Developments in the Evolution of Tabletop Game Design
Major Developments in the Evolution of Tabletop Game Design Frederick Reiber Donald Bren School of Information and Computer Sciences University of California Irvine Irvine, USA [email protected] Abstract—Tabletop game design is very much an incremental these same concepts can and have been used in video game art. Designers build upon the ideas of previous games, often design. improving and combining already defined game mechanics. In Although some of these breakthroughs might be already this work, we look at a collection of the most impactful tabletop game designs, or games that have caused a significant shift in known by long time game designers, it is important to formally the tabletop game design space. This work seeks to record those document these developments. By doing so, we can not only shifts, and does so with the aid of empirical analysis. For each bridge the gap between experienced and novice game design- game, a brief description of the game’s history and mechanics ers, but we can also begin to facilitate scholarly discussion on is given, followed by a discussion on its impact within tabletop the evolution of games. Furthermore, this research is of interest game design. to those within the tabletop game industry as it provides Index Terms—Game Design, Mechanics, Impact. analysis on major developments in the field. It is also our belief that this work can be useful to academics, specifically I. INTRODUCTION those in the fields of game design, game analytics, and game There are many elements that go into creating a successful generation AI. tabletop game. -
Manga As a Teaching Tool 1
Manga as a Teaching Tool 1 Manga as a Teaching Tool: Comic Books Without Borders Ikue Kunai, California State University, East Bay Clarissa C. S. Ryan, California State University, East Bay Proceedings of the CATESOL State Conference, 2007 Manga as a Teaching Tool 2 Manga as a Teaching Tool: Comic Books Without Borders The [manga] titles are flying off the shelves. Students who were not interested in EFL have suddenly become avid readers ...students get hooked and read [a] whole series within days. (E. Kane, personal communication, January 17, 2007) For Americans, it may be difficult to comprehend the prominence of manga, or comic books, East Asia.1. Most East Asian nations both produce their own comics and publish translated Japanese manga, so Japanese publications are popular across the region and beyond. Japan is well-known as a highly literate society; what is less well-known is the role that manga plays in Japanese text consumption (Consulate General of Japan in San Francisco). 37% of all publications sold in Japan are manga of one form or another, including monthly magazines, collections, etc. (Japan External Trade Organization [JETRO], 2006). Although Japan has less than half the population of the United States, manga in all formats amounted to sales within Japan of around 4 billion dollars in 2005 (JETRO, 2006). This total is about seven times the United States' 2005 total comic book, manga, and graphic novel sales of 565 million dollars (Publisher's Weekly, 2007a, 2007b). Additionally, manga is closely connected to the Japanese animation industry, as most anime2 television series and films are based on manga; manga also provides inspiration for Japan's thriving video game industry. -
Elements of Realism in Japanese Animation Thesis Presented In
Elements of Realism in Japanese Animation Thesis Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Graduate School of The Ohio State University By George Andrew Stey Graduate Program in East Asian Studies The Ohio State University 2009 Thesis Committee: Professor Richard Edgar Torrance, Advisor Professor Maureen Hildegarde Donovan Professor Philip C. Brown Copyright by George Andrew Stey 2009 Abstract Certain works of Japanese animation appear to strive to approach reality, showing elements of realism in the visuals as well as the narrative, yet theories of film realism have not often been applied to animation. The goal of this thesis is to systematically isolate the various elements of realism in Japanese animation. This is pursued by focusing on the effect that film produces on the viewer and employing Roland Barthes‟ theory of the reality effect, which gives the viewer the sense of mimicking the surface appearance of the world, and Michel Foucault‟s theory of the truth effect, which is produced when filmic representations agree with the viewer‟s conception of the real world. Three directors‟ works are analyzed using this methodology: Kon Satoshi, Oshii Mamoru, and Miyazaki Hayao. It is argued based on the analysis of these directors‟ works in this study that reality effects arise in the visuals of films, and truth effects emerge from the narratives. Furthermore, the results show detailed settings to be a reality effect common to all the directors, and the portrayal of real-world problems and issues to be a truth effect shared among all. As such, the results suggest that these are common elements of realism found in the art of Japanese animation. -
Chapter One Introduction
CHAPTER ONE INTRODUCTION 1.1.Background of Study Japan has so many traditions of folklore that had inherited for generation whether in story form or in tradition form. With some creativity and existing technology that they had, some Japanese filmmaker has succeeded by making some Japanese folklore into more interesting form and well known by people whether inside Japan or outside Japan. According to Kitayama “Folklore is a stories shared by folk people from the past and these stories are similar to myths, except that they are related more to human matters than to supernatural beings” (Kitayama 2005: 85) By this quotation the writer argue that folklore is cultural product which is produced by people in the past and it is contained of myth and usually, the society will connect the folklore to supernatural even more to human matters. As emphasized by Lindahl, Although many people regard a “folktale” as a fictional form, I use the term here to apply to any traditional tale, whether its tellers consider it true, or false, or both. Thus, the scope of the tale extends far beyond fiction to encompass belief tales, personal experience stories, and accounts of major historical events (Lindahl, 2004: 200). Based on the quotation above, the writer argues that folklore acknowledges the practice of labeling narratives based on the element of belief, he also realizes the inherent story within each and the tendency of storytellers to use a little fiction and a little nonfiction in crafting their stories. Lindahl uses this terminology to put the focus on the storytellers themselves and help the reader to recognize the relationship between tale and teller. -
Early Oshii. from Patlabor to Ghost in the Shell : a Scientist Jumped, and Became a Woman
Early Oshii. From Patlabor to Ghost in the Shell : a scientist jumped, and became a woman. Camille Akmut January 20, 2020 Abstract Before Mamoru Oshii gained international acclaim with the 1995 Ghost in the Shell movie, he had already developed many of its themes in the two Patlabor movies (1989 and 1993, respectively). Here we introduce the first of these with a thesis (the fall of the programmer mirrors the birth of the gender- ambiguous cyborg) as well as notes from the history of computer science and technology. "Patlabor for me was a major film in many ways, and I think it became my turning point. I know I am what I am today because of Patlabor."{ he declared himself. 1 Introduction : Patlabor 1, a scientist learns to die \The scientific mission of the philosopher is to learn to die", Canguilhem told us via proxy, the Stoics, in "Life and Death". || Context for the time period of Patlabor 1 's release has already been provided, though not specifically related to it, and not entirely satisfying. For many decades, (...) the more ethnocentric characters of Japanese manga/anime pop culture were [held] too exotic to ever interest the average American. In the 1960s Japanese TV imports like Astro Boy were banished to the remotest time slots (...). A video store may have had one Kurosawa movie in its foreign section. But in the 1990s the growing hip-hop, pluralistic culture embraced Japanese cultural forms as an alternative to western iconography, creating an international street cyberpunk. Kung fu masters, samurai, and ninjas were no longer archaic historical artifacts, but cool modern conventions. -
Anime" Film "Patlabor II" Author(S): Michael Fisch Source: Science Fiction Studies, Vol
SF-TH Inc Nation, War, and Japan's Future in the Science Fiction "Anime" Film "Patlabor II" Author(s): Michael Fisch Source: Science Fiction Studies, Vol. 27, No. 1, On Global Science Fiction - Part 2 (Mar., 2000), pp. 49-68 Published by: SF-TH Inc Stable URL: http://www.jstor.org/stable/4240848 Accessed: 10-04-2018 17:17 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms SF-TH Inc is collaborating with JSTOR to digitize, preserve and extend access to Science Fiction Studies This content downloaded from 205.208.116.24 on Tue, 10 Apr 2018 17:17:24 UTC All use subject to http://about.jstor.org/terms NATION, WAR, AND JAPAN'S FUTURE 49 Michael Fisch Nation, War, and Japan's Future in the Science Fiction Anime Film Patlabor II In the opening scene of Oshii Mamoru's science fiction anime film Patlabor II (1993), a Japanese United Nations unit stationed in Southeast Asia in the year 1999 comes under heavy fire from hostile forces during maneuvers in the jungle. The Japanese forces, led by Tsuge Yukihito, are outfitted with state-of- the-art battle Labors (giant manned robots) and are thus more than a match for the hostile tanks. -
ANIME FAN FEST PANELS SCHEDULE May 6-8, 2016
ANIME FAN FEST PANELS SCHEDULE May 6-8, 2016 MAY 6, FRIDAY CENTRAL CITY game given a bit of Japanese polish; players wager their Kingdom Hearts is one of the best-selling, and most 4:00pm - 5:00pm yen on their knowledge of a variety of tricky clues in their complex video game series of all time. In anticipation OTAKU USA’S ANIME WORTH WATCHING Now is probably quest to become Jeopardy! champion! of KHIII, we will be going over all aspects of the series the best time in history to be an anime fan. With tons 5:30pm- 6:30pm in great detail such as: elements of the plot, music, lore, of anime freely (and legally) available, the choices are BBANDAI NAMCO ENTERTAINMENT PRESENTS: ANIME and more. As well as discussing theories and specu- endless...which makes it all the more difficult for anime GAMES IN AMERICA Join Bandai Namco for a behind- lations about what is to come in the future. A highly fans to find out WHICH they should watch. Otaku USA the-scenes look at what it’s like working for the premier educational panel led by your host, Kyattan, this panel Magazine’s Daryl Surat (www.animeworldorder.com) Anime videogame publisher, the process and challenges is friendly to those who haven’t played every game, and NEVER accepts mediocrity as excellence and has prepared of bringing over anime-based and Japanese game content those who are confused about its plot. a selection of recommendations, as covered in the publi- to the Western market, and exclusive insider-only looks at 6:00pm- 7:00pm cation’s 9+ year history! Bandai Namco’s upcoming titles. -
The Top Seven Japanese Publishing Companies from PW's Global Ranking 2009 by Rudiger Wischenbart Jun 21, 2010
The Top Seven Japanese Publishing Companies from PW's Global Ranking 2009 By Rudiger Wischenbart Jun 21, 2010 You've probably heard of Kodansha, but that company isn't the only publisher in Japan. Here are short profiles of the seven Japanese companies on our top fifty list. We thought Japan might be a fun place to start, but we'll be running profiles of the other countries on the list in the weeks to come. -- Name: Bungeishunjū Ltd. (Kabushiki-gaisha Bungeishunjū) Ranking: 43 Source: Japan Company Yearbook, internet resources Owner: n.a. Group revenues: 29,659 m Yen (2008: 29,834 mY, 2007 : 31.271 m Yen) HQ: Chiyoda, Tokyo, Japan Key personell: Takahiro Hirao, President Number of employees: 360 Website: http://www.bunshun.co.jp/ Notices: Bungeishunjū Ltd. established in 1923 by the writer Kan Kikuchi, is a Japanese publishing company known for its leading monthly magazine Bungeishunjū. It also grants the annual Akutagawa Prize, established in 1935, one of the most prestigious literary awards in Japan, as well as the annual Naoki Prize for popular novelists. They also grant the annual Bungeishunjū Manga Award for achievement in Manga literature. The publishing company Bungeishunjū is well established by its tradition of discovering new literary talent. It also keeps a high profile in freedom of speech and in anti-piracy issues. -- Name: GakkenHoldings Co Ltd (Kabushiki-gaisha Gakushū Kenkyū Sha) Ranking: 24 Source: Japan Company Yearbook, media reports Owner: Listed at the Tokyo Stock Exchange Group revenues: Publisher Revenues: 77887 m Yen (2008: 67,601 m Yen) HQ: Tokyo, Japan Key personnel: Yoichiro Endo - President, Representative Director, Fumio Togashi, Senior Managing Director. -
Popular Culture
Web Japan http://web-japan.org/ POPULAR CULTURE A wide spectrum of popular tastes Manga With the appearance of writer-illustrator Tezuka Osamu after World War II, so-called “story manga,” or illustrated publications in comic book format, developed in a somewhat unique way in Japan. At one time, the main readers of such publications were people born during the “baby boom” of 1947–1949, but as those readers grew older, many different types of manga came into being. Beginning in the 1960s, manga readership steadily expanded to include everyone from the very young to people in their thirties and forties. As of 2016, manga accounted for 33.8% of the volume of all books and magazines sold in Japan, with their influence being felt in various art forms and the culture at large. Though some story manga are aimed at small children who are just beginning to learn to read, others are geared toward somewhat older boys and/or girls, as well as a general Manga comics readership. There are gag manga, which Manga magazines on sale in a store. (Photo courtesy of Getty Images) specialize in jokes or humorous situations, and experimental manga, in the sense that they pursue innovative types of expression. Some are nonfictional, treating information of weekly circulation of over 6 million and different sorts, either of immediate practical affiliated marketing systems for animation and use or of a historical, even documentary, video games. Most typically, children’s manga nature. stories feature young characters and depict The appearance in 1959 of the two their growth as they fight against their weekly children’s manga magazines, Shonen enemies and build friendships with their Magazine and Shonen Sunday, served to companions. -
Exploring the Macabre, Malevolent, and Mysterious
Exploring the Macabre, Malevolent, and Mysterious Exploring the Macabre, Malevolent, and Mysterious: Multidisciplinary Perspectives Edited by Matthew Hodge and Elizabeth Kusko Exploring the Macabre, Malevolent, and Mysterious: Multidisciplinary Perspectives Edited by Matthew Hodge and Elizabeth Kusko This book first published 2020 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2020 by Matthew Hodge, Elizabeth Kusko and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-5769-3 ISBN (13): 978-1-5275-5769-7 TABLE OF CONTENTS List of Tables ............................................................................................ vii List of Figures.......................................................................................... viii Preface ....................................................................................................... ix Part One: History and Culture Chapter One ................................................................................................ 2 Modernizing and Marketing Monsters in Japan: Shapeshifting Yōkai and the Reflection of Culture Kendra Sheehan Chapter Two ............................................................................................ -
Aniplex of America Adds Demon Slayer: Kimetsu No Yaiba to Spring Anime Line up on Hulu, Crunchyroll, and Funimationnow
FOR IMMEDIATE RELEASE APRIL 2, 2019 Aniplex of America Adds Demon Slayer: Kimetsu no Yaiba to Spring Anime Line Up on Hulu, Crunchyroll, and FunimationNow ©Koyoharu Gotoge / SHUEISHA, Aniplex, ufotable “Whenever happiness is destroyed, there's always the smell of blood.” SANTA MONICA, CA (APRIL 2, 2019) – Aniplex of America is proud to announce that Demon Slayer: Kimetsu no Yaiba will be available on Hulu, Crunchyroll, and FunimationNow starting April 6, 2019. This highly anticipated new series produced by ufotable (Fate/stay night [Heaven’s Feel] trilogy, Fate/Zero) is based on a popular manga by Koyoharu Gotoge, which quickly became a major hit in Weekly Shonen Jump magazine since it was first published in 2016 and currently boasts over 3 million copies in print. Set during the tumultuous Taisho period (1912 to 1926) in Japan, two siblings must learn to survive after their family is viciously slaughtered by demons. Aniplex of America recently hosted a special premiere event at the Aratani Theatre in Los Angeles on March 31, where lucky fans got to see the first five episodes of the series specially edited together as a feature-length film. The series stars Natsuki Hanae (Your lie in April, Fate/Aporcypha) and Akari Kito (BLEND-S, Record of Grancrest War) as siblings Tanjiro and Nezuko Kamado, alongside Hiro Shimono (Durarara!!x2, WWW.Working!!), Takahiro Sakurai (Cells at Work, Fate/Grand Order), and Yoshitsugu Matsuoka (Sword Art Online, Eromanga Sensei) in supporting roles. Haruo Sotozaki (Initial D: Third Stage, Naruto: Konoha Sports Festival) serves as the director with Akira Matsushima (Maria Watches Over Us, Tales of Zestiria the X) handling the character design.