VISION CULTURAL AND COMMUNICATIVE PERSPECTIVES WITH MANGA ARTIST QUEENIE CHAN EDITED BY SARAH PASFIELD-NEOFITOU AND CATHY SELL MANGA VISION MANGA VISION Cultural and Communicative Perspectives EDITED BY SARAH PASFIELD-NEOFITOU AND CATHY SELL WITH MANGA ARTIST QUEENIE CHAN © Copyright 2016 Copyright of this collection in its entirety is held by Sarah Pasfield-Neofitou and Cathy Sell. Copyright of manga artwork is held by Queenie Chan, unless another artist is explicitly stated as its creator in which case it is held by that artist. Copyright of the individual chapters is held by the respective author(s). All rights reserved. Apart from any uses permitted by Australia’s Copyright Act 1968, no part of this book may be reproduced by any process without prior written permission from the copyright owners. Inquiries should be directed to the publisher. Monash University Publishing Matheson Library and Information Services Building 40 Exhibition Walk Monash University Clayton, Victoria 3800, Australia www.publishing.monash.edu Monash University Publishing brings to the world publications which advance the best traditions of humane and enlightened thought. Monash University Publishing titles pass through a rigorous process of independent peer review. www.publishing.monash.edu/books/mv-9781925377064.html Series: Cultural Studies Design: Les Thomas Cover image: Queenie Chan National Library of Australia Cataloguing-in-Publication entry: Title: Manga vision: cultural and communicative perspectives / editors: Sarah Pasfield-Neofitou, Cathy Sell; Queenie Chan, manga artist. ISBN: 9781925377064 (paperback) 9781925377071 (epdf) 9781925377361 (epub) Subjects: Comic books, strips, etc.--Social aspects--Japan. Comic books, strips, etc.--Social aspects. Comic books, strips, etc., in art. Comic books, strips, etc., in education. Subculture--Japan. Other Creators/Contributors: Pasfield-Neofitou, Sarah E., editor. Sell, Cathy, editor. Chan, Queenie, artist. Dewey Number: 741.5973 CONTENTS Introduction Tuning in to Manga: Cultural and Communicative Perspectives ..........1 Sarah Pasfield-Neofitou Section One Appropriation and Expansion: Cultural Expression . 13 Chapter One Image to Object, Illustration to Costume: Australian Cosplayers and Cosplay ‘Ways of Seeing’ Manga .................................14 Claire Langsford Chapter Two Beyond ‘Japaneseness’: Representative Possibilities of Original English Language Manga in Svetlana Chmakova’s Dramacon ..................35 Angela Moreno Acosta Chapter Three The Changing Role of Manga and Anime Magazines in the Japanese Animation Industry ............................................52 Renato Rivera Rusca Chapter Four From Victim to Kira: Death Note and the Misplaced Agencies of Cosmic Justice ................................................70 Corey Bell Chapter Five Exploring Yaoi Fans’ Online Practices in an Online Community. 87 Simon Turner Chapter Six An Evaluation of Physicality in the Bara Manga of Bádi Magazine ......107 Thomas Baudinette MANGA VISION Chapter Seven Finding Music in Manga: Exploring Yaoi through Contemporary Piano Composition ................................................125 Paul Smith Section Two Communication and Engagement: Language Exchange . 145 Chapter Eight Nodame’s Language Lessons ...................................146 Tomoko Aoyama and Belinda Kennett Chapter Nine Writing Another’s Tongue: Orthographic Representations of Non-Fluency in Japanese Manga ................................161 Wes Robertson Chapter Ten Factors Influencing Non-Native Readers’ Sequencing of Japanese Manga Panels ...............................................178 James F. Lee and William S. Armour Chapter Eleven Manga in the English as a Foreign Language Classroom ..............194 Lara Promnitz-Hayashi Chapter Twelve Impolite Language in Manga ...................................209 Lidia Tanaka Chapter Thirteen Ken-Honyaku-ryū: Issues in the Translation of Controversial Texts Focusing on the Manga Comics Hate Korean Wave and Hate Japanese Wave ...................................................227 Adam Antoni Zulawnik vi CONTENTS Chapter Fourteen The Sound of Silence: Translating Onomatopoeia and Mimesis in Japanese Manga ..............................................251 Cathy Sell and Sarah Pasfield-Neofitou Chapter Fifteen Manga Spectacles: Manga as a Multimodal Research Tool ............271 Cathy Sell Manga by Queenie Chan Tuning in to Manga .......................................... viii Cultural Expression ...........................................13 Language and Engagement .....................................145 Manga Spectacles ............................................270 About the Contributors. .281 Index ......................................................287 vii INTRODUCTION TUNING IN TO MANGA Cultural and Communicative Perspectives SARAH PASFIELD-NEOFITOU Glancing at Manga’s Past 漫画 Manga [ ], or Japanese comics, are today a globally recognised art form, but they have a rather complex history. Some manga historians emphasise the cultural influence that the USA had on the form, particularly the impact of Disney cartoons and American comics and newspaper strips during the post- war occupation of Japan (see Fusanosuke, 2003; Ōtsuka & LaMarre, 2008). Other historians give more weight to the continuity of Japanese cultural and aesthetic traditions that may be observed in manga (see Schodt, 1986): we may glimpse, for example, the influence of the caricatured drawings featured in an eighth-century temple (Horyuji Temple), or in Toga’s twelfth-century ‘Animal Scrolls’ (Ito, 2005). As Ito notes (2005), the art of the Tokugawa or Edo period (1603–1868) made for a particularly rich legacy for Japanese comic art, with the emergence of the popular and accessible otsu-e (folk-art pictures, sometimes religious and sometimes satirical in nature), and toba-e (comical scroll pictures from the Kyoto region) and the publication of early akabon, or ‘red books’, which were precursors to modern manga. According to Schodt (1991), manga may be considered a direct descendent of two other forms popularised during this period: kibyoshi, or ‘yellow-jacket books’, which grew out of children’s picture books, and ukiyo-e, or ‘pictures of the floating world’, a genre of popular folk pictures. 1 MANGA VISION Katsushika Hokusai, a famous ukiyo-e artist, is credited with coining the term ‘manga’, which he used for a series of his sketchbooks, published as instructional manuals for artists in the first half of the nineteenth century. Hokusai is particularly well known for his woodblock prints depicting Mount Fuji. In 2013, one of these works, The Great Wave off Kanagawa, was reimagined for the cover of Ian Condry’s book The Soul of Anime, with Unit-01 – a cyborg from Neon Genesis Evangelion, a manga and later an animated series – striding through the great wave. Thus this image depicts a link not only between ukiyo-e and manga, but also between manga and anime. As Condry notes, around 60 per cent of anime is derived from manga. The relationship between the two forms is a theme that Rivera Rusca expands upon in chapter three of this book. Regardless of how far back we trace manga’s roots, the medium exploded in popularity in the post-war period, largely thanks to the work of prolific manga artists, such as Tezuka Osamu, who created the manga series Astro Boy, which later became the first popular anime series, and Hasegawa Machiko, who created Sazae-san, which would also became one of the most popular animated series on Japanese television (Schodt, 1986). Manga would go on to influence animation, video games, film, the music industry, ‘character goods’, the emoji we use every day on our smart phones, and indeed, much of what belongs to the global phenomenon we now know as Cool Japan. Viewing Manga in Japan Manga continues to be an extremely popular medium in Japan, and is read by millions of people of all ages worldwide. A broad array of thematic genres exist, including action/adventure, comedy, history, horror, mystery, romance, science fiction, sport, suspense and even business/commerce (Gravett, 2004). Manga biographies of successful investors Warren Buffett and George Soros, by Ayano Morio (2005) and Kaoru Kurotani (2005) respectively, have been published in English. Dan Pink’s The Adventures of Johnny Bunko: The Last Career Guide You’ll Ever Need (2008) has been described as ‘America’s first business book in the Japanese comic format known as manga’ (Pink, 2014) and has been translated into Japanese, among other languages. Even the works of Shakespeare have been given new life in the Manga Shakespeare series published in association 2 TUNING IN TO MANGA with Historic Royal Palaces in England and in the Manga de dokuha literary classics series in Japan. In addition to these thematic genres, there are also broad categories based on the age groups and genders of the target audience. In the 1950s and 1960s, the manga scene solidified into two major marketing genres (Toku, 2005), shōnen, aimed at boys, and shōjo, aimed at girls, which in part drew on Hasegawa’s focus on the daily lives and experiences of women depicted in Sazae-san (Lee, 2000; Gravett, 2004). Manga Genres and Audiences Shōnen manga are ostensibly aimed at boys aged ten and above, and an add- it ional category, seinen, targets men of university age or older. However, pinning down manga audience demographics is notoriously difficult and distinctions are often blurred. Shōjo represents a more ‘female-focused’ alter- na tive to shōnen and is generally