Anime and Manga in Germany
The Japanese media anime and manga are an essential part of the animation film and comic market in Germany and have a shared fan scene as well as a corporate landscape. Anime ( jap. ア ニ メ ) and Manga (jap. 漫画 ) are loan words from Japanese in German and refer to animated films and comics produced in Japan . Japan has the most extensive animation culture and the largest comic book market in the world. Both media, already closely interwoven in Japan, came to Germany supported by the mutual media network since the 1970s and have been more successful since the 1990s, which has had a particular impact on the German comic market. All German-language manga and anime publishers are located in Germany, and German events and organizations similarly dominate the German-speaking scene.
Historical development
Until the 1950s
The term “Manga” as the name for the prints by the Japanese artist Katsushika Hokusai from the 19th century has been used in German-language art literature since the end of the same century, mostly in the now outdated spelling “Mangwa”. The first and, at the same time, negative use of the word “Manga” as a term for Japanese comics in German-language media is only found in a special supplement to the magazine stern from 1977: “(...) The“ Mangas ”, strip magazines with sadisms, have the highest editions. at the sight of which the old Marquis de Sade could probably have learned something new ”.
Anime films and series are coming to Germany
The first manga publications in Germany, first Barefoot through Hiroshima in 1982 - a picture story against the war by Keiji Nakazawa published by Rowohlt Verlag , had little or no success, although they were adapted to Western reading habits in terms of reading direction, publication form and sometimes also color. Barefoot through Hiroshima was opened as a paperback like a text and was aimed explicitly at adult readers, the term “manga”, which was almost unknown in Germany at the time, was not mentioned. The book was referred to as a "picture story" and the sequels were then discarded due to lack of success. Another attempt followed in 1989 with Sachmanga Japan GmbH , which, however, could not reach the target audience. Akira 1991 was mirrored and colored in albums, but could not achieve more than a respectable success either. Anime, on the other hand, had increasing success in Germany since the early 1960s, albeit limited to children's and family entertainment.
The first anime in Germany was the 1959 film The Magician and the Bandits by Toei Animation shown in cinemas on March 16, 1961 .
The first anime series on German television was Speed Racer from 1967, which ARD shows in November and December 1971. Due to protests from parents, educators and the media, only three of the eight originally planned episodes were broadcast. Since then, series with Japanese scenarios have generally been dispensed with and, above all, child-friendly series from the World Masterpiece Theater , where no protests were to be feared. Both ARD and ZDF rejected the UFO Robot Grendizer ( Goldorak ) series, which was successful in Italy and France, because of its excessive brutality. With the exception of Captain Future , against which there were also numerous protests by parents and which was even warned against in some school books in the 1980s, animes on public television only included series for younger children. These were also partly co-productions , such as Heidi , Wickie and the strong men , Maya the Bee and Nils Holgersson . The motivation for the co-productions was primarily economic: the German as well as the other European broadcasters wanted to save money through productions in Japan, while the Japanese studios earn money in Europe. The Eastern European studios previously used for the German programs no longer provided enough material and animes were a suitable medium for cooperation for the German broadcasters, as images can easily be used in a way that spans the world. The purchase of already finished series was ruled out, however, because “the Japanese productions showed either an ideal or a cruel and very often grotesque world in a design that was too dear to many or too repulsive, but in any case tasteless and difficult to understand “, Said Joseph Göhlen, who was responsible for ZDF at the time. Therefore, care was always taken to ensure that the series, both in the drawing style and in the plot, corresponded to western sentiments and social ideas. There was an editorial team for the concepts in Germany and American cartoonists and authors drew designs and wrote the scenarios. The programs were nevertheless the subject of some severe criticism that the programs would spoil the taste of the young audience. After the first broadcast of Maya the Bee, the person responsible was called "Insect Jupp" or even called a criminal. Heidi is named today as the first really popular anime series in Germany, whereby it reached a larger audience for the first time, since not only children but also seniors were among the viewers. The co-productions created initial acceptance for the aesthetics of anime, which series for young people could build on in later decades. They were not perceived as anime, the origin of the anime series was hidden by the broadcasters until the 1990s in order to avoid associations with pornographic anime that also came to Germany from Japan.
With the advent of private television in the late 1980s and 1990s, a greater variety of anime series was broadcast on German television. However, most of these series licenses were not conscious purchases on the part of the television stations, but came onto the German market through Italian / European program packages, which in addition to western cartoon series also occasionally contained anime. Many of them were shown in other European countries and Japan well before they were first broadcast in Germany.
Below is a list of the anime series on German television until 1990.
| German premiere | series | Channel |
|---|---|---|
| 1971 | Speed racer | ARD |
| 1972 | Calimero (Italian co-production) | ZDF |
| 1974 | Wickie and the strong men (German co-production) | ZDF |
| Barbapapa (French co-production) | ZDF | |
| 1976 | Maya the Bee (German co-production) | ZDF |
| 1977 | Kimba, the white lion | ZDF |
| Pinocchio (German co-production) | ZDF | |
| Heidi | ZDF | |
| 1978 | Sindbad | ZDF |
| 1979 | Once upon a time (Manga Nihon Bukashi Banashi) | ZDF |
| 1980 | Captain Future | ZDF |
| Marco | Bayern 3 | |
| 1981 | Nils Holgersson (German co-production) | ZDF |
| 1984 | Tao Tao (German co-production) | ZDF |
| Niklaas, a boy from Flanders | sat 1 | |
| Puschel, the squirrel | ZDF | |
| Alice in Wonderland (German co-production) | ZDF | |
| 1985 | Rascal the raccoon | ZDF |
| Cum-cum | sat 1 | |
| Perrine | sat 1 | |
| 1986 | D'Artagnan and the 3 MuskeTiere (Spanish co-production) | sat 1 |
| 1988 | Anne with the red hair | sat 1 |
| Chuck the clever beaver | Tele 5 | |
| Jackie and Jill and the bear children | sat 1 | |
| Saber Rider and the Star Sheriffs (American co-production) | Tele 5 | |
| 1989 | The mysterious cities of gold (French co-production) | DFF |
| The Adventures of Sherlock Holmes (Italian co-production) | sat 1 | |
| Pixi in the Cloud Cuckoo Land | sat 1 | |
| Lucy in Australia | Tele 5 | |
| Odysseus 31 (French co-production) | Tele 5 | |
| Around the world with Willy Fog (Spanish co-production) | Tele 5 | |
| 1990 | All my friends | ARD |
| Koala bear forays | sat 1 | |
| Alfred J. Kwak (international co-production) | ZDF | |
| Cubitus, the Wuschelhund (international co-production) | RTL Plus |
The first German commercial animes appeared in 1975 on so-called TED video disks (abbreviation for television discs ), analog vinyl video disks that had a playing time of approx. 10 minutes per side and can only be read by a single player from the Telefunken company could. They disappeared from the market the following year. The anime offered on it were individual episodes of the series Speed Racer , Hotte Hummel and Judo Boy . The first anime feature film to be sold in Germany was the film Perix der Kater und die 3 Mausketiere (Japanese 長靴 を は い た 猫 , Nagagutsu o Haita Neko ) by Toei Animation from 1969, the end of the 1970s -Years was offered by the company piccolo film, heavily cut to Super 8 mm film. In the GDR he ran as Puss in Boots on television and in the cinema.
Numerous animes appeared on VHS tapes in the 1980s. As on television, the publications did not come through the deliberate licensing of Japanese licensors, but were of French, American, and Italian descent. The first VHS cassettes, which were intended to target fans of Japanese animation and for which Japan was explicitly named as the production country, came from 1986. At that time, individual episodes of the series The Adventures of the Honeybee Hutch were released under the label " Japan Home Video " , Demetan the Frog Boy and Macross were released, whereby care was taken to leave the original material as unchanged as possible - the Japanese opening and closing credits were retained, and occurring songs were left in Japanese. " Japan Home Video " disappeared from the market in 1987.
In addition to publications for children, the anime video market was characterized in the early days by erotic works brought out by Trimax. They mainly sold their videos through video libraries and Beate Uhse stores . In addition to the hidden origin of the children's series, these imports also meant that the terms “Manga” and “Anime” were still closely linked by many to pornographic or highly violent works until after 2000.
List of anime videos, before the first anime label, OVA Films, until 1990:
| Year of publication | title | format |
|---|---|---|
| 1975 | Speed Racer (individual episodes) | TED image plate |
| Judo Boy (individual episodes) | TED image plate | |
| Hotte Hummel (individual episodes) | TED image plate | |
| Late 70s | Perix the cat and the 3 muscle animals | Super 8 |
| Goldorak - Battle of the Worlds (4 episodes) | Super 8 | |
| 80s | Angel the Flower Girl (9 episodes) | Video |
| Cleopatra and the great Romans | Video | |
| The end of days | Video | |
| Ultraman strikes back (4 episodes) | Video | |
| Cyborg space station 009 | Video | |
| Thumbelina | Video | |
| Demetan, the frog boy (2 episodes) | Video | |
| The swan princess | Video | |
| Fairy tale world | Video | |
| Macross (4 episodes) | Video | |
| Masters of the Future (15 episodes) | Video | |
| Remi (compilation) | Video | |
| Robby, the smart robot (cut) | Video | |
| 1982 | Attack of the Dinomonsters (4 episodes) | Video |
| Blinki - the alien wonder dwarf | Video | |
| The adventures of the fantastic space pirate Captain Harlock (14 episodes) | Video | |
| The little mermaid | Video | |
| 1984 | Aladin and the magic lamp | Video |
| Alibaba and the 40 thieves | Video | |
| 1985 | Goshu, the cellist | Video |
| 1986 | Star warrior | Video |
| 1987 | Alakazam and the King of Beasts | Video |
| The eleven hungry cats | Video | |
| Hardyman cleans up | Video | |
| 1989 | Treasure Island | Video |
| 1990 | The twelve months | Video |
Boom in the 1990s
Since the 1990s, anime series with recognizable Japanese scenarios have been shown on German television, without the fairy tale material for children disappearing. One of the first animes for young people was Die Macht des Zauberstein , which ran on RTL 2 in 1996 . In 1997 Sailor Moon followed on the same station and in 1998 Dragon Ball , both with great success. With these series at the end of the 1990s, anime slowly emerged as a medium of its own. In August 1999, animes became a resounding success thanks to RTL2's Moon Toon Zone program . That block consisted of Sailor Moon, Dragon Ball, and Pokémon . It was expanded with Anime @ RTL2 from 2001 and PokitoTV in 2004. The broadcaster had specifically put together anime series that were already running successfully in Germany or the USA and wanted to target anime fans with them. The success of the block led to further licensing of series on RTL2 and other broadcasters, so that the range of anime on German television quickly expanded. Also at Tele5, where animes had been in the program since 1991, then at VOX, VIVA and MTV, more anime series were broadcast that were aimed at young people, shaped a whole generation and laid the foundation for an emerging youth culture. The animes shown by VOX did not come from the broadcaster itself, but were made available by third-party providers to the program blocks sold to dctp . There were also isolated series in the ProSiebenSat.1 Group's animation programs.
The following is a list of series on German television after 1990 and before the Moon-Toon Zone - and Anime @ RTL2 blocks on RTL2.
Several anime films have been shown in German cinemas since the 1990s, including Akira (1991), which first aroused the interest of a broader public and created acceptance for anime as an art form, Ghost in the Shell (1997), Perfect Blue (2000) as well as some productions by Studio Ghibli . Princess Mononoke was shown as the graduation film of the Berlinale in 1998, but received little attention. It was not until 2001, four years after its completion, that the film was released in German cinemas and, thanks to the significantly increased fan scene, the pressure of which had also contributed to the cinema use, and thanks to the advertising opportunities offered by the Disney group, it was a success. The next Ghibli film Chihiros Reise ins Zauberland was released in German cinemas in 2003 with only a two-year delay. The three films on the Pokémon series shown in the cinema had the highest audience figures to date .
In the early 1990s there were repeated attempts to bring mangas to Germany. Akira , which was only a respectable success after the success of the film as a manga, Crying Freeman in 1993 with Schreiber & Leser and Appleseed in 1994 with Reiner Feest . In the course of the success of Dragon Ball and Sailor Moon on television, the breakthrough for Manga in Germany followed with their Manga templates, the first from 1996 with Dragon Ball at Carlsen Verlag . During this time, the German comic market was in a crisis that was broken by the success of manga. Dragon Ball was already extremely successful in Japan and is the first manga to be published unreflected in Germany under pressure from the Japanese licensors. In retrospect, this is also seen as a reason for the success, since the otherness particularly appeals to the young audience. The unreflected publication in Japanese paperback format quickly developed into the standard and other large and small publishers entered the market.
The boom in anime on German television in the late 1990s was followed by an boom in the video market. The successful attempt of its own German anime label began with OVA Films . In 1995 OVA Films released the film Plastic Little , which was released in an official edition of 2500 VHS cassettes and was also the first German anime for sale in the Japanese original with German subtitles. In the period that followed, OVA Films released more and more anime purchase videos (e.g. Gunsmith Cats , Bubblegum Crisis , Devil Hunter Yohko ). The problem that arose in this context that fans preferred the original versions with subtitles, while the mass market required more dubbed versions, was solved with the advent of the DVD , on which both formats could be offered simultaneously. OVA Films joined more and more labels, such as Anime Virtual , Anime House, Panini Video , Beez Entertainment , Universum Anime , Tokyopop , Egmont Manga and Anime and Red Planet, but only a few of them survived.
Consolidation
From 2000 onwards, mangas, the success of which followed that of anime a little late, were able to establish themselves as an important part of the German comic market. In doing so, the medium succeeded in gaining new levels of readership - especially female readers. While sales of comics were still declining in the 1990s, mangas have now also secured a place in bookstores and are sometimes more prominent than other comics or even presented separately from them. In contrast to neighboring France, for example, Jirō Taniguchi's works, which were influenced by the Franco-Belgian style, and biographical works by other artists were initially ignored in Germany. The reason for this can be seen as the concentration of German Manga enthusiasm on fabrics and styles that are typical and purely Japanese. This only changed from the mid-2000s, when Taniguchi's first works or Tezuka's late works were also published in Germany. At the beginning of the 2000s, the German publishers tried to establish monthly manga magazines based on the Japanese model in Germany, but failed after a few years: The magazines Manga Power and Manga Twister were canceled due to insufficient sales and Banzai! discontinued due to licensing problems. Daisuki magazine lasted until May 2012. Around 2010 the growth in paperback sales also slowed. However, unlike in the USA or Japan, the market has not shrunk. One of the reasons for the slowing growth was, among other things, the many attempts by other publishers to enter the market without sufficient experience and the high number of licenses associated with this, as well as with the established publishers. However, these were then too often unsuccessful, as the potential of the titles was overestimated due to ignorance of the German market and the target group and some publishers reduced their programs or withdrew completely, such as Heyne 2011. Nevertheless, the manga held a high share of the German comic market . With the increased appearance of graphic novels from the end of the 2000s, the manga also faced competition for the older readership and for being the latest trend in the comic market.
Since 2007, RTL2 has only added three new anime series to its program that were not sequels. In 2013, the program on RTL2 was completely canceled. From 2007 to June 2016, Animax Germany was its own pay-TV broadcaster for the German-speaking area. Animax discontinued linear distribution in German-speaking countries on June 30, 2016 and changed its name to a pure video-on-demand offer on July 1, 2016.
ProSieben MAXX , Nickelodeon , Super RTL and Tele 5 are currently broadcasting animes on free German TV channels. In addition, anime series are made available online via streaming services.
The number of active companies in the market for consumer media initially declined until only Anime Virtual (Viz Media Switzerland), Anime House, Panini and Universum remained. Then came Nipponart, Peppermint Anime , KSM Anime , Universal Pictures, FilmConfect Anime and AniMoon. Since 2015 there have been an increasing number of cinema screenings, mostly as an event program - for example as part of the AkibaPass Festival (formerly peppermint anime festival ) or the Kazé Anime Nights . Peppermint Anime started the regular return of anime in German cinemas with its annual series of events, and other publishers such as Kazé, KSM Anime and Universum Anime followed suit with popular titles. Both films and episodes of series are shown, as well as German-language premieres. The film Your Name. - Yesterday, today and forever was so successful that a regular theatrical release followed and became the most visited anime in cinemas of 2018.
Post-processing
Mangas are almost always published in Germany without mirroring, but sometimes changed in other ways or material that has already been changed is adopted from the USA. The material from the United States, especially in the past, has often been reworked there in order to meet other ideas about the representability of sex and violence or to prevent criticism. In some cases, the processing takes place only at the German licensee. Swastics , which are a common symbol of good luck in East Asia, are usually removed because they are associated with National Socialism in Germany . The way in which sexuality and freedom of movement are portrayed also differs between Japan and the licensed markets of the USA and Germany, so that, for example, clothing is added later - sometimes by the Japanese artist himself as work for the export market. Some of the self-censorship measures taken by publishers can also be directly traced back to feared indexing and the associated economic damage. For this reason, scenes of violence in particular were defused in series, because of which an indexing was feared. The Vampire Master series was the first manga volume to be indexed in Germany in 2002. In 2000, a single issue of the Sailor Moon series had already been indexed retrospectively, since in one scene a little boy drops his pants in front of a girl who is a few years younger and this was interpreted as abuse by the authorities. On television, however, the anime sequence with the same scene was shown several times without objection in the children's program.
Unmirrored editions came up in Germany at the end of 1996 with the unmirrored series Dragon Ball from Carlsen Verlag. Publication in the original reading direction was specified by the licensor, but it turned out to be advantageous and became the standard for manga publications in Germany: The Japanese reading direction emphasizes authenticity, distinguishes it from the rest of the comic book and lowers the costs for publishers who do this pass them on to the reader in the form of lower prices. Since then, most of the volumes have attached short instructions for reading from right to left on the last page or the first page in western reading direction. Parallel to the introduction of the unreflected editions, translations that were true to the original and the avoidance of Germanizations were established, which often replaced footnotes explaining Japanese terms and peculiarities. In this way, frequent requests from the readership were taken into account and at the same time the transmission costs were reduced. In addition, since the 2000s, translations have mostly been translated directly from Japanese rather than from English or French translations, which is associated with higher costs.
For a long time, post-processing of animes happened to a large extent on German television and cinema. Numerous cuts and changes in content were mostly justified with the protection of minors, since trick series are considered children's programs and are bought and shown for this audience. The first post-production of anime series took place in Germany with the broadcast of Captain Future on ZDF. Italian ( Mila Superstar ) or French ( Dragon Ball ) versions were adopted until around 2001 . American versions ( Saber Rider and the Star Sheriffs , Samurai Pizza Cats , Pokémon ) have been marketed internationally since the beginning and until today. In Germany there has been the FSF ( Voluntary Self-Control Television ) since 1993 , which checks television content to determine whether it is suitable for the daily program and possibly issues editing requirements according to German youth protection. RTL2 showed several FSK-12 content (e.g. episodes in Dragon Ball , Lady Oscar , Ein Supertrio ) during the children's program in the afternoon. In other episodes, for example in Dragon Ball , dialogues were changed and scenes were cut, justifying the protection of minors. It is not known whether RTL2 had the content checked by the FSF at the time. According to a denied interview in 2005, there were no complaints about the depictions of violence in series on RTL2, but there were subjective views. RTL2 increasingly made cuts that did not match the FSF's pattern. RTL2 was particularly noticeable because of the editing of episodes that got FSK-0 or FSK-6 on home video. With Naruto and Dragon Ball GT , there were not only cuts, but also dialogue deviations and other edits. The version of Naruto, which is often criticized by fans, is cited by RTL2 as a reason that the "anime fever" on television is over because of its below-expected ratings. Tele 5 and ProSieben Maxx broadcasts checked by the FSF showed that RTL2 did not work according to the FSF model.
Anime films were also temporarily cut, a well-known example is the German release of Nausicaä from the Valley of the Winds as Die Sternenkrieger , based on the heavily edited US version, from which Studio Ghibli later officially distanced itself and the further licensing of their films for a long time prevented.
Anime on video portals
In September 2007 Anime Virtual launched the video-on-demand portal Anime on Demand . From 2011 to 2016, the video portal MyVideo also officially offered anime series and films. The offer mainly comprised older titles as well as TV episodes recently broadcast on ProSieben Maxx. From April 2013 to June 2015, RTL II also offered animes on the Internet. The offer should serve as a replacement for the set program block on TV. Animes continued to be published on the RTL II You platform between May 2016 and June 2017 . Other TV stations also offer animes on their websites for a limited time after they have been broadcast.
In April 2013, the anime publisher Peppermint Anime started the channel Peppermint TV on the video platform Vimeo , on which the series Valvrave The Librator was offered as a German simulcast . that is, the episodes were available with German subtitles immediately after they were first broadcast in Japan. From March 29, 2016, Peppermint Anime operated its own video-on-demand portal under the name AkibaPass . Since then, Peppermint Anime has only used the channel on Vimeo for advertising purposes.
The US portal Crunchyroll began in December 2013 with German simulcasts for several series with subtitles and has since offered large parts of its program in Germany, since 2017 also individual titles with their own German dubbing.
In July 2014 the publisher Kazé Deutschland started with Space Dandy on Anime on Demand and Nipponart with Chaika, the coffin princess on Clipfish with simulcasts. The latter website set up a separate anime section during the same period. The Daisuki.net portal, operated by Japanese animation studios and publishers, offered the television film Sword Art Online: Extra Edition as a German simulcast stream in December 2013 . When the German Netflix launch in September 2014, Knights of Sidonia was in the catalog alongside other anime series . It is advertised as "Netflix Original" as the website has exclusive distribution rights in all of its territories. Viewster started regular German simulcasts of the current season's anime in December 2014.
A German language version of the French on-demand portal Wakanim has been available since September 2017 . The first German localized titles were provided by Peppermint Anime . But self-licensed animes as simulcasts will also be shown on the German language version. The first simulcast on Wakanim is UQ Holder and started on October 2nd, 2017. Wakanim is cooperating with the German publisher peppermint Anime. In favor of Wakanim, the VoD offer on the AkibaPass platform was discontinued on July 31, 2018 and converted into a pure merchandise shop and event platform.
Since 2018, Netflix has been producing and publishing animes for the German market. The free Netzkino service has also added some anime series and films to its program.
Market, publications and formats
The German manga market is now the third largest market in Europe after France and Italy. Mangas account for up to 70% of the comic book titles sold. The best-selling titles include Dragon Ball, Sailor Moon, Inu Yasha and Detective Conan , each of which sold several million copies. The German comic industry is like no other in Western Europe dependent on the manga. Mangas are published in Germany almost exclusively in the form of paperback books (mostly in the Japanese tankōbon format). The attempt to establish monthly manga magazines based on the Japanese model in Germany failed at the beginning of the 21st century after a few years: The magazines Manga Power and Manga Twister became due to insufficient sales and Banzai! discontinued due to licensing problems. The Daisuki magazine lasted until May 2012. The reasons for the publication almost exclusively in paperbacks are the costs for license and translation, which inexpensive magazines like in Japan do not allow, and the lack of need to try out series first because the series are bought have already proven themselves on the Japanese market. Compared to Japan, the lack of magazines is therefore less of a problem for the publishers, as the magazines rarely generate profits there either. In Germany, unlike in Japan, the marketing chain often begins with an anime or video game, which is only later followed by the publication of the manga template. Productions from the fan scene, on the other hand, are often first published online (or as long as they existed in magazines) before paperbacks and merchandising follow. When compared to the Japanese market, German licensees are reluctant to use merchandising as a further exploitation of manga and anime. Despite prior testing of the series in Japan or other western countries, sufficient sales figures are not guaranteed. Unfinished series can be found in all publisher sizes, the discontinuation of which is usually justified with low sales figures.
The only current professional German-language anime trade magazine is AnimaniA , which has been published since September 1994. There are also youth magazines with their own anime sections, such as Mega Hiro , Koneko and Kids Zone . The Anime no Tomodachi association published Funime magazine from 1997 , which was discontinued in 2015. From August 1995 to December 1996 the magazine AMI (the first edition still under the name Project A-nime ) was published by Schaefers-Verlag. The magazine was discontinued after five issues. Furthermore, the magazine MangasZene appeared between January 2001 and September 2007 .
The most important publishers on the manga market were initially Carlsen Verlag and Egmont Ehapa , which entered the market in the mid-1990s. The Panini label Planet Manga was added later, as well as Tokyopop , a subsidiary of an American company, in 2004 . The top three publishers, Carlsen, Egmont and Tokyopop, have been publishing 10 to 20 new titles a month since the mid-2010s. The small publishers include Heyne Verlag , which withdrew from the manga business in 2011, Schwarzer Turm and Schreiber & Leser . There are also publishers for genre niches - especially with works from German production - which include Fireangels , Butter and Cream, Cursed Side (all three for homoeroticism), Delfinium and Experienze (especially eroticism). In addition, there are a few manga publications with other publishers, including renowned publishers such as Rowohlt with Barefoot through Hiroshima , as well as publications by individuals. In her analysis of the market in 2011, Patricia Minks found a high level of economic capital at the three large publishers, which also gained social and cultural capital through long-term activity and contacts with institutions and fans. The latter in particular at Carlsen, where for example classics by Osamu Tezuka are published. Heyne, on the other hand, had a lack of social and cultural capital, which could have been a reason for the withdrawal, and the small publishers are building mainly out of social and cultural capital and creating their own niche markets. Since 2012, the Swiss Crunchyroll SA (then Viz Media Switzerland) , which was previously only an anime publisher , has also been releasing mangas under the Kazé label and is also one of the big publishers in the market.
A division of the series into categories according to age and gender of the target group, spanning classic genres, has not established itself in the German market. Such classifications are unknown here and should have been communicated at great expense. It is also of less use since segments of the Japanese market, such as children and seniors, are missing.
Some of the publishers are also active in related segments, for example animes were also released under the label Egmont Manga and Anime. Panini is also bringing animes to the German market. Carlsen also publishes light novels and many companies are trying to cross-market video games or running TV series.
When buying licenses for manga, the big publishers watch the market in Japan and translate from the original. Small publishers, on the other hand, also orientate themselves towards the American market and translate from English or French translations. A series that is successful in other western countries brings greater security for success in Germany. In contrast, observing the large Japanese market and translating it directly from Japanese is time-consuming and expensive. Therefore, until the manga boom in the 1990s, it was common practice to buy licenses from other western countries. Publishers such as Heyne or Tokyopop are also connected to Japanese publishers through their American parent companies and obtain licenses in this way - even if these are not exclusive agreements and the programs of the German publishers do not map those of the related Japanese publishers homogeneously. Since the 2000s, licenses have primarily been acquired directly in Japan. This also results in licenses for only part of a series, which reduces the risk for the publisher, but also leads to unfinished series or long waiting times. In addition, publishers are looking for German cartoonists from the fan scene who want to publish their own comics inspired by mangas, or have specialized entirely in these. With these there are no costs for purchasing and translation and a successful series can be sold in other countries, which has been achieved several times. Tokyopop's goal of having 20% in-house productions in its program at the end of the 2000s had to be abandoned.
Target group and fan scene
The target groups of Mangas are mainly young people, as can be seen in the positioning in the book trade. The appeal to older readers is only gradually emerging. This is also due to the fact that the comic medium still has the prejudice that it is only a medium for children, so that older target groups could not be addressed at first. At the same time, there were reservations among the older comic readers about the new medium, which differed significantly from the comics that had been widespread up until then. This created a division among the comic book readership between an older generation reading American and Franco-Belgian works and a generation of manga readers. This younger generation is at the same time much more feminine, as mangas were the first to address girls as comic readers to a large extent.
A fan scene developed to a lesser extent from the 1980s. As anime and manga became more popular in the West after the release of Akira, and even more so after the success of television series including Sailor Moon and Dragon Ball , a larger fan base developed. This relied heavily on communication via chats and forums, there were fanzines and events in the scene as well as meetings at book fairs. In addition, cosplay, dressing up as a character from a manga or anime, especially at trade fairs, and tracing and redrawing popular characters or your own stories are important hobbies in the scene. In addition, it is not uncommon for people to come to terms with Japanese culture and society beyond popular culture. The anime and manga fan scene can be seen as embedded in a broader culture of modern Japanese fashion, consisting of J-pop and visual kei , Japanese food, fashion, karaoke and computer games. Japanese media also convey values of Japanese culture that influence the value discourse in the target country. In the case of the German-speaking area, two value discourses take place: Japanese culture forms a counterpoint to American influence and offers a distinguishing feature from earlier, "Americanized" generations. At the same time, Japan itself is influenced by America and therefore not completely alien. On the other hand, Germany and Japan share a similar story as the states defeated in the World War that subsequently rose to become economic powerhouses.
According to surveys from 2005 and 2006, the Manga readership was essentially between 14 and 25 years old, only 12% older than 25. It can therefore be assumed that the majority of the scene grew up in the late 1980s and 1990s in this recipient of the boom in manga and anime. The small part of older fans, however, played a major role in establishing the scene, for example in the establishment of magazines, events and platforms. 70 to 85% of the respondents were female. Due to their strong female readership, mangas in Germany have changed the comic market, which was previously almost exclusively male. They not only consume typical genres for girls such as Shōjo series, but also make up the majority of the readership of horror manga, for example. Women also make up the vast majority of the self-creative part of the fan scene and are more present at events. Thematic and aesthetic interests are extraordinarily broad, even if fantastic subjects predominate, and respondents named a wide range of favorite works. When asked about the first manga read, Dragon Ball and Sailor Moon stand out. A 2007 survey on preferred media usage showed that many fans have a greater preference for manga than for anime and, among the media for consuming anime, consumer media far outperform television. The internet was the most important medium for the consumption of both anime and manga, and at the same time the most important means of communication within the scene. The same survey on the level of education revealed that an above-average number of fans attend or have completed high school. The author of the survey attributes this to complex stories and characters as well as strong coding with symbols and metaphors in the manga, which he also cites as one of the reasons for the attractiveness of the medium for their German target group. Furthermore, the complex and authentic characters in Manga and Anime invite you to identify and deal with your own identity. The media also motivate people to get to know each other and to deal with the topics covered and the Japanese culture as well as to be creative. Another important feature of the fan scene is the exchange in the strongly - especially online - networked fan community, whose platforms are the stage for the aforementioned activities.
Fan and in-house productions
The anime and manga fan scene is very creative itself, many are inspired to create their own pictures and stories: fanart , fanfiction and dōjinshi . An important platform, especially in the 2000s, was the network of the Animexx association , in which text and images can be presented. In addition, small publishers focused on fan publications such as Schwarzer Turm and manga drawing competitions at large events emerged. Since the beginning of the 2000s, a scene of artists emerged from the fan scene who themselves create manga-inspired comics and who take up Manga-typical styles, narrative strategies, themes and genres in their works. Discovered in competitions or through applications to publishers, her comics also appear in bookshops. Dragic Master by Robert Labs from 2001 is considered the “first official German manga”. Christina Plaka followed shortly afterwards . As the first German manga artists to be published by a publisher, both were motivation for more fans to draw themselves. Her series and many short stories from fans appeared in the German manga magazines Banzai and Manga Power, which were later discontinued . Later, for example, created Anike Hage with Gothic Sports a series in the tradition of Japanese sports manga that at Tokyopop published, and Judith Park was published by Carlsen in the Shonen-Ai is moved genre of Series Y square . A comparatively large proportion of the German productions that have appeared so far fall into the latter genre, which revolves around homoerotic stories with men and is aimed at a female audience. Paul M. Malone describes the German Manga fan scene together with the market as a German "Mangascape" (Manga landscape) . The particularly active and almost always female artists - sometimes also called "Germangaka" based on the Japanese term mangaka - play an important role in this. Despite their comparatively small number, they have a great influence on the German comics scene, with them and the influence animated by manga. Similar to their colleagues in other comic divisions, the income from the series is usually not enough for the successful cartoonists, so that other professional activities are added or the work on manga is just a sideline alongside work, studies or school. The draftswomen often have a heavy workload, up to 12 hours a day including the weekend.
Events
Significant events where fans primarily meet are anime and manga conventions . These conventions offer sales booths, workshops, autograph sessions, concerts or video evenings, fans often dress up as characters from an anime ( cosplay ). The largest event in Germany since 2016 has been DoKomi in Düsseldorf with 40,000 visitors over two days. Before that, the AnimagiC and the Connichi were the largest anime conventions in terms of attendance with up to 25,000 visitors. Anime is also a topic at events related to Japan, animated films, comics or literature, for example in Germany there are events related to Japanese animated film at Japan Day or the Frankfurt Book Fair . The Leipzig Book Fair owes many of its young visitors and part of the visitor growth since 2000 to the strong attraction of the Manga exhibitors.
The following is an overview of regularly held conventions in Germany:
| Surname | place | Years | Visitor 1 | particularities |
|---|---|---|---|---|
| AnimagiC | Mannheim | 1999–… | 28,000 | until 2016 in Bonn |
| AniMaCo | Berlin | 2004-2018 | 7000 | changes annually with Mega Manga Convention |
| Anime marathon | changing | 1999–… | from the Anime no Tomodachi association , changing location, is one of the oldest of its kind in Germany | |
| Anime Messe Berlin | Berlin | 2015–… | 6500 | changing location |
| Animuc | Fürstenfeldbruck | 2009–… | 3000 | |
| BiMaCo | Bitterfeld-Wolfen | 2011–… | 400 | |
| Bonenkai | changing | 2001-2006 | changing location | |
| ChisaiiCon | Hamburg | 2006-2018 | No con organized in 2007 and 2008; after eleven cons it was decided not to let the con take place anymore | |
| Conneko | Ludwigshafen am Rhein | 2003-2006 | 3000 | |
| Connichi | kassel | 2002–… | 27,000 | Ludwigshafen am Rhein 2002 |
| Contopia | Dortmund | 2005-2015 | 2000 | Suspended in 2011 |
| CosDay | Frankfurt am Main | 2004-2010 | 3000 | |
| CosDay² | Frankfurt am Main | 2011–… | 6000 | |
| DeDeCo | Dresden | 2012– ... | 7500 | |
| DoJaKu | Dortmund | 2010–… | 600 | monthly event |
| DoKomi | Dusseldorf | 2008–… | 40,000 | |
| Hanami | Ludwigshafen am Rhein | 2006–… | 5200 | |
| J-Con | Merzig | 2004– ... | 900 | until 2005 in Beckingen |
| Manga comic convention | Leipzig | 2014–… | 105,000 | since 2001 as the comics section of the Leipzig Book Fair , since 2014 as a separate book fair event |
| Mega Manga Convention | Berlin | 2002-2017 | 12,600 | has been switching with AniMaCo annually since 2004 |
| NiCon | Hanover | 2005–… | 800 | |
| NipponCon | Bremen | 2010–… | ||
| Shumatsu | Dresden | 1998-2008 | ||
| TiCon | Wurzburg | 2008–… | 1200 | |
| Like.MAI.KAI | Wiesbaden | 2007–… | 1000 |
literature
- German Film Institute - DIF / German Film Museum & Museum of Applied Arts (Ed.) (2008): ga-netchû! The Manga Anime Syndrome. Henschel Verlag, ISBN 978-3-89487-607-4 .
- Miriam Brunner: Manga - the fascination of images: means of representation and motifs . Wilhelm Fink, Munich 2009, ISBN 978-3-7705-4879-8 .
- Christine Schulz, Eva Mertens: And then came the generations! Generations in today's media fan scenes using the example of the German manga and anime scene . In: Creative Crowds - Perspectives on fan research in German-speaking countries . Büchner-Verlag, Darmstadt 2014, pp. 324-344, ISBN 978-3-941310-42-1 .
Web links
- aniSearch - Largest German information database on anime and manga
- The Incomplete Manga Guide - Directory for manga published in German
Individual evidence
- ↑ Miriam Brunner: Manga . Wilhelm Fink, Paderborn 2010, ISBN 978-3-7705-4832-3 , p. 11 .
- ↑ Freddy Litten: The animation market in Japan. (PDF) In: Japan aktuell. Retrieved September 21, 2017 .
- ↑ Miriam Brunner: Manga . Wilhelm Fink, Paderborn 2010, ISBN 978-3-7705-4832-3 , p. 15 .
- ↑ Patricia Minks: Mangamarkt - A comparison between Japan and the German-speaking area . In: Paul Ferstl (ed.): Kobuk: Manga in the German-speaking area . No. 1/2011 . Societa, Vienna 2011, p. 11 f .
- ↑ Nick Barkow: Soon they will be number one in the world , in: JAPAN , special part on star No. 28 from June 30, 1977, pp. 22-24
- ↑ a b Miriam Brunner: Manga . Wilhelm Fink, Paderborn 2010, ISBN 978-3-7705-4832-3 , p. 64-70 .
- ↑ a b c Ralf Vollbrecht: Anime - A phenomenon from Japan . In: German Film Institute - DIF / German Film Museum & Museum of Applied Arts (Ed.): Ga-netchû! The Manga Anime Syndrome. Henschel Verlag, 2008. pp. 24-26. ISBN 978-3-89487-607-4 .
- ^ Violent comic Goldorak . In: Der Spiegel . No. 19 , 1979 ( online ).
- ↑ Josef Göhlen: Suspicious, but successful - The path of anime to ZDF. in ga-netchû! The Manga Anime Syndrome. Pp. 234-139. Henschel Verlag, 2008.
- ↑ a b Daniel Kothenschulte: Opulence and Limitation - Styles of Early Anime . In: German Film Institute - DIF / German Film Museum & Museum of Applied Arts (Ed.): Ga-netchû! The Manga Anime Syndrome. Henschel Verlag, 2008. pp. 50f, 56f. ISBN 978-3-89487-607-4 .
- ↑ a b Miriam Brunner: Manga . Wilhelm Fink, Paderborn 2010, ISBN 978-3-7705-4832-3 , p. 58, 61 .
- ↑ a b c d e f g h Bernd Dolle-Weinkauff: Fandom, Fanart, Fanzine - Reception in Germany . In: German Film Institute - DIF / German Film Museum & Museum of Applied Arts (Ed.): Ga-netchû! The Manga Anime Syndrome . Henschel Verlag, 2008, ISBN 978-3-89487-607-4 , pp. 214-223 .
- ↑ 長靴 を は い た 猫 . Retrieved January 9, 2007 .
- ↑ Holger Briel: Hentai - Erotica in Manga and Anime . In: German Film Institute - DIF / German Film Museum & Museum of Applied Arts (Ed.): Ga-netchû! The Manga Anime Syndrome . Henschel Verlag, 2008, ISBN 978-3-89487-607-4 , pp. 168 .
- ^ A b c Paul M. Malone: The Manga Publishing Scene in Europe . In: Toni Johnson-Woods (Ed.): Manga - An Anthology of Global and Cultural Perspectives . Continuum Publishing, New York 2010, ISBN 978-0-8264-2938-4 , pp. 324-326 .
- ↑ a b c David Werner: Japanese Comics in German Child and Youth Culture: The Presence, the Influence and the Educational Qualities of Anime and Manga . Ed .: Bielefeld University, Faculty of Education. Bielefeld, 2007, p. 14th f . (Master thesis).
- ↑ a b c David Werner: Master's thesis: Japanese comics in German child and youth culture: The presence, the influence and the educational qualities of anime and manga. (PDF) Bielefeld University - Faculty of Education, p. 89 ff , accessed on September 21, 2017 .
- ↑ Miriam Brunner: Manga . Wilhelm Fink, Paderborn 2010, ISBN 978-3-7705-4832-3 , p. 70-72 .
- ↑ a b c Miriam Brunner: Manga . Wilhelm Fink, Paderborn 2010, ISBN 978-3-7705-4832-3 , p. 7th f .
- ↑ Andreas Platthaus: Transfigured Strangers - Taniguchi Jiro and the seductive power of western individualism . In: German Film Institute - DIF / German Film Museum & Museum of Applied Arts (Ed.): Ga-netchû! The Manga Anime Syndrome . Henschel Verlag, 2008, ISBN 978-3-89487-607-4 , pp. 212 f .
- ↑ a b c d e Miriam Brunner: Manga . Wilhelm Fink, Paderborn 2010, ISBN 978-3-7705-4832-3 , p. 79-81 .
- ↑ Bernd Dolle-Weinkauff: Fandom, Fanart, Fanzine - Reception in Germany . In: German Film Institute - DIF / German Film Museum & Museum of Applied Arts (Ed.): Ga-netchû! The Manga Anime Syndrome . Henschel Verlag, 2008, ISBN 978-3-89487-607-4 , pp. 216-223 .
- ↑ Paul M. Malone: Shinfting Ground and Shifting Borders in the German-speaking manga Cape . In: Paul Ferstl (ed.): Kobuk: Manga in the German-speaking area . No. 1/2011 . Vienna 2011, p. 61-63 .
- ↑ Malone, 2011, pp. 84f.
- ↑ Robin Hirsch: RTL II Special: List of all RTL II anime series. In: Anime2You. April 21, 2015, accessed January 4, 2016 .
- ↑ KAZÉ | KAZÉ Anime Nights. Retrieved November 19, 2017 .
- ↑ AKIBA PASS Festival 2017. (No longer available online.) Archived from the original on December 1, 2017 ; Retrieved November 19, 2017 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ AKIBA PASS FESTIVAL 2018: Interview with Marketing and Event Manager Sebastian Horn. In: AnimaniA .de. January 2018, accessed August 2, 2018.
- ↑ Miriam Brunner: Manga . Wilhelm Fink, Paderborn 2010, ISBN 978-3-7705-4832-3 , p. 81-89 .
- ↑ a b Andrea Ossmann: Manga phenomenon. The history of the origins of Japanese comics and their significance for German publishers and libraries. With an annotated title list . Ed .: University of Applied Sciences Stuttgart - University of the Media. Stuttgart 2004, p. 29, 63-68 (diploma thesis).
- ↑ Miriam Brunner: Manga . Wilhelm Fink, Paderborn 2010, ISBN 978-3-7705-4832-3 , p. 70-72 .
- ↑ Miriam Brunner: Manga . Wilhelm Fink, Paderborn 2010, ISBN 978-3-7705-4832-3 , p. 7-10 .
- ↑ Minks, 2011, pp. 43-45.
- ↑ a b c Joachim Friedmann: Sometimes Good Guys Don't wear White . In: German Film Institute - DIF / German Film Museum & Museum of Applied Arts (Ed.): Ga-netchû! The Manga Anime Syndrome. Henschel Verlag, 2008. pp. 230-232. ISBN 978-3-89487-607-4 .
- ↑ Jim: Captain Future - Episode: 1.01 The ruler of Megara. In: schnittberichte.com. January 26, 2009, accessed January 18, 2016 .
- ↑ Beltha: Dragon Ball - Episode: 1.02 The search begins. In: schnittberichte.com. September 6, 2014, accessed September 22, 2017 .
- ↑ Mario: Saber Rider and the Star Sheriffs - Episode: 1.09 Who dares wins. In: schnittberichte.com. March 20, 2008. Retrieved September 22, 2017 .
- ↑ Maya Götz / Carolina Ensinger: Fascination Dragon Ball (Z): Between strong inner images and a willingness to be aggressive. (PDF) International Central Institute for Youth and Educational Television, accessed on September 19, 2018 . on rp.online.de
- ↑ Anime portal offers new content in 2008. In: digital television. January 17, 2008, accessed August 21, 2015 .
- ↑ Anime series for free at MyVideo.de. In: bruttstatt. March 11, 2011, accessed August 31, 2015 .
- ↑ peppermint anime starts its own webstore with peppermint tv. In: Anime2You. April 8, 2013, accessed August 21, 2015 .
- ↑ New video-on-demand (VOD) provider Akiba Pass offers anime simulcasts for 8 euros a month on animehunter.de
- ↑ Crunchyroll comes to Germany. In: Anime2You. December 12, 2013, accessed December 21, 2013 .
- ↑ AoD starts simulcasting with Space Dandy! In: Kazé Online. January 3, 2014, accessed August 21, 2015 .
- ↑ New simulcast licenses at nipponart * Update *. In: aniSearch. April 9, 2014, accessed June 2, 2014 .
- ↑ OUR ANIMES ( Memento from August 28, 2015 in the Internet Archive )
- ↑ SWORD ART ONLINE EXTRA EDITION Special Site OPEN. (No longer available online.) In: Daisuki.net. December 26, 2013, archived from the original on December 30, 2013 ; accessed on December 30, 2013 (English). Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ Netflix licenses Knights of Sidonia. In: NanaOne. September 16, 2014, accessed August 21, 2015 .
- ^ Madman Entertainment Licenses Knights of Sidonia. In: Anime News Network. April 6, 2014, accessed May 17, 2014 .
- ^ LB Bryant: Fall Simulcasts: First Episode Reviews. In: Viewster Blog. November 4, 2014, accessed August 21, 2015 .
- ↑ Robin Hirsch: VoD platform Wakanim starts in Germany. In: Anime2You. September 21, 2017. Retrieved September 21, 2017 .
- ↑ Burak Dogan: Wakanim: Nine animes from now on in German. In: anime2you. March 16, 2018, accessed September 22, 2019 .
- ↑ Netflix: Cooperation with major anime studios announced. In: Anime2You - your anime-news source. Accessed March 20, 2019 (German).
- ↑ Jean-Marie Bouissou, Marco Pellitteri, Bernd Dolle-Weinkauff, Ariane Beldi: Manga in Europe: A Short Study of Market and Fandom . In: Toni Johnson-Woods (Ed.): Manga - An Anthology of Global and Cultural Perspectives . Continuum Publishing, New York 2010, ISBN 978-0-8264-2938-4 , pp. 254-256 .
- ↑ a b Minks, 2011, pp. 16-18.
- ↑ Minks, 2011, p. 24.
- ↑ Minks, 2011, p. 43.
- ↑ Minks, 2011, pp. 27-34.
- ↑ a b Minks, 2011, pp. 35–37.
- ↑ a b Minks, 2011, pp. 38–41.
- ↑ Minks, 2011, pp. 46-48.
- ↑ Malone, 2011, p. 78f.
- ↑ Miriam Brunner: Manga . Wilhelm Fink, Paderborn 2010, ISBN 978-3-7705-4832-3 , p. 95 .
- ↑ Minks, 2011, p. 49f.
- ↑ Werner, 2007, pp. 18-23.
- ↑ Werner, 2007, pp. 77-79.
- ↑ a b Miriam Brunner: Manga . Wilhelm Fink, Paderborn 2010, ISBN 978-3-7705-4832-3 , p. 91-93 .
- ^ Paul Gravett: Manga - Sixty Years of Japanese Comics , p. 156f. Egmont Manga and Anime, 2004.
- ↑ Malone, 2011, pp. 79f.
- ↑ Malone, 2011, pp. 56, 60, 69.
- ^ Goethe.de/Comics: Deutschsprachige Comics - Manga - Goethe-Institut. Retrieved April 3, 2019 .
- ↑ Malone, 2011, pp. 76f.
- ↑ Archived copy ( memento of the original from October 17, 2017 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ opinion visitor feedback 2012 AniMaCo e. V.
- ↑ Anime Messe Berlin 2018, marketing concept. (PDF) Retrieved March 18, 2018 .
- ↑ Pia Harlass: False breasts can be learned. April 17, 2013, accessed March 9, 2014 .
- ↑ Fascination Manga and Anime. In: WochenSpiegel. September 2, 2013, accessed March 19, 2014 .
- ↑ Event series Chisaii - Anime Treffen Hamburg. In: Animexx .de. Retrieved March 7, 2019.
- ↑ ChisaiiCon. In: chisaiicon.de. Retrieved March 7, 2019.
- ↑ Con-neko 2006 report, facts and figures. (No longer available online.) Animate (Forum) April 6, 2006, archived from the original on September 27, 2007 ; Retrieved July 7, 2014 .
- ↑ 27,000 visitors came to the Connichi manga fair in Kassel. In: Hessian Lower Saxony General. September 9, 2019, accessed December 4, 2019 .
- ↑ That's why 2000 people in crazy disguises came to Dortmund. (No longer available online.) In: Ruhr Nachrichten. Lensing Medien GmbH & Co. KG, June 30, 2013, archived from the original ; accessed on March 7, 2014 .
- ↑ Contopia: Contopia celebrates its 10th anniversary
- ↑ DeDeCo 2018 - Our premiere in the new Location + Feedback competition. DeDeCo eV, February 21, 2018, accessed on March 18, 2018 .
- ↑ That's how flashy Dortmund's biggest anime and manga hangout is. In: Ruhr news. November 25, 2013, accessed March 12, 2014 .
- ↑ Thousands of disguised people visit the "Dokomi". In: Rheinische Post. June 3, 2017. Retrieved August 3, 2017 .
- ↑ J-Con website - Who are we? J-Con, 2015, accessed February 20, 2018 .
- ↑ Leipzig Book Fair breaks its visitor record again. (No longer available online.) MDR, March 27, 2017, archived from the original on May 6, 2017 ; accessed on May 2, 2017 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ MMC press kit 2017. MMC Berlin e. V., October 2016, accessed April 30, 2017 .
- ↑ 1200 Manga fans from all over Germany in Würzburg. In: Main-Post. November 21, 2011, accessed March 8, 2014 .
- ↑ Anime-Manga-Scene meets in the Kasteler Bürgerhaus. (No longer available online.) In: Wiesbadener Kurier. June 13, 2012, archived from the original on March 4, 2016 ; accessed on March 8, 2014 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
