OEL manga

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OEL Manga (from "original English language manga ", dt. About "Manga from the English-speaking area") are comics that - originated in the English-speaking area - are influenced or shaped by Japanese comics.

Characteristic, delimitation and designation

Essential characteristics are that style elements of the Manga are adopted: in the character design without exaggerated muscle representation, rounder face and larger eyes; in a more dynamic page layout and a cinematic narrative style. There are allusions to Japanese culture or even Japanese characters and themes. They are often counted as part of the manga in the broader sense and also simply referred to as manga. The specialist literature differentiates, but not always, between manga - Japanese comics - and the comic genres influenced by it. The books are usually presented in bookstores along with mangas. This is possibly just a consequence of the book format that OEL Manga share with their role models and that distinguishes them from the usual American comic books.

For such comics from America there is also the name Amerimanga or Ameri-manga , although these are rarely used. There are also similar names for works from other countries and cultural areas or internationally influenced by Japanese comics, such as "ManFra", "World Manga" (or "World Manga"), "Western Manga" or OGM ("original global manga") ). The term "International Manga" is used collectively by the Japanese Ministry of Foreign Affairs for such productions from outside of Japan. Jason Bainbridge and Craig Norris explain the emergence of OEL Manga and similar currents through the tendency and ability of Manga - understood as a system of stylistic features and narrative strategies - to indigenize and denationalize, which are part of the recipe for success of Manga worldwide. The internationally widespread How to draw Manga series , which established a standardized Manga style, had a major influence .

development

Comics influenced by mangas have been appearing in the USA since the 1980s. But the influence was initially only marginal and the market for in-house productions in a recognizable manga aesthetic, as well as for mangas themselves, was only a small niche. In the 1990s, the influence on the design of the pages and the character design of American series increased, so the narrative flow became more cinematic and / or the use of grid film . The draftsman Art Spiegelmann found that, according to his impression, the eyes in American comics got bigger and bigger following their Japanese models. In 1993 Viz published a first series of manga-style comics by American illustrators, under the title American Manga or Amerimanga . The American manga publishers Tokyopop and Seven Seas Entertainment have been promoting their own productions since around 2003 and made this segment visible on the market for the first time. The American publisher Marvel Comics brought manga-inspired versions of its superheroes onto the market between 2000 and 2002 and again in 2005 and 2006 with the series “Mangaverse”. The imprint Tsunami followed in 2003, but the offer was not accepted as expected and was discontinued in the same year after seven titles. In 2012, DC Comics started Ame-Comi Girls, a series in which the publisher's female superheroes appear in manga style.

Various OEL Manga and some magazines were also produced in Australia from 2000 onwards. The Dreaming series was one of Tokyopop's best-selling releases in Australia, and Hollow Fields was nominated for the 2007 International Manga Award . Both works have influenced not only Japanese comics, but also classic Western horror films and Australian culture. In Great Britain from 2007 to 2009 OEL manga adaptations of the works of Shakespeare appeared as Manga Shakespeare with great success. In this series, the much more intensive influence of an editor on the work, which is customary in Japan, was introduced and based on the Japanese production process.

Magazines

Shortly before its closure, the American publisher Studio Ironcat published a series of magazines called AmeriManga . A few of the titles in this compilation have since been released in other formats by other companies, including Tokyopop .

Other Amerimanga magazines are still published today, including EigoManga's SakuraPakk and RumblePakk titles; Mangazine and Shoujo . International magazines of the same type include Britain's MangaMover and Sweatdrop ; the Australian publications Xuan Xuan, Moshi Moshi (2000–2005) and Oztaku (since 2003) and the Canadian magazine Kitsune .

Significant works

Individual evidence

  1. ↑ a b c d e f Jason Thompson: Manga. The Complete Guide . Del Rey, New York 2007, ISBN 978-0-345-48590-8 , pp. xxvi .
  2. ↑ a b Miriam Brunner: Manga . Wilhelm Fink, Paderborn 2010, ISBN 978-3-7705-4832-3 , p. 12 .
  3. ↑ a b c Frederik L. Schodt : Dreamland Japan - Writings on Modern Manga . Stone Bridge Press, Berkeley 2011, ISBN 978-1-933330-95-2 , pp. 326-328 .
  4. ↑ Frederik L. Schodt: Dreamland Japan - Writings on Modern Manga . 2011, p. 357 f .
  5. ↑ a b c Paul Gravett: Manga - Sixty Years of Japanese Comics . Egmont Manga and Anime, 2004, ISBN 3-7704-6549-0 , p. 157 .
  6. ↑ World Manga. In: Anime News Network . Retrieved May 10, 2015 .
  7. ^ Speech by Minister for Foreign Affairs Taro Aso at Digital Hollywood University . Archived from the original on October 15, 2007. Retrieved September 12, 2007.
  8. ↑ Jason Bainbridge, Craig Norris: Hybrid Manga: Implications for the Global Knowledge Economy . 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. 241-248 .
  9. ↑ Helen McCarthy: A Brief History of Manga . ilex, Lewes 2014, ISBN 978-1-78157-098-2 , pp. 76 .
  10. ↑ Helen McCarthy: A Brief History of Manga . 2014, p. 90 .
  11. ↑ Jason Bainbridge, Craig Norris: Hybrid Manga: Implications for the Global Knowledge Economy . 2010, p. 248 f .
  12. ↑ Emma Hayley: Manga Shakespeare . In: Manga - An Anthology of Global and Cultural Perspectives . 2010, p. 267-280 .