UDON Entertainment published the first two volumes of its new Manga Classics line last week, adapting great works of literature as full-length manga. Manga Classics: Les Miserables, based on the novel by Victor Hugo, features art by SunNeko Lee, with an adaptation by Crystal Silvermoon and a script by Stacy King, while Manga Classics: Pride & Prejudice is illustrated by Po-Tse and adapted from Jane Austen's great novel by Stacy King.
UDON sent us a preview from Manga Classics: Pride & Prejudice that showcases both Po-Tse's gorgeous art and the wit and romance that makes Pride & Prejudice one of the most celebrated works in the English language.
Udon Entertainment unveiled an impressive line-up of books for the coming year at San Diego Comic-Con on Saturday night, including the English-language translaton of the manga of Ryo Akizuki Kill La Kill, and not one but two Osamu Tezuka artbooks. Osamu Tezuka Anime Character Artbook is a collection of sketchbook drawings and designs, while Osamu Tezuka Anime Character Illustrations collects his animation model sheets.
This week's fun at San Diego's Comic-Con International isn't just about stuff you can buy. I mean, yes, that's kind of the entire point of the convention, but in addition to new and exclusive products, plenty of publishers are offering unique experiences to lure you into their booths, and Viz Media is going the extra mile. In addition to new books like the Hello Kitty 40th Anniversary hardcover and The Art of Princess Mononoke, they're giving attendees the chance to take photos with characters like Doraemon and Hello Kitty.
That's right: a photo op with Hello Kitty. If you see me crying with joy on the con floor, that's why. Check out the rest of the exclusives belo
The promotional machine for Disney's big, animated fall film Big Hero 6 has really started ramping up with the announcement of the various voice cast members and a brand new trailer.
An odd quirk of the promotion for the film has been that it doesn't seem to mention Marvel Comics even one time, though the concept, characters and title come from a Marvel team that spun out of Alpha Flight and had a few mini-series over the years. Now it looks like Marvel's not even going to publish one of the comics that tie into Big Hero 6, a manga by Haruki Ueno. It's going to be in Kodansha's Magazine Special instead.
Sailor Moon is inescapable. There’s the new anime of course, and the new musicals, the merchandise, and the retranslation of the manga. But it’s the emblem of a wider renaissance as well, a resurgence of love for mahou shoujo, or magical girl anime and manga — a movement led by women well out of their childhood years. A quick stroll through Tumblr reveals Sailor Moon cupcakes, punky Sailor Moon jackets, heartfelt essays about what the portrayal of lesbianism in Sailor Moon meant to the reader, dozens of artists working together to reanimate an episode of the anime, Sailor Moon nail art tutorials, cats named Luna, Beryl, Haruka and everything in between, hand-sculpted figurines, ornate embroidery projects, and an endless avalanche of fanart. Sailor Moon as an Adventure Time character. Sailor Moon cheekily clutching a Hitachi Magic Wand. Sailor Moon as a vicious biker chick. Sailor Moon protesting the Supreme Court's Hobby Lobby ruling.
Sailor Moon fans have not so much rediscovered their love for Naoko Takeuchi’s sword-and-sparkle epic as they have elected her queen mother of their imaginations and ultimate aspirational self. She is, simultaneously, symbol, cause, and leader.
This resurgence is animated by more than typical fannish passion. This is a need to return to a world where young women are in charge. This is an anger at the pabulum of Good Role Models for Girls, at boob windows and “fridging" and “tits or gtfo.” This is 15-year-olds covering their notebooks in “MERMAIDS AGAINST MISOGYNY” stickers, yet also gravely serious grad students applying bell hooks to Takeuchi’s use of Greco-Roman myth. This is a collective invoking of spirits, made more potent in their absence — Usagi Tsukino and all her friends as saints and saviors, carrying the light of childhood optimism to an adulthood in sore need of it. This is nostalgia as a weapon. “Pretty soldiers” indeed.
I'm not even close to kidding when I say that one of the most exciting things about life in 2014 is that we're experiencing an amazing renaissance of Sailor Moon. Not only has the manga been reissued in its entirety from Kodansha, and not only is the classic series being released uncut with two episodes every Monday on Hulu, but Pretty Guardian Sailor Moon Crystal, a new series based on Naoko Takeuchi's original series, made its worldwide premiere last weekend.
This is, for someone who loves Sailor Moon as much as I do, a pretty big deal, and Crystal's first episode lived up to the hype by being an absolutely gorgeous new version of Usagi's first outing as Sailor Moon. The thing is, Crystal was designed to be a far more strict adaptation of the source material, and while it definitely succeeds on that front, that's also its biggest problem.
We're only a few weeks away from the debut of a brand-new Sailor Moon Crystal animated series, and folks, I could not be more excited. I love Sailor Moon, ever since I saw the original anime during its run on Cartoon Network when I was a kid, and I've been looking forward to the debut of Crystal from the moment it was announced. In fact, in order to prepare for the debut, I've even gone back and started reading through the manga.
The thing is, while I've read a lot of Sailor Moon, there's one piece of the franchise that I've never been all that familair with: Naoko Takeuchi's Codename: Sailor V, which I only picked up recently. And it is fantastic, if only for the story where Sailor Venus beats the living crap out of some MRA gamer dork at the local arcade.
If you weren't aware that Edge of Tomorrow -- the new Tom Cruise movie that opened in American cinemas last weekend -- was based on a Japanese illustrated novel (or "light novel"), it'd be pretty understandable. For one thing, the title is different. The 2004 book by Hiroshi Sakurazaka and illustrator Yoshitoshi ABe was called All You Need Is Kill. For another, the book -- as Japanese science fiction often does -- featured Japanese teenagers in the midst of a gruesome war for Earth's fate, rather than a caucasian actor in his early 50s.
Publishers of the original work, Viz Media is making a big effort to make sure you know the truth. The publisher is releasing a new manga adaptation of the novel for digital download June 17. The new version comes courtesy of Takeshi Obata, who you may know as the creator of the super-popular Death Note and Bakuman series.
Good news for people who like keeping their digital comics in one easily accessible location: Today, Comixology announced that its going to be distributing digital comics from Viz Media, the publisher of a truly massive library of manga titles. Viz manga will now be available through the Comixology site, meaning that the comics can be downloaded to the popular (if controversially scaled back) Comixology app for Android and iOS devices, joining... well, pretty much every publisher on the block and keeping Comixology as a central destination for folks who want to buy digital comics.
The announcement is accompanied by the release of over 500 volumes of manga on Comixology today, including ComicsAlliance favorites like One Piece and One Punch Man, as well as a somewhat obscure title called Dragon Ball.
My college dorm room was a dizzying collage of prints, posters, and postcards — but nothing drew as much attention as the Camilla d’Errico pieces I had pinned up over my bed. People would peer at them, asking who drew these strange portraits of girls entwined with pythons, wearing huge, complicated helmets, and melting into candy-colored puddles. Every time, I’d wish that I had something discrete to point them towards, something that gathered the style and themes of d’Errico’s work into a coherent package.
Enter Tanpopo. Originally self-published, d’Errico’s passion project tells the story of the titular Tanpopo, a brilliant, yet emotionless girl, and Kuro, the devil who persuades her into a journey of self-discovery. The text is taken entirely from the work of such luminaries as Goethe, Coleridge, and Pu Sungling: in the first volume, excerpts from Faust explore Tanpopo and Kuro’s meeting, while text from Rime of the Ancient Mariner chart the former’s growing distrust of the latter. Tanpopo’s 170-page second volume, on sale now from BOOM! Studios, uses Shakespeare, Poe, and the 1001 Arabian Nights to similar effect.
To explore this unique work more deeply, ComicsAlliance spoke with d’Errico about pop surrealism, teenage girls, and more.
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