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nanbaka-manga-amino-blog · 5 years

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Why isn't there a third season?

Translations by animomo ( Taura Oppais )

Users constatement sending messages asking for season third

And the next part of the anime when?

I want a third of the anime season!

Thank you for your messages of support

But even if I wanted to create a new animation it's difficult for me since a single person can't create an animation.

I am sorry

Please continue to support!

Futa for now can't animate a third season because she's an independent artist.

He works from home, doesn't have a production company or animation studio.

Comico buys her comic every Saturday or Sunday (in Japan)

But whether she's an artist who works from home and be able to do an animation again, she'll need the support of an animation studio.

Previously it was the animation studio of Fairy Tail that gave him the support to animate the series and was able to make 25 chapters but currently does not have that support

Since the previous goal was to achieve a certain number of fans who will support the animation but not achieve it.

It had to be 30 thousand fans who signed support on the Nanbaka anime page but the goal was not achieved.

So the page closed and although Futamata has sought support from animation studios

It was not possible even there was a time when she was depressed by it

Writing on his account that he was told that his characters were not flashy to be produced in an animation.

Which made our favorite author very sad.

She promised a third season, but she's got to find some animation studio to support him.

Even on request to the same fans that if they wish they can send their series to some studio to have that support.

But at the moment he hasn't given anything else.

Well, this is to stop them asking so much.

Maybe it bothers me when they follow her with it and they don't know what it's like to be an independent author.

Sel final futamata only works as a nornal artist from his home.

Comico is a Japanese, Chinese and Korean comic book company that your way of working is to look for artists who want to create their own series and buy them.

So many series in comico an arrived by independent artists.

Few have managed to become an anime. Since that means having support from an animation studio.

Comico can make it clear that yes!

But for comic stomping on an animation or looking for a studio for the series.

The series or manga must be in the top 10 ranking of comico.

Which range from 1 million visits up to 500 thousand visits per chapter.

That's why it's important to download comic!

Visits are calculated with the likes you give to the Chapter

The Real Life series was very successful and was even animated by comic because its manga visits were 1 million!

There are several series that have achieved a minimum of 500 visits and that takes it into consideration comico!

Example: these series are in the comical ranking

But as for nanbaka it's in the 20 ranking of general comics.

Ranked 58th most seen by women

And put 47 out of the most seen by men.

And Nanbaka's highest-ranking episodes were a maximum of 200 thousand views in the Team elf episodes (before team elf the Nanbaka Ranking had dropped a lot)

Hey read critics with respect to that because Futamata brought out new people and blabla.

What they don't know is that before Team Elf Nanbaka was dropping their visits too much

This was because many looked at the chapters in Tumbrs and that the characters of the prisoners were not as striking as before.

The highest-ranked episode was Enki's death after that he went down to 30thousand hits (pretty low!)

Then Futamata from one moment to the next put the teamelf! From one chapter to the other without being foreseen!

She must have realized she was going down too much in ranking so she took a risk with new characters to change the plot of the series

Which was a success! It went up from 30 thousand visits to 200 thousand visits!

So it was the teamelf who uploaded the Ranking of the series!

It is for the same reason that Futamata has made more chapters about them

As these characters raise his rankings.

But not, enough to get to 500 thousand visits or 1 million.

Well why did you say this?

Just to tell them that if they want an animation from the series, they support Futamata in comic book to raise the Rankings and don't obtignote her with the repeated questions of when she pulled the next season.

She promised to bring out another season but there's still no funding for her.

Many users upload my blogs, my translations to Instagram and other sites.

I don't have a problem with that.

Just please give credit to the source.

I am a leader in the Community of Nanbaka in Spanish (Mei) and Leader Agent of the Community of Nanbaka Manga.

Please don't take my credits off.

A lot of them do, and that's already bothering me.

Thank you.

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nomadicism · 5 years

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Hang on. Calling anime "Japanimation" was a thing? I've been watching anime for over a decade and never heard that term in my life outside of abridged parodies.

Hahahah, yeah it sure was a Thing! The term ‘Japanimation’ has a long history going back to the 70s when shows like Gatchaman and Space Battleship Yamato were being dubbed and brought to the US (as Battle of the Planets and Star-Blazers respectively).

The more ‘correct’ term of ‘anime’ began catching on in the West Coast sometime in the 90s. If you weren’t in involved in very small anime VHS trading/buying fandom subculture (70s-80s), then you probably wouldn’t have heard the term until sometime in the late 80s through mid 90s when Blockbuster video stores had a “Japanimation” section that was separate from all other sections in a store.

Anime VHS didn’t become more accessible until the 90s, mostly due to Blockbuster and Suncoast video store, and the increase in companies that were licensing for dubbed and subbed releases. I wouldn’t be surprised if Laserdiscs were advertised with the term as they were just about the only way to get a legit and high quality subbed release in the late 80s.

Here’s a quote from an LA Times article about that from 1996:

“Nine companies distribute Japanese animation in the United States. All but two entered the American market within the last three years. Last year two major home video companies decided to toss their hats into the American anime ring, which until then was dominated by small vendors. Orion Home Entertainment has a deal to distribute Streamline Pictures’ 50 animeitles. Simultaneously, England-based PolyGram Video decided to try its hand at selling Japanimation in the United States.”

– Jon Matsumoto, “Tooning In to Japanimation”, Jan 14th 1996

This article includes the terminology shift from ‘Japanimation’ to ‘anime’, which explains why I don’t recall the term lasting beyond ‘98, which was around the time that Bandai launched their online store—AnimeVillage—they never used the term. I bought the subs of Escaflowne and MS Gundam 0079 movies on VHS through that site ($120 for that Escaflowne set was a lot of table bussing tips for me). This was also around the time that Toonami/Cartoon Network/whatever was airing more dubbed anime, and they did not use the term.

You’ll find the term show up a lot in anime trailers that were on VHS put out by CPM/US Manga Corps, and they would advertise with it in their comics (English translations of manga). Of the various manga I have that was published in English (Eclipse, Viz, Comico, Dark Horse, CPM, Antarctic Press), only CPM consistently uses the term in the early to mid 90s. I’d have to dig through hundreds of single issue comics to confirm though.

Below is a photo of the back of “Record of Lodoss War: Deedlit’s Tale” #4 published in English by CPM.

It might be hard to see, but the relevant text reads:

“www.centralparkmedia.com AOL: Japanimation Station™ keyword: Japanimation”

If you go on YouTube and search for “Japanimation” you can probably find some of those old trailers to cringe-watch.

I’m glad the term is mostly dead-and-buried, but it still gives me a laugh whenever I see or hear it.

[Post reference]

#anime #japanimation #fandom history #ask me anything #aquaburst3

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thecollectorsector · 6 years

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Did you know...

That Danzig’s classic logo:

Was originally designed and created for a Marvel comic book cover?

Crystar

Today, not many comic book fans remember the Marvel character Crystar. This relatively obscure 80s character was originally created and developed for a line of toys. Crystar was a crystalline warrior who came from the world known as Crystallium-where everything was made of crystal and most characters had bad, rock-themed pun names like Ogeode, Feldspar or Stalax. Marvel Comics later created a Crystar comic book to accompany and promote Remco’s Crystar toyline. This is one of Michael Golden’s many classic comic book covers and is probably recognizable to any die-hard Danzig fan. I doubt Michael Golden imagined when he first created this cover, that someday one aspect of this image would be the identifying symbol of a major band. I’ve always wondered if Michael Golden receives any kind of compensation or recognition for creating the original comic cover that formed the basis of that now famous and highly-merchandised Danzig logo.

Marvel partnered with the now-defunct toy company Remco to produce a comic book series to expand the Crystar line of action figures and playsets. This was a common practice in the 70s and 80s. Marvel had also found success with such toy/comic crossovers like the Shogun Warriors, Micronauts and ROM: Spaceknight line of toys. Since the storytelling abilities of the toy industry were so limited, many toy companies benefited by having a comic book expand upon the characters and universe of a limited toy line. Companies like Marvel benefitted by having a large captive audience of kids who were familiar with the toys but would never have bought a comic book otherwise. This would not be the last time Marvel would create a comic series to promote a line of toys. G.I. Joe, He-Man, Transformers and even the beloved Secret Wars line of toys were all popular toy lines that Marvel published comic books to accompanying and promote. He-Man actually had the rare distinction of being one of the only toy lines to have a promotional comic book published by both Marvel and D.C. Toy companies like Remco used to view comic books as an advertising mechanism to draw in new kids while also being a cheap, easy way to create new characters that could eventually become new toys.

The Punk Connection

I’ve always loved the Misfits and by extension Glenn Danzig. Back in my punk days, The Misfits were always my favorite band, usually tied with the Dead Kennedys and the Germs (but I also loved T.S.O.L, the Buzzcocks, The Adicts, Crass and Minor Threat). As a fan of classic horror, sci-fi, and monster movies, I always appreciated The Misfits’ and Danzig’s use of horror and sci-fi imagery in their lyrics and album art. That was actually one of the things that I loved about the Misfits above all other bands; the imagery. All that Vincent Price and Plan 9 imagery really appealed to a kid like me. When I was a punk, comic books were the last thing on my mind. I hadn’t read or collected comics in years by that point. So I never made the connection between Danzig and comic books, despite being aware of Crystar as a character. I remember owning several issues of the Crystar Marvel series as a kid. After all, I am a child of the late 80s and early 90s who grew up owning many toys from some of the most iconic toy lines of the 80s. I was initially surprised that Glenn Danzig would show an interest in comics and co-opt the cover of a Marvel comic book series that targeted kids and was designed to promote a corresponding toy line. That fact is even more surprising looking at some of his later, solo-era imagery and lyrics.

Looking at that kind of album art, I don’t know why anyone would be surprised Danzig digs comics. As it turns out, Glenn Danzig has been into comics for years. This is why he used so much of that sci-fi/horror imagery in his early days in the Misfits and borrowed themes and concepts from comic books like Crystar and Conan. The misfits often used a comic book/Lichtenstein-esque pop-art art style as evidenced in their Bullet imagery with JFK and their Horror Business album art. Danzig also chose an HR Giger painting as one of his later albums. When you compare Frazetta-era “barbarian/warrior” artwork with Danzig’s comics or album art, you can see the obvious inspiration. In the 90s, Danzig actually began publishing his own line of comic books, Verotik comics (Verotik was a portmanteau of the words “violent” and “erotic”). It would be easy to looks at some of the comic books he’s published and dismiss them as immature or sophomoric. After all, they do feature most of the things pubescent boys are into-big pecs, bigger boobs and the biggest swords. It would also be easy to view Danzig’s foray into the medium of comics as a cash grab. This was the era that outsiders and speculators were coming into the comic book field en masse. Many people who had zero interest in producing quality comics came into the field with delusions of making a fortune based on the newfound popularity of comic books.

The Bubble Goes Burst

When the comic book speculator bubble burst in the mid-to-late-90s, many of these new imprints and comic lines went under; never to return to publication. Verotik has managed to outlive Homage, Wildstorm, Continuity, Legend, Malibu, Chaos!, Caliber, Comico, Defiant, Kitchen Sink Press and Eclipse (to name a few). It’s important to remember that those were among the most acclaimed indie comic companies during the 90s comic boom. All of those companies were either bought, closed or are otherwise now defunct. While it is true Verotik published way fewer comics than most of those other companies, Verotik still publishes comics today. Glenn Danzig outlasted them all. Surprisingly, Danzig’s line of Verotik comics have been continuously published since 1994, with Glenn Danzig himself still involved. While other, more mainstream comics have been adapted into the Hollywood Blockbusters we all know, Danzig adapted one of his comics, Grub Girl, into a porno that came out in 2006. Say what you will about adapting a comic book into pornography... it shows that Danzig has found a way to maintain an almost entirely adult audience while simultaneously promoting his line of comics and spinning those characters off into another medium (film).

Mainstream comic readers have not spoken kindly about some of Verotik’s offerings. I certainly don’t like everything that Dark Horse, or Marvel, or Image publish. Many comic fans have dismissed Danzig’s line of comic books for their perceived “low quality.” However, if you go back and examine some of his earliest works, you’d be surprised by some of the names you’d recognize. Many well known, popular writers and artists of today had work published in one of Verotik’s comic books. Grant Morrison actually had a story published in the first issue of Verotika, something he never mentions. Simon Bisley contributed some really solid artwork on many Verotik comics, as did Frank Frazetta.

Some of the most iconic Frazetta artwork (beyond his legendary Conan art of course) appeared in Verotik comics. The “Death Dealer” image has come to typify the classic Frazetta “barbarian” style. The Frank Frazetta style of heavily painted Barbarian/Warrior art has almost completely disappeared from the today’s modern comics. In my opinion, Danzig and his line of Verotik comics are almost solely responsible for the preservation of that kind of 80’s barbarian/sword-and-sorcery/heavy metal comic book aesthetic. By the 90s, that genre of comic and it’s associated art style had fallen out of favor with the general public and was considered dated by many critics and fans alike. This kind of hyper-masculine Barbarian imagery existed only on the fringes of pop culture and is virtually nonexistent today. What had been an industry staple was now relegated to a tiny niche audience. Fantasy artwork like that is sorely absent from today’s comic book marketplace. Rafa Garres, Eric Canete, Liam Sharp, Arthur Suydam, Dave Stevens and Kent Williams all contributed artwork to at least one of Verotik’s many comic books. When you re-examine some of the covers to Verotik titles like Jaguar God, Valkyrie or Weird Voodoo, they still look pretty damn good even by modern standards. Painted covers like these have withstood the test of time; good writing and artwork often endures and stays relevant for years.

Legacy of Brutality (and Comic Books)

It‘s a shame that Danzig doesn’t get more recognition for his contribution to comic books from the modern comic book community. I’ve never heard anyone mention Danzig and comics in the same sentence. For a guy who’s written songs for Johnny Cash and Roy Orbison, owns his own label (Plan 9), had a long history with the Misfits, found renewed success with Samhain and again with his solo project Danzig...the guy has quite a resume. Even many punks don’t know that Samhain was essentially a punk supergroup, since their debut album featured former members of Minor Threat, Rosemary’s Babies and Reagan Youth. To switch gears entirely and begin writing and publishing comics shows how seriously he took his interest in comic books. He never compromised his artistic integrity and made exactly the kind of comics and music he wanted. Whether you personally like the results or not, you should respect that kind of commitment and discipline. It’s unfortunate for Danzig since many people in the punk/metal community would mock his comic book pursuits, and the comic industry often resents outsiders coming into the field from another medium, he rarely gets recognition from either community.

His contribution to music cannot be understated and his foray into comics cannot be dismissed as a mere cash grab or way to stay relevant. He put his money where his mouth was and was willing to invest his own money and time into his life-long love of comics. I honestly wish more people would do that. Danzig teamed with some of the best fantasy comic artists in the field at the time and wrote many of Verotik’s comics himself. He is also a graphic artist in his own right who is known to do sketches at signings and conventions. Danzig has created music for over 41 years and for 24 years he has also been involved in the production of comic books. That alone makes you a pretty cool guy in my book. His comics are about as “creator owned” as it gets and in that 24 years he has made the kinds of comics that he wants to make. You can’t dismiss that kind of artistic determination. For a guy who has always been known as the “Heavy Elvis” of punk music, his artistic portfolio is surprisingly diverse. Danzig should be accepted by the comic book community as being every bit as worthy of inclusion as any other, more accepted comic book creators.

Don’t sleep on @therealglenndanzig-blog, the dude might just surprise you.

-AG

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eddycurrents · 7 years

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For the week of 14 August 2017

It’s been a bit of a rough year, and through various personal, professional, and international roadblocks, I’ve neglected a lot of the writing in areas not directly associated to work.

While time has certainly been a problem, it’s also kind of hard to write as a hobby or writing for analysis of critical entertainment when there are so many problems going on in the world right now. It’s hard to write about something like comics when Rome is burning around you, even if you’re the barbarian at the gate who is being denied entry. Sorry, that’s a bit of a mixed metaphor, but I don’t really want to go into further details at the moment.

Anyway, after this week, I need a sort of distraction and I’ve decided this is going to be it. With all of the hell that’s been going on, I want to contribute at least a little something constructive, a little something positive, before we’re all forced to go outside and melt.

My two favourite books of the week were Divinity #0 by Matt Kindt & Renato Guedes and Spy Seal #1 by Rich Tommaso.

For a while now, I can safely say that the relaunched Valiant Comics has been my favourite publisher of a shared universe within the superhero genre. You can argue that they branch out more into pulp-themed territory, with tinges of other adventure, horror, and sci-fi genres, but at the core I still consider it to be a superhero universe.

There’s something about the way that they approach their story construction, events, universe, and individual issue storytelling that reminds me of some of the more inventive pushes into the comics medium during the ‘80s, including works like Matt Wagner’s Grendel, Howard Chaykin’s American Flagg, the Daredevil and Batman work from Frank Miller & David Mazzucchelli, many of the ‘80s DC “new format” series, and the stuff published by companies like Comico and Eclipse.

Divinity #0 reminds me off all of that greatness that has been being published by Valiant since Robert Venditti & Cary Nord launched X-O Manowar #1 back in 2012.

More specifically, it recaps the last three Divinity series as well as checking in on the current situation for some of Valiant’s prime movers like Aric, Bloodshot, Ninjak and Toyo Harada as it propels the universe forward to the next step of Eternity. It’s a nice palette cleanser before we move on to the next big thing at Valiant.

It also helps greatly that the painted art through the issue by Renato Guedes is gorgeous.

And then there’s Rich Tommaso’s Spy Seal #1 which is just a fun, well-written, funny animal thriller.

Quick Bits:

All-New Guardians of the Galaxy #8 gives us a taste of the art from the artist who will be taking over as regular ANGOG artist when the series joins the Marvel Legacy initiative, Marcus To. I think there’s some more Greg Smallwood and Rod Reis between now and then, but it’s nice to see To here. He does a great Rocket Raccoon and the level of emotion and concern conveyed in his portrayal of Groot towards his friend is incredible. Gerry Duggan’s script is no slouch either.

| Published by Marvel

Astonishing X-Men #2 is indeed the jarring shift in artwork from last issue’s Jim Cheung to this issue’s Mike Deodato Jr., but I can’t deny that the art still works for the story. I’m not sure how well this experiment will work overall, but as single issue episodic comics, it’s not much of a detriment at the moment. It helps that Deodato is providing an evolution of his style similar to what he used on Thanos. It’s dark, moody, evocative, and uses an impressive mix of regular hatching for shading and Zipatone dots. His recent output is probably the best artwork of his career.

The story from Charles Soule also deepens, with this rag-tag group of X-Men entering the Astral Plane to confront the Shadow King. Unbeknownst to them he’s using them as puppets to play a game with a familiar face. There’s an interesting meta-narrative presented by Soule on nostalgia and repeating familiar tropes and situations that feels like a commentary on not only current movie practices, but also the call to doing the safe, samey thing in comics. It takes Astonishing X-Men beyond just being a well-written X-comic.

| Published by Marvel

Genius: Cartel #1 is a nice return to Destiny Ajaye from Marc Bernadin and Adam Freeman with newcomer on art, Rosi Kampe. This first issue sets up a different scenario and situation, putting Ajaye into what amounts to be what looks like a black ops training site for her new “owners”, The Madrasa Institute. It’s an interesting counterpoint to something like Think Tank and Bernadin & Freeman continue to write Ajaye as a compelling, complex character. I’m interested to see where it goes from here.

| Published by Image Comics/Top Cow.

Gwenpool, The Unbelievable #19 does something wonderful that bucks a trend. Sure, it’s a good comic from Christopher Hastings and Gurihiru, but this issue transcends that. This issue gives a future villainous version of Gwen pants. I love that. It completely upends the notion that when female heroes “go bad”, they tend to wear less and less clothes.

| Published by Marvel

Kill the Minotaur #3. Just look at that art. Just look at it. Lukas Ketner is a beast.

| Published by Image Comics/Skybound

Mage: The Hero Denied #1 reminds me that I should go back and read the earlier volumes. Not because of any confusion, but because this first issue is just that good and I want to be reminded of some of the previous heights. Newcomers and old readers alike should find enjoyment here in Matt Wagner’s other epic.

| Published by Image Comics

The Mighty Thor #22 ratchets up the growing tensions, featuring a battle between the Thors (Jane & Volstagg) and Sindr. It feels like we’re finally coming to a head with several of the narrative threads since Jason Aaron started Thor: God of Thunder, but then a large portion of this volume of The Mighty Thor has felt that way. The artwork from Valerio Schiti is also stunning.

| Published by Marvel

Regression #4 is one of four of the books by Cullen Bunn this week and it’s easily the best of the bunch. Not to say that there isn’t fun to be had in the other three, but the artwork of Danny Luckert and Marie Enger elevates this to a different plane.

| Published by Image Comics

Revolutionaries #7 is still the glue that holds together IDW’s Hasbro-verse. It’s also a reminder that Ron Joseph should get more exposure. And that last page reveal is one of the best I’ve seen in comics for a very long time.

| Published by IDW

Sheena - Queen of the Jungle #0 continues Dynamite’s current trend of relaunching their licensed characters by embracing a legacy presentation at first and then giving it a new wrinkle. As such, we’ll have to really wait and see where Marguerite Bennett and Christina Trujillo are taking the story, but there’s still a lot to like here in the zero issue. Especially Moritat’s art.

| Published by Dynamite

Silver Surfer #13 is going to dropkick you in the heart. Dan Slott & The Allreds deliver up an emotional penultimate issue of the series.

| Published by Marvel

Other Highlights: Black Cloud #5, Chilling Adventures of Sabrina #8, Curse Words #7, Descender #23, Luke Cage #4, Magnus #3, Motor Girl #8, Rockstars #6, ROM #12, Royals #6, Secret Weapons #3, Southern Bastards #17, Star Trek: The Next Generation - Mirror Broken #3, TMNT: Dimension X #3, Ultimates 2 #100, US Avengers #9, Winnebago Graveyard #3

Recommended Collections: Dead Inside, Night Owl Society & Namesake

d. emerson eddy realises that despite all his rage, he is still just a rat in a cage.

#This Week in Comics #Divinity 0 #Spy Seal 1

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justforreplying · 7 years

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On the bookshelf - Nanohana Boys

The trigger for change and soul-searching on equality.

Nanohana boys ( 菜の花ボーイズ / 낮은 곳으로/無聲的羈絆) by Pyon

Overview

As a junior high student, Onishi Yu fell into bad company and became a delinquent, spending his days skipping classes, causing trouble and drinking. He’d thought nothing of it until he gets into a horrific accident while recklessly pillion riding on a friend’s bike without wearing a helmet.

He manages to stay alive, but he has an epiphany; despite all the pain from his injuries, he felt the desire to live and not the wish to die. Studying, something which he never thought about in the past, suddenly became something he really wanted to do. And so he worked hard at physiotherapy and his injuries were mostly healed; there was just one thing that didn’t recover. Yu loses sight in one eye.

Held back for a year in school due to his hospitalization, Yu joins a new class midway through the term and he is determined to hide his disability as well as his delinquent past. That is, until he comes into contact with Ishida Kenji, the boy who sits next to him.

Through a small incident, he learns that Kenji too, is disabled (deaf) and starts to develop a sense of camaraderie with Kenji due to this common point. Their form teacher asks for Yu to be Kenji’s friend, a true friend.

This puzzles Yu initially, but as he gets to know Kenji he starts to understand why, and so starts the trigger for change in these 2 boys’ lives.

Characters

Onishi Yu

19 at the start of our story, Yu repeats his third year in high school due to a traffic accident that left him in hospital for a long period of time. A former delinquent, the accident makes him realise he was wasting his life in meaningless pursuits and now he just wants to graduate peacefully without people finding out about his past and his lack of sight in 1 eye. Despite his not-so-pretty past, at the heart of it he’s got a surprisingly strong sense of justice and is unexpectedly smart.

Ishida Kenji

Kenji doesn’t form close relationships with his classmates and comes to think of it as normal that people keep their distance due to his disability. Yu’s attempts to become friends takes him aback but ultimately starts to fill the gap in terms of human relationships in his life. Because he’s been left without emotional support, Kenji takes most of his suffering in silence and finds it difficult to share his problems with Yu.

He’s a hard-working student who does well in school despite not being able to hear (and speak as a result of this).

Why I like this Manhwa

I had actually seen this on Comico for this comic a few times; the art was pleasing so it caught my eye. However upon reading the summary and randomly glancing at a few chapters I thought it was borderline BL (not my kind of thing) so I skipped it over. However, something made me pick it up last night and I realised I was totally mistaken.

There’s no real romance in this story; it’s really about friendship and overcoming painful things in life. It’s not a particularly long series (63 chapters for a web comic isn’t very long) but the author does very well in keeping focused on our two protagonists without adding unnecessary plot points or sub characters that distract.

While the main story is about changes and friendship, there are many deeper themes being explored in this story like disabilities and discrimination as well as child abuse. All the topics are handled very well without being OTT.

The characters are also likable, especially Yu and his family so this entire package makes for a wonderful read.

As always, chapters are available on comico (see info below on access) and this is available in the original Korean, Japanese and then traditional Chinese too. I don’t know about comico Korea so I can’t give much info about it though.

*note: I use Japanese names here as I read in Japanese; Korean and Chinese versions use the original Korean character names.

Comico Info

comico korea: http://comico.kr/titles/70

Comico Japan: FREE (with minor conditions). Quite a number of chapters are free and available to read, however, subsequent chapters are paid and can only be read using the comico app (available on ios or android). The good news is that you get 1 free rental ticket for each title on Comico every 24 hours and can use that to “rent” a chapter for 8 days so you could technically still read everything for free.

comico Taiwan: Chinese translation available on the comico Taiwan app (https://play.google.com/store/apps/details?id=tw.comico or https://itunes.apple.com/tw/app/mian-fei-man-hua-comico-mei/id892368006?l=zh&mt=8). At the moment, all chapters of all comics in the Taiwan app are FREE to read, though I suppose they could change to the Japanese paid model at any time. But anyway, FREE for now!

#菜の花ボーイズ #nanohana boys #낮은 곳으로 #無聲的羈絆 #manga recommendation

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shadowwingtronix · 2 years

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"Yesterday's" Comic> Robotech: The New Generation #24

BW's "Yesterday's" Comic> Robotech: The New Generation #24

“Darn kids, get off my lawn!” “Technically you’re invading our lawn.” Robotech: The New Generation #24 Comico The Comic Company (June, 1988_ “Dark Finale!” ADAPTATION: Markālan Joplin PENCILER: Thomas A. Tenney INKER: Rich Rankin COLORIST: Kurt Mausert LETTERER: Gregory Shaw EDITOR: Maggie Brenner (more…)

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#Annie "Mint" LaBelle #Ariel #Comico The Comic Company #Corg #Lancer (Yellow Dancer)#Lunk #Marlene #Rand #Regiss (Invid)#Robotech: The New Generation #Rook Bartley #Scott Bernard #Sera

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quotidianoalessandriaastionline · 6 years

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Il 16 e 17 dicembre a Lingotto Fiere di Torino la quarta edizione di Xmas Comics and Games. Fumetti, giochi, videogames, cosplay e youtubers Sabato 16 e domenica 17 dicembre Lingotto Fiere ospita la quarta edizione di Xmas Comics and Games. Il padiglione 3 del polo fieristico torinese ospita il nuovo appuntamento con la kermesse irrinunciabile per tutti gli amanti di fumetti e non solo, per un Natale all’insegna del divertimento.

Sono cinque le tematiche principali di questa nuova edizione: comics, games, videogames, cosplay, youtubers, oltre alla consueta area espositiva con oltre 90 realtà presenti, dove è possibile trovare fumetti, manga, gadget, oggetti da collezione e costumi. Gli ospiti dell’area Comics: autori, disegnatori, illustratori Ospiti a Torino, come di consueto alcuni dei nomi di punta della scuderia Magic Press: Simona Zulian, in arte Felinia, ideatrice di Sketch & Breakfast; Don Alemanno e Boban Pesov, che al Lingotto presentano il secondo volume dell’albo Naziveganheidi, con i testi del Don e i disegni di Pesov. Torna in fiera uno degli illustratori italiani di maggior successo: Paolo Barbieri, collaboratore delle più importanti case editrici italiane e internazionali in qualità di illustratore di copertine di numerosi autori, tra cui Michael Crichton, Ursula L. Guin, George R. R. Martin, Umberto Eco,Sergej e tutte quelle dei libri dell’autrice Fantasy Licia Troisi. Dal mondo di Diabolik arriva Riccardo Nunziati, fumettista toscano formatosi alla scuola Internazionale di Comics di Firenze e vincitore nel 2016 del premio Albertarelli come miglior disegnatore esordiente. Nunziati sarà presente sabato 16 alle 15 allo stand Astorina. Presenti a Torino inoltre numerosi autori della casa editrice Dark Zone, tra cui scrittori di spessore nazionale e internazionale, come Valerio la Martire, Francesca Pace – autrice della Hybrid’s Saga –e Giacomo Ferraiuolo. Il parco ospiti Dark Zone è completato da Daisy Franchetto, con la sua trilogia di Lunar, e dagli autori Daniel Di Benedetto, Michele di Stefano e Lavinia Piniello; tra gli illustratori, invece, presenti Antonello Venditti (che sarà protagonista di una performance di live painting su tela), Candida Corsi e Lucrezia Galliero. Per la prima volta in Italia il torneo internazionale Pokèmon Special Championship Sbarca a Torino, per la prima volta in Italia, il Pokémon Special Championship, importante torneo internazionale dedicato ai videogiocatori Pokémon Sole/Luna per Nintendo 3DS e del Gioco di Carte Collezionabili Pokémon. La competizione è organizzata da ProGaming Italia s.r.l per Play! Pokémon, divisione di The Pokémon Company International dedicata alle sfide basate sull’universo dei mostriciattoli tascabili, che vantano grandissimo seguito di appassionati in Italia e nel mondo. Oltre al torneo principale, a Lingotto Fiere piccoli e grandi visitatori potranno imparare a giocare al Gioco di Carte Collezionabili, provare Pokkén Tournament DX per Nintendo Switch e partecipare a tanti tornei minori, denominati side-events, e portarsi a casa l’esclusivo merchandise Pokémon offerto da Ultra Pro. Area Games: giochi di ruolo e da tavolo per tutte le età Giochi di ruolo, di carte e in scatola: l’area Games di Torino Comics copre tutte le categorie dell’intrattenimento “da tavolo”. Presenti le principali associazioni del territorio, come La Gilda Del Grifone, che presenta giochi di ruolo, sistemi di gioco ed ambientazioni nuove con i suoi preparatissimi Master, pronti ad accompagnare i giocatori al tavolo e a giocare insieme a loro; Tra i numerosissimi giochi presenti, Dungeons&Dragons, il classico gioco di ruolo ad ambientazione fantasy, Pathfinder e Sine Requie. Il gruppo ludico La Tavola Gioconda sarà presente con una grande ludoteca di giochi da tavolo tutti a disposizione gratuitamente, e con i consueti giochi giganti: scacchi, dama, Kamisado, e tsuro Partecipa alla Xmas Comics anche la storica Società Scacchistica Torinese, con brevi dimostrazioni di scacchi ai tavoli con i soci dell’associazione o, per chi lo desidera, una partita tra amici.

Presenti numerosi istruttori di fama nazionale e internazionale. Tra gli ospiti dell’area games spiccano sicuramente Luigi “Bigio” Cecchi, autore e disegnatore del fumetto Drizzit e del relativo gioco di carte, presente entrambi i giorni di fiera; Andrea Pisani -comico, cabarettista, cantante, componente del duo PanPers – e Carlo Emanuele Lanzavecchia,autori del gioco ZIUQ, il quiz al contrario. Gli ospiti saranno disponibili per firmare le scatole dei giochi e giocare con il pubblico. Tra gli ospiti dell’area Games ci sarà inoltre Gabri Torn, fondatore della famosa pagina facebook ludico-ironica “Sesso Droga e D&D. Torn sarà a disposizione del pubblico sabato 16, per delle sessioni dimostrative del gioco 7th Sea (vincitore del premio GDR dell’anno 2017). Le competizioni cosplay, con ospiti nazionali e internazionali Le competizioni cosplay in programma a Lingotto Fiere si confermano di respiro internazionale;anche quest’anno al tavolo della giuria siederà un vero e proprio parterre de roi del mondo del cosplay e non solo. Tra gli ospiti in arrivo a Torino, per la prima volta in Italia, la tedesca Naru Cosplay. Ha iniziato a fare cosplay nel 2005, e per la maggior parte si dedica al cross-play. Nel 2015 ha rappresentato la Germania – insieme alla cosplayer Seme – alle finali del contest C4 in Olanda. Arriva dal mondo del doppiaggio Patrizia Scianca, una delle voci più note dell’animazione nel panorama italiano. Tra le sue voci più famose si ricordano Son Goku, Son Gohan e Son Goten da bambini nel corso delle serie e dei film di Dragon Ball, Nico Robin in One Piece, Arale in What a mess Slump e Arale e Kero-chan in Card Captor Sakura. Ancora dal mondo cosplay presenti in fiera Fery Lullaby, cosplayer dal 2008, interprete di oltre 100 personaggi e vincitrice di diversi riconoscimenti alle fiere del fumetto; Davide Ravera, cosplayer e youtuber ligure, molto presente nel panorama italiano del cosplay – anche come presentatore – e con qualche presenza all’estero; Sunymao Sunita, veterana del cosplay: ha ricevuto più di 40 premi in diverse convention di tutta Italia ed ha fabbricato oltre 90 cosplay di tutti i tipi, da videogiochi, film e anime. Il programma del palco Cosplay Sabato 16 alle 15 il palco di Xmas Comics ospita la Cosplay Parade, una sfilata non competitiva aperta a tutti i tipi di personaggi. Nessuna giuria presente, la parola d’ordine è divertire e divertirsi. Domenica 18 alle 14 sarà invece il momento del classico Cosplay Contest. Saranno ammessi alla gara coloro che interpretano un personaggio tratto da anime, manga, fumetti,videogame, giochi di ruolo, giochi online, film, e affini. Potranno partecipare anche i costumi“original” che però non saranno candidati per i premi dove è richiesta l’attinenza al personaggio. Novità di quest’anno è l’introduzione di un nuovo premio. Tra le categorie in gara, infatti, sarà aggiunto il miglior costume tratto da un personaggio di un videogioco. Info e regolamento su http://www.cosplaycompetition.com/ Il programma del palco prevede inoltre numerosi appuntamenti di musica, workshop e danza. Sabato 16 dicembre alle ore 13 è in programma il workshop della cosplayer tedesca Naru, in cui verrà mostrato, truccando dal vivo una modella, come una cosplayer donna possa trasformare le proprie sembianze per fare il cosplay di un personaggio maschile. Sabato 16 alle ore 14 torna sul palco di Torino la cantante Sunymao: il suo repertorio spazia da arie di opere a canzoni Disney, colonne sonore originali in giapponese, film e videogiochi. Domenica 17 dalle ore 12:30 consueto appuntamento con il karaoke contest. In palio per i vincitori i biglietti per Torino Comics 2018. E sempre domenica, a scandire tutti gli eventi sul palco, per la prima volta a Torino, ci sarà la ballerina Eleonora Burzio. Professionista di danza classica, neoclassica e di carattere, ha studiato presso le più famose accademie di danza nel mondo, tra cui La Scala di Milano, Royal Ballet School di Londra, Bolshoi Academy di Mosca e Vaganova Academy di San Pietroburgo. Nelle sue performance, cerca di fondere danza e cosplay, altra, sua grande passione. Quest’anno saranno proprio le sue interpretazioni ballate ad incantare il pubblico di Xmas Comics. Youtuber village: tornano i Mates e Lasabrigamer Tra gli youtuber, tornano a Lingotto Fiere i Mates, 4 ragazzi del Network di Tom’s Hardware:St3pny, Anima, SurrealPower e Vegas. I Mates sono molto seguiti sul web e popolari per i loro contenuti a tema videoludico, e possono vantare oltre 8 milioni di follower totali sui loro canali. Sono ovviamente famosissimi tra giovani e giovanissimi, con milioni di visualizzazioni ogni mese. I 4 giovani youtuber saranno presenti a Torino domenica 17 a partire dalle 11. Torna a Torino anche Lasabrigamer, brillante modella che, seguendo la sua passione per i videogiochi, è diventata una vera icona nel mondo dei gamer e degli youtuber, arrivando a totalizzare oltre 1 milione di iscritti al proprio canale. Lasabri sarà presente sia sabato 16 sia domenica 17. Fanno il loro esordio al Lingotto invece i Kerency, un gruppo di 3 giovanissimi youtuber: ErenBlaze, KeNoiaChannel e Marcy – che in totale superano il milione di iscritti – che producono contenuti dedicati in particolare agli appassionati del gioco Minecraft. Prima volta a Xmas Comics anche per I 2 Bomber del Freestyle, nome d’arte dei due torinesi Davide Iannetti e Yuri Zappatore, due professionisti del calcio freestyle. I loro nomi d’arte sono rispettivamente Diginho e Zapinho e stanno diventando i beniamini dei loro fans a colpi di trick su Youtube. I due Bomber insegnano il loro stile calcistico attraverso tutorial sul loro canale youtube– oltre 500 mila iscritti – e hanno collezionato a oggi più di 200 performance. Gli youtuber, oltre ad animare il village con attività e giochi, saranno a disposizione di tutti i fan per sessioni di foto e autografi. IV Xmas Comics&Games 16-17 dicembre 2017 Lingotto Fiere, Via Nizza 280 – Torino Dalle 9.30 alle 19.30 Biglietti Intero €10 |Ridotto €8 | Ridotto cosplay €7 http://www.xmascomics.it facebook.com/torinocomics Prevendite online su http://www.vivaticket.it

TORINO.LINGOTTO FIERE AL VIA LA 4^ EDIZIONE DELL’XMAS COMICS AND GAMES 2017 Il 16 e 17 dicembre a Lingotto Fiere di Torino la quarta edizione di Xmas Comics and Games.

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recentanimenews · 6 years

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“Producing an Anime Is Like Planning a Surprise Party” - An Interview with Satoshi Taira from “Recovery of an MMO Junkie”

Satoshi Taira is one of the producers of Recovery of an MMO Junkie, now streaming on Crunchyroll as part of the fall 2017 season of anime. He also works as part of the web manga platform comico, which has recently been innovating new ways of making and distributing anime in Japan. In the first of this two part interview, Satoshi Taira (also an associate producer on the Re:Life anime) takes us behind the scenes of the role of an anime producer and describes some of the challenges in involved with turning web manga into other media. Enjoy!

Crunchyroll News: Can you tell us a bit about your background and career?

Satoshi Taira: My role is media mix coordinator for the manga app 'comico.' For anime adaptation projects, I am working on production as a producer. I was also involved in the launch of the comico service and invited some artists in its beginning. Before that, I was responsible for overseeing the company's VOD service and sales of the game department (I am surprised at myself for having experienced so many types of jobs…). I started having interest in animation before I entered elementary school and learned many things from different kinds of series. It is very fortunate for me to have had a job in the animation industry like this now. It is almost like a hobby to me, so I enjoy working every day.

Image: Banner for the Recovery of an MMO Junkie web manga on the comico homepage

How would you describe the role of a producer in Japanese animation?

The producer in the Japanese animation business is in the position to make decisions, from the beginning to end of the production process. Starting with planning of a new title, the role includes making final decisions on production, such as the staffing plan, scenario composition, character designs, voice actors’ acting, sounds, animation drawings, and even decisions on advertisements. There are, of course, cases that many of them are decided by the director, but the role of producer is indispensable for anime.

My role at comico specifically is to expand a number of original works on the comico services into more fields other than manga. In addition to animation, we make develop other projects, such as live-action movies, musicals, and merchandising. We decide what kind of medium is best for the series and fans, and make plans to distribute them to the customers. Adapting an original work for other mediums means that it is arranged by the will of the third party (creators). So it is my greatest mission to adjust both sides to maintain the original creator’s belief while respecting the anime creators.

How does the industry feel about 'original' web comic adaptations? Do you have to take any extra steps to assure partners that they will be successful?

Reading manga on smartphones has already become common among Japanese teenagers. However, web manga has not yet been popular enough in the market of the overall manga industry. When negotiating about anime adaptation projects, we used to use the circulation of the tankobon or the sales of the magazine as an index, but they have been replaced by the real 'view numbers.' So it is difficult for many companies to decide to join an anime project based on a web manga. The big difference between print magazines and web manga is the point: 'You can get detailed user data.' In addition to the sales number for each episode and the number of readers, it can be used as a guideline for the sales strategy by combining other data such as male / female ratio, age group, and a number of Likes. Based on the appeal of the titles and the users' data, our comico team is approaching various companies and producing animation with those who are eager to develop Japanese comic manga culture and animation.

What are some of the hardest parts of the job? How about the most rewarding?

The most difficult thing in this job is to become a hub among the original author, many creators, stakeholders, and a wide range of production processes. Since I am the final decision maker of the project, the stress and pressure that I have are heavy. In addition, I also work on planning for publicity campaigns, I go to several companies to suggest collaboration projects, and even solve problems among human relationships and distribute flyers at events. I am involved in every process of making animation, and that makes me feel rewarded. Because I am also an anime fan, I am able to enjoy it to the fullest!

The most rewarding moment is when I see many people enjoy watching our anime and tweeting about it. I think that animation production is similar to preparations for a surprise party. We carry a plan forward (for two to three years in advance!) while thinking, 'How can we please the audience?' 'Does this kind of background music sound exciting?' 'Let's surprise them at this moment!' So I am very excited when we receive reactions just as we expected!

What was it about the Recovery of an MMO Junkie web comic that made it seem that it would be suitable for an anime adaptation?

Recovery of an MMO Junkie was a title that had been serialized since the launch of the comico service. I myself had supported this title as a fan, and I thought it would be good if it had an anime adaptation someday. In addition to the cuteness of the characters, one of the charms of this title is that each character lives their life honestly and positively. And another point is the 'impatience' of the relationship among the characters. Today, with the spread of smartphones, communication has become 'too smooth' due to the active use of calls and messenger applications. I think a concept of 'missing communications' caused by different appearances and identities in the real world and net gaming is a major factor that makes viewers sympathize. You are now interested in this title and reading this article, so I believe my will has reached you even a little.

Recovery of an MMO Junkie is now available for viewing on Crunchyroll!

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Patrick Macias is the Original Story author of the URAHARA anime, now streaming on Crunchyroll.

By: [email protected]

#Anime #News #Latest in Anime News by Crunchyroll!

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jcarlhenders · 7 years

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Major Independent Comics Publishers of the 1980s (Continued)

For reasons of space and a desire to get to sleep, I omitted some second tier independent comics publishers from my last post. I’ve no idea how to update the original question on Quora, so my devoted three or four Offend Everyone readers will be alone in getting the rest of the story.

Innovation Publishing. A publisher of the late 80s and early 90s, Innovation Publishing was founded by David Campiti in 1988 and produced comics through 1993, before going out of business in 1994, within months of the departure of Campiti. Like Comico, Innovation had a number of licensed comics based on properties from other media, including: Anne Rice's Vampire novels (Interview with the Vampire, Queen of the Damned, and The Vampire Lestat), TV shows, (Dark Shadows, Lost in Space, and Quantum Leap), and movies (Psycho & A Nightmare on Elm Street). Innovation also published an original superhero series, Hero Alliance, and picked up Justice Machine and The Maze Agency after Comico closed.

Dark Horse Comics. Of the companies in this list, Dark Horse, founded in 1986 by Mike Richardson, is the only one still publishing today. Dark Horse took off in the 90s, and has been the third or fourth largest US comics publisher most months since then, with a significant presence in movies and television. Slow and steady may have won the race for Dark Horse, but it was minor player in the 80s. During that decade, Dark Horse published The American, Boris the Bear, Dark Horse Presents, Concrete, the Mask (which lead to a film staring Jim Carrey in 1994), and Trekker.

Aardvark-Vanaheim/Renegade Press. Aardvark-Vanaheim was originally founded by Dave Sim and his wife Deni Loubert to publish Sim's Cerebus (which would go on to run for 300 issues, only ending in 2004). However, in the early 80s, Aardvark-Vanaheim expanded into publishing other independent comics creators. When Sim and Loubert separated in 1984, the non-Cerebus Aardvark-Vanaheim books (Flaming Carrot, Journey, Ms. Tree, Neil the Horse, and Normalman) went to Loubert's new venture, Renegade Press. Renegade continued publishing until 1988, and published dozens of comics, including: Barefootz, Ditko's World Featuring...Static, Eternity Smith, Renegade Romance, Revolver, and Silent Invasion.

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