Sunday on the web with Viz

shosuncoverI’m guessing that the recent flurry of press releases from Viz is some kind of pre-San Diego warm-up routine to prevent cramping during panels. The one that’s really caught my eye is the announcement of another imprint, Shonen Sunday. The full release is below, but here’s the nut paragraph:

“[Viz] has announced the launch of a brand new imprint, SHONEN SUNDAY. Featuring the works of some of the top shonen manga creators in the world today, the Shonen Sunday magazine in Japan provides the content for this imprint. The magazine recently celebrated its 50th anniversary since its first issue arrived on newsstands in March of 1959.”

Here’s the Wikipedia entry on the parent magazine from Shogakukan, and here’s the magazine’s Japanese web site. It joins Viz’s Shonen Jump imprint, which features manga from Shueisha, which co-owns Viz with Shogakukan and probably wanted its own brand. It also allows Viz to brand some of its homeless shônen titles.

With the demise of Viz’s Shojo Beat magazine, speculation and wishful thinking have turned once again towards the possibility of Viz creating an online presence or anthology featuring manga for girls. I think that would be great, and while Viz still as the Shojo Beat imprint, the prospect motivated me to throw together a quick poll.

Edited: Posted too early, as I meant to add links to the listed magazines: Ribon (official), Margaret (official), Cookie (official), Betsucomi (official), Ciao (official). If you have another choice, please note it in the comments, and I’ll add related links.

Edited again to add other anthologies of choice, without regard to whether or not they’re published by either of Viz’s co-owners: Hana to Yume from Hakusensha (official), LaLa from Hakusensha (official), Princess from Akita Shoten (official), flowers from Shogakukan…

And, as promised, here’s the release:

VIZ MEDIA’S NEWEST IMPRINT, SHONEN SUNDAY, WILL RELEASE THE FIRST MANGA TO EVER BE PUBLISHED SIMULTANEOUSLY IN JAPAN AND NORTH AMERICA

A New Imprint and Web Site Launch Rumiko Takahashi’s Newest Series RIN-NE Gets Its First Volume

San Francisco, CA, July 8, 2009– VIZ Media, LLC (VIZ Media), one of the entertainment industry’s most innovative and comprehensive publishing, animation and licensing companies, has announced the launch of a brand new imprint, SHONEN SUNDAY. Featuring the works of some of the top shonen manga creators in the world today, the Shonen Sunday magazine in Japan provides the content for this imprint. The magazine recently celebrated its 50th anniversary since its first issue arrived on newsstands in March of 1959.

The first series to launch from the first volume under this new imprint will be RIN-NE by Rumiko Takahashi, the first manga novel ever to be published simultaneously in Japan and North America, which will arrive on store shelves on October 20, 2009. Chapters of RIN-NE have been serialized online for free at www.TheRumicWorld.com on the same weekly schedule as it appeared in Japan’s Shonen Sunday magazine since May of this year. The Rumic World web site is the official North American destination for all Rumiko Takahashi-related news.

VIZ Media will be announcing new Shonen Sunday series for 2010 at its Manga and Anime panel at the 2009 San Diego Comic-Con International on Friday, July 24th from 3:00-4:30 in Room 32AB. Other VIZ Media series that will move under the Shonen Sunday banner include INUYASHA, KEKKAISHI, CASE CLOSED, HAYATE THE COMBAT BUTLER, and YAKITATE!! JAPAN. Going forward, DVD products from the select series will also feature the Shonen Sunday imprint.

The imprint’s web site (www.ShonenSunday.com) will be updated regularly with exclusive content such as previews, trailers, news, and interviews and will go live on July 22, 2009.

RIN-NE by Rumiko Takahashi · VOL. 1 · October 20, 2009 · Rated T+ (For Older Teens) · $9.99 US/$12.99 CAN

As a child Sakura Mamiya mysteriously disappeared in the woods behind her grandma’s home. She returned whole and healthy, but since then she has had the power to see ghosts. Now a teenager, she just wishes the ghosts would leave her alone! At school, the desk next to Sakura’s has been empty since the start of the school year, then one day her always-absent classmate shows up, and he’s far more than what he seems!

RIN-NE is the first new manga from Takahashi since her epic INUYASHA (published domestically by VIZ Media) ended in 2008 in Japan. Shogakukan’s popular WEEKLY SHONEN SUNDAY manga magazine has featured Takahashi’s work since the early 1980’s. With over 170 million copies sold in Japan alone, Takahashi’s substantial catalog of work continues to be loved by legions of devoted readers.

The spotlight on Rumiko Takahashi’s career began in 1978 when she won an honorable mention in Shogakukan’s annual New Comic Artist Contest for Those Selfish Aliens. Later that same year, her boy-meets-alien comedy series, Urusei Yatsura, was serialized in Weekly Shonen Sunday. This phenomenally successful manga series was adapted into anime format and spawned a TV series and half a dozen theatrical-release movies, all incredibly popular in their own right. Takahashi followed up the success of her debut series with one blockbuster hit after another—Maison Ikkoku ran from 1980 to 1987, Ranma ½ from 1987 to 1996, and Inuyasha from 1996 to 2008. Other notable works include Mermaid Saga, Rumic Theater, and One-Pound Gospel. Takahashi won the prestigious Shogakukan Manga Award twice in her career, once for Urusei Yatsura in 1981 and the second time for Inuyasha in 2002. A majority of the Takahashi canon has been adapted into other media such as anime, live-action TV series, and film. Takahashi’s manga, as well as the other formats her work has been adapted into, have continued to delight generations of fans around the world. Distinguished by her wonderfully endearing characters, Takahashi’s work adeptly incorporates a wide variety of elements such as comedy, romance, fantasy, and martial arts. While her series are difficult to pin down into one simple genre, the signature style she has created has come to be known as the “Rumic World.” Rumiko Takahashi is an artist who truly represents the very best from the world of manga.

They stab at thee

This is what I get for dawdling in checking my Google news feeds. Big news from UPI, but what exactly does it mean?

“Shogakukan Inc. said by offering an authorized version of the Japanese language comics online, it hopes to limit the spread of illegal copies of its comic books in Europe and the United States, Japan Today said Sunday.”

Is Rin-Ne just the beginning?

Other takes:

  • Japan Today
  • The Japan Times
  • The Eisner ballot… of the FUTURE!

    Okay, the order forms from the current issue of Diamond’s Previews catalog were due yesterday. I apologize for the tardiness, but the day job has been rather distracting lately. (Not bad, just busy.) And there’s abundant genius being solicited, so maybe it’s not too late for you to nag your local comics shop, or at least pre-order online from some other vendor.

    Eden: It’s an Endless World! Vol. 12 (Dark Horse): Hiroki Endo’s dense, absorbing science-fiction series continues. (Page 44.)

    Emma, Vol. 9 (CMX): More glorious period soap opera from Kaoru Mori. (Page 124.)

    Johnny Hiro Vol. 1 (AdHouse): The first three issues of Fred Chao’s very funny genre mash-up are collected here. (Page 186.)

    Swallowing the Earth Vol. 1 (Digital Manga Publishing): It’s by Osamu Tezuka, which is really all you need to know. It’s also about a mysterious demigoddess “wielding her mysterious power over all men to exact revenge for their crimes against women since the beginning of time,” which sounds ceaselessly awesome. (Page 245.)

    Moomin: The Complete Tove Jansson Comic Strip Vol. 4 (Drawn & Quarterly): So funny, so quirky, so sweet. It’s one of the few perfect things in the world. (Page 249.)

    The Summit of the Gods Vol. 1 (Fanfare/Ponent Mon): Jiro Taniguchi heads back to the mountains, accompanied by Yumemakura Baku. The slope in question this time around is Mount Everest. (Page 251.)

    A Treasury of 20th Century Murder Vol. 2: Famous Players (NBM): Rick Geary applies his unique and abundant cartooning skills to the case of Hollywood director William Desmond Taylor. (Page 275.)

    Salt Water Taffy Vol. 3: The Truth About Dr. True (Oni): More delightful adventures for all ages from Matthew Loux as the Putnam brothers discover weirdness in Chowder Bay. (Page 279.)

    Fruits Basket Vol. 23 (Tokyopop): The mega-popular series from Natsuki Takaya comes to what will undoubtedly be an amazingly moving conclusion. (Page 288.)

    Oishinbo: Fish, Sushi and Sashimi (Viz): Viz continues to offer highlights from Tetsu Kariya’s culinary manga masterpiece. (Page 298.)

    Cirque du Freak Vol. 1 (Yen Press): I can’t honestly remember the context or the content, but I swear I heard something really extreme about Cirque du Freak, which makes me curious. (Page 302.)

    Upward mobility

    It isn’t a very long piece, but there are some interesting nuggets in an article on Japan’s e-book market in The Japan Times:

    “Although [a spokesperson for comic-viewing software developer Celsys Inc.] said more content is available for other generations, the main buyers of mobile phone ‘manga,’ which cost about ¥300 to ¥700 per book, are women in their 20s.”

    So that’s about $3 to $7 a pop.

    More free dairy products

    It’s not a direct follow-up to yesterday’s piece in The New York Times, but it’s interesting to see how many groups are dealing with the possibilities of distributing content free on the web in addition to or instead of through traditional print models. This time, it’s the faculty of Harvard:

    “‘In place of a closed, privileged and costly system, it will help open up the world of learning to everyone who wants to learn,’ said Robert Darnton, director of the university library. ‘It will be a first step toward freeing scholarship from the stranglehold of commercial publishers by making it freely available on our own university repository.’”

    This all sounds kind of familiar, doesn’t it?

    “The publishing industry, as well as some scholarly groups, have opposed some forms of open access, contending that free distribution of scholarly articles would ultimately eat away at journals’ value and wreck the existing business model. Such a development would in turn damage the quality of research, they argue, by allowing articles that have not gone through a rigorous process of peer review to be broadcast on the Internet as easily as a video clip of Britney Spears’s latest hairdo. It would also cut into subsidies that some journals provide for educational training and professional meetings, they say.”

    The interesting difference is that nobody seems to think there’s a reasonable argument that free content will support those traditional models. In fact, aside from the gatekeepers of those traditional models, nobody seems to care much whether it does or not.