"Twilight" To Be Adapted To Manga: My Thoughts

This is just a reaction to the news that the rights-holders of the mega-hit "Twilight" chose the manga format to be its first comic book adaptation.

First, I'm not surprised AT ALL.

But really, is the mainstream comic book "floppy" format just not an option for the majority of comic book reading young women (and some young men) anymore? To the point that if you have some hot non-superhero property for teens you don't even consider putting it out as a floppy?

I'm just saying, because I know there have been many attempts to bring in the teen girl market in "floppy comics" form. Is it the format itself that turns them off? Does the idea of going in the local comic shop to purchase them turn them off?

And then what about the case of something like "Buffy The Vampire Slayer?" If Dark Horse had adapted "Twilight" in a similar format, would that have worked? Or are a good portion of those BTVS readers already familiar with the mainstream comics format, etc, while many of these "Twilight" readers may not be?

As a tangent, I have to reiterate my belief that "floppies" are the best format for little kids, especially if the price-point is moderate. I know some feel that digests are the best format, but I think little kids want nice big pictures and a format they can completely lay out flat on their table, floor, etc. (or roll up in a tube or tear up or cut up or whatever).

That all said, the current "Twilight" adaptation doesn't preclude a company like Dark Horse or Marvel or DC adapting it in the future. Or coming up with somethin' similar. Like, perhaps, "Schmilight."

Anime Eye Contact Lenses

Basically, these contact lenses are designed to give the wearer "anime eyes" -- complete with a wider iris.

From the ad copy:
"Wanna get big, watery shiny eyes without any surgery? CRAVE AND ENVY NO MORE!"

They're cute, but a little unsettling.



I mean, it is hard for me to think of a more unrealistic role-model to physically pattern oneself after than an anime girl.

Oh, wait...

TOKYOPOP's "Pilot Program"

From TOKYOPOP's "Pilot Program" series The Hidden

So TOKYOPOP has their own Zuda-like webcomics thingie: Pilot Program.

I didn't even realize they were hosting webcomics.

As their site specifies, Pilot Program is not a competition, but more of a "proving ground" in which comments and feedback by fans help direct editorial as to what comic should go on to a full-length run:

"Manga Pilots: You Read and Review--You Help Decide What We Publish!

TOKYOPOP is launching an exciting new stage in our manga development program--and we need your help. We want YOU to read, review and tell us which TOKYOPOP Manga Pilots should be made into full-length manga.

In this new program, promising manga creators are selected and hired by our editorial team to create a 24-to-36-page “pilot”—a short-form manga that will be used to determine whether or not a full-length manga will be created. The Manga Pilot will be published online for TOKYOPOP community members to review, rate, and discuss.

The Manga Pilot program is not a competition. It's a proving ground that will give manga creators exposure to an enormous audience and help TOKYOPOP develop the next generation of manga superstars. And we want YOU be part of this process. Your positive reviews, for example, may very well catapult a pilot into the stratosphere!"

The flash comic reader mimics real page turning & fits the entire "book" comfortably on the screen. Of course, there is a right-to-left page navigation.

This is on top of the fact that with blogs, private messages, fans, "clans," and more, TOKYOPOP is turning their site into an honest-and-for-true social network. More on that another time -- but it's something I think publishers are going to have to get more and more into.

My pick for Pilot Program?

The Hidden, by Barb Lien-Cooper and Preston Park Cooper.












You can read it, rate it, and leave feedback about it here.

Comic Shop Report: Stepping Out of The Comfort Zone

Before I discuss DC Universe #0, I think I'm going to back up and describe my comic shopping experience yesterday. It's not just a review, it's a whole scenario.

Wednesdays at a major urban comics retailer is, as you can imagine, a madhouse.

Here is what I bought:
DC Universe #0
Avengers: The Initiative
Lucky Volume 2 #1 (Gabrielle Bell)
Liz Prince's latest book from Top Shelf
Hercules #1 from Radical Comics
Giant-Size Avengers/Invaders
Previews <------nerd

When I finally managed to squeeze my way into the new comics rack & pluck a copy of DC Universe #0, I realized that the corner was totally dinged. This began to bother me more and more as time wore on at the store, in the way that only a formerly hardcore comic book collector can relate to. The corner of my copy of Lucky #1 was also dinged. I swore I would find my way back into the new comics rack to replace those copies! (and I did!)

Giant-Size Avengers/Invaders sold out at my store. I took the last copy. I'm pretty sure most or all of that book was reprinted material. But it promised you a great story.

I knew nothing about Hercules #1 from Radical Comics (as I know almost nothing about Radical Comics), but it was only $1.00 for a book with a card-stock cover, prestige binding, and painted (or painterly) art. I decided to take a chance. It was a good marketing strategy on their part.

As the months go by, I find I hunger for more and more independent comics. I go through the back issue bins looking for interesting and/or self-published books that I might have missed. As my finances are tight, I demand more from my comics -- and what I demand is an unique experience & food for thought. I have no problem buying Chuck Taylor knockoffs at Payless and using the money saved to well-made comics that will enrich my life and make me think.

DC Universe #0 was an ad. It was an ad. The way it was promoted, I thought it was going to be some crucial piece of the Final Crisis pie. But it was a series of ads. DC Universe #0 was impenetrable to me. This does not mean the whole series will actually be so. But as somebody who is not steeped in the current lore of the last 5 years of DCU continuity, I had little to no idea what was going on. The only thing I could relate to was the Batman and Wonder Woman segments. Will I be able to enjoy those books if I wish not to follow the entire Final Crisis oeuvre?

I hear some people comment that DC Universe #0 should have just been a Free Comic Book Day offering. I disagree. It is not new-reader friendly. DC is much better off with Superman, Batman, or whatever.

DC and Marvel need to start trusting their overall lineups more and not depend on these humongous events. At least Marvel sort of works the events in a bit more organically. I don't want to read a series of books called "Final Crisis: Blah" and "Final Crisis: The Beginning Of The End of the Beginning." I just want to read Final Crisis. And then I want it to be over. I don't need a whole miniseries as an epilogue. I just want it to have a good run and be over. And then I want some sort of new status quo established that I can identify with and understand. Which brings me back to my point about limited resources & an increased need to buy books that inspire me.

Currently, I'm reading Buddha by Osamu Tezuka. The series of books are put out by Vertical.

Buddha blows my mind. It is so great on so many levels. Life is short. I don't want to stuff my mind with the same old crap anymore. And yes, Buddha is a reprint of an older series -- but it's brilliant and lovely and unique and funny and powerful.

And you know why Giant Size Avengers/Invaders sold out? Because those older stories were good as well! They deliver.

DC Universe #0 brings to my mind the word "rut." I get into ruts sometimes. I think of the same types of things over and over; I try old methods that didn't work before, thinking that somehow magically they will work this time. My life becomes a routine, and even though I'm not completely happy with the routine, and my view is sort of limited, it's all I know. The familiar things, like Triscuits and beer while watching Family Guy, comfort me. And that's fine.

But life is short. I want more! I want to expand my mind. I want to sample the entire expanse that this medium has to offer me. I don't want to be comforted. I want to be uncomfortable. I want to grow.

Change will happen regardless. I am only forestalling it. I rather flow along with change. The mainstream comic book industry needs to do this too. And I think they are, with initiatives like Zuda and Soleil. But something like DC Universe #0 is like a comfort zone. It will have its fans and will generate money for the company. But it is not growing anything. At least Bendis makes people angry; I don't agree with everything he writes, but at least him and Millar write things that piss some people off and make them think. At least Civil War inspires some debate about current politics. I find the political metaphors in Secret Invasion a little chancy, but at least Bendis obviously has something to say.

But in the end, as I said before, Final Crisis will make money for DC.

The Changing Face Of New York Comic Con

Convention guests were greeted by a giant Ugly Doll display upon first entering

If the big theme of San Diego Comic Con last year was regarding its "Hollywoodification," this year it must have been its heavy Japanese/youth culture influence.

The Biggest Star At The Con
The biggest thing that struck me about this convention was the heavy manga/Japanese culture presence, and how successful it was. I remember seeing this gigantic line bisect the convention floor, and wondering who everybody was waiting for. Neil Gaiman? Jim Lee? Ron Perlman?

No, they were waiting for Japanese pop singer T.M. Revolution. A good portion of those in line were Japanese, but certainly not all.

The line for Japanese pop sensation T.M. Revolution

But think about it -- how many of those people were mainstream comic book fans? Maybe I'm jumping the gun here, but I would assume not a tremendous amount. They came to New York Comic Con to see T. M. Revolution, whose elaborate Sgt. Pepper/David Bowie-type outfits were on display in a booth at the show. They also came to see the Gothic Lolita fashion show, and purchase manga and related items from the exhibitors dedicated to just those products.

Designer Toys
Another phenomenon that struck the convention? Designer vinyl toys and stuffed animals. These are limited-edition artist toys, often very "cartoony" in design, that can run an upwards of 100+ dollars; a number of these toys are Japanese in origin or influence. I saw more exhibitors showing off their brightly-colored designer toys than I did standard action figures. And honestly, had I the money, I'd have bought tons of them. I absolutely love that s**t. But back when I was collecting this stuff hard-core, about 5 years ago, I could rarely find them at cons. That has completely changed.


Even the Christie's auction house booth had a glass case filled with ultra-expensive vinyls.

NYCC: Now With More Females!
This is all not to say that superheroes -- standard capes and cowls -- were outshone at New York Comic Con this year. Of course the Marvel & DC booths were mobbed. But I assume the big turnout for T.M. Revolution, Gothic Lolita, the Japanese toy importers, the American independent designer toy makers, and the humongous booths for manga producers like TokyoPop will not go unnoticed by the convention organizers.

Also not to go unnoticed -- the heavy influx of of young women at this convention. Far far more heavier than last year. Certainly a portion are interested in mainstream Marvel & DC. But probably not the legion dressed in Gothic Lolita dresses, manga cosplay outfits, or screaming Milo Ventimiglia's name at the Devil's Due booth.

(But to be fair, OS reader Red Stapler -- big mainstream comic fan -- did snap a picture of herself with Milo. sigh, lucky...)

Manga Mondays: Goofyfoot Gurl and Christian Manga

"I write clean but not stupid"
-- Goofyfoot Gurl's Allison Barrows

I thought for this installment of Manga Mondays I'd put the spotlight on one of the more unique forms of manga that is out there: Christian Manga

GOOFYFOOT GURL
Vols 1-4
Realbuzz Studios/Thomas Nelson

Realbuzz Studios calls itself "The World's Premier Inspirational Manga" publisher, and their manga is distributed by Thomas Nelson, one of the biggest names in Christian books. Despite its connection with Nelson, Realbuzz's GOOFYFOOT GURL is pretty light in preaching, choosing to focus more on relationships. And just so it's really clear right off the bat that GOOFYFOOT GURL is not exclusively for Christian audiences, it is established at the beginning of the first volume that the Gidget-like main character, Suki, speaks Yiddish.


That said, GOOFYFOOT is a surfing soap-opera like The OC but with a 7th Heaven vibe. There's no sex, but a bunch of surprisingly nuanced and mature relationship issues and generalized teen angst. The storylines interconnect really well and the diverse cast of characters, as written by Allison Barrows (famous for her PreTeena comic strip), act believably. As Barrows commented regarding GOOFYFOOT GURL on a cartoonists' forum, "I write clean but not stupid."

The true showstopper of the book, however, is the stunning art by Tony Weinstock. Weinstock totally nails the manga "feel" while at the same time giving it an unique, painterly quality. Think manga rendered in pastels. And I guess my fear is that readers, put off by their preconceptions of what Christian manga might be, won't give this book a chance and see what tremendously beautiful and innovative work Weinstock has done here.

GOOFYFOOT GURL is a great read for a teenage girl, with all the appropriate elements of fun and melodrama. For both young and older readers, however, I think the luminescent art is a feast for the eyes and expands the boundaries of what manga can do.

Manga Mondays (A Neophyte's View): Pretty Face Vol. 4

Two reasons for this weekly feature:

1) I felt that I really had to start reading this stuff in order to fully say that I truly know what's going on in this industry.

2) Manga companies have particularly good "comp" programs.

Also, I do find some manga rather enjoyable, especially really "light" shojo and the horror titles.

That said, my lack of manga knowledge might show in this column, so please excuse me.

Pretty Face Volume 4
by Yasuhiro Kano
Viz Media

Simply put, Pretty Face is about a guy who gets in a horrible accident and has his face replaced in plastic surgery with that of the girl he has a crush on. Now he must dress like the girl's missing twin sister.

It's kinky, okay?

I am fascinated by manga's ability to take sexually-adventurous subject matter and package it in such a Disney-fied, sunny, stylistic manner. Questioning one's sexual identity would seem to be an issue for developing teens, and mature subject matter titles like Pretty Face (Viz recommends the book for readers 16+ and has an advisory label on the cover) address these concerns in a non-threatening way.

That said, there are a lot of panties in this book. And a pair of breasts (that we are assured are actually fake and on a man). That said, how is this that much different from teen sex comedies like American Pie? Maybe the fake breasts on a man part. Then again, Bugs Bunny was dancing around with oranges in his shirt more than 50 years ago.

As for the readability of the book -- it was enjoyable. It had that rapid-fire screwball comedy element rife with double-entendres like a Three's Company episode. I really find I have to suspend belief that macho karate champion Rando is the same little blond chick running around the book; the way he/she is drawn, the male body elements are pretty much non-existent. Except for the cliffhangers where we almost see his wiener (of which, as you can imagine, are many).

Still haven't read enough Shojo to make a comparative analysis in terms of quality, but it was alright. Although I would like to ask series creator Yasuhiro Kano what he means by calling Natsuo a "panties character" (clue: I think it has something to do with all those shots of her panties).

New York Anime Festival: This Is Youth Culture

How does mainstream comics crack the ever-more elusive "kiddie" market? Well, had they purchased booth space at last weekend's New York Anime Festival at the Jacob Javits Center, they might have started to have a clue.

The main thing that hits you when you enter this convention is that it is filled with YOUTH.

There were teens and tweens and little kids with their parents EVERYWHERE.

And it wasn't just about a specific type of comic -- in this case, manga -- or style or type of artist.

The vibe at the New York Anime Con was about a whole YOUTH MOVEMENT.

It's a movement in which males and females more or less equally participate. It's a movement that is racially inclusive. It's a movement in which consumer participation and customization is essential. It's a movement not about collecting but experiencing. It's a movement complete with a whimsical aesthetic that I am only beginning to understand.

And whether Peter Parker is married or not or Batman is Bruce Wayne or not makes not the single whit of difference to them.

If mainstream comics does not make a better effort to understand this youth culture, they might still have a bit of fair success with the older market. But they will both competely lose the youth market. And they will at the same time fail to plant the seeds for the next generation's interest in their products.

I am willing to bet that lot of this hesitation of the mainstream to embrace and study this emergent youth culture is because they personally don't "get" manga. Frankly, manga might not be something they would be interested in reading/editing.

The key here is that there has to be a willingness on the mainstream's part to look beyond the fact that they don't "get" it. They have to be willing to embrace the idea that what the "kids" want is not what they want. And that's hard, because rolled into that is the realization that they are getting physically older. It's the realization that there is a whole line of generations out there that are ready to assume their place on the queue of life.

I don't "get" great portions of manga. I don't "get" Naruto. I don't "get" large parts of this anime scene. But I accept the fact that this culture is a widely popular one and that it behooves me to learn about it and understand its appeal.

Which brings me to my final point. As I said before, the energy surrounding manga culture is not just an art style or a book format. You cannot hire an artist to draw manga-style art and give it a soap-opera theme with robots or whatever and write it with the energy of American comics. Neither can you package any damn thing you want in a manga-sized book and say "presto! we have Youth Culture product!"

They aren't looking for "Teen Titans." They are looking for "Teen Titans Go!"