JManga

JManga Splash Page

This review was going to be about the manga Aoi Hana (translated as “Sweet Blue Flowers”) and how much I love it and its author, Shimura Takako (who also wrote Hōrō Musuko, released by Fantagraphics as Wandering Son). I was delighted when JManga announced that it would make Aoi Hana available in translation, and I visited the website immediately to see how the translation and presentation looked.

I have had trouble with JManga in the past, but that was about a year ago, and I figured that the site would have fixed most of its problems since then. Alas, I was horribly mistaken. Instead of talking about Aoi Hana, then, I’d like to talk about my experience of using JManga.

I am basing what I’m writing on my experiences of accessing JManga during the past eight days (November 26 – December 3) using a laptop running Windows 7 and equipped with a 13.1″ screen. My main browser is Firefox, but I tried using Opera and Internet Explorer as well. All three browsers are the most recent releases and running fully updated versions of Java and Flash. I experienced the most problems with Opera and the fewest problems with Firefox. (For the record, the JManga site did not work on the Safari browser installed on my iPad at all, and JManga has no app compatible with Apple devices.)

First, let’s look at a preview of Aoi Hana

JManga Preview Page

Well, that’s informative.

I tried to access previews of five other titles but could only find a working preview for one of them.

I suppose I came to the site knowing that I wanted to buy this manga, so I went ahead and bought it.

These are some samples of how the manga appears in full-screen mode on my laptop…

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As you can see from the above images, unless you’re reading the manga on a huge screen, it’s almost impossible to read the text.

The image quality in general isn’t that sharp to begin with. Here’s a sample from Hatarake Kentauros, which is offered by JManga under the title “Working Kentauros”…

Working Kentauros

Even though this manga uses a different font, and even though the panels are larger and the text is less dense, it’s still difficult to read.

It’s possible to zoom in onto the page and drag the image around your screen. If you do this, however, before too long your screen will freeze into something like this…

JManga Frozen Screen

…and you’ll have to restart your browser (and possibly your computer) to get your browser to work again.

If you need a break from reading the tiny, blurry, headache-inducing text on JManga and leave the reader open but untouched for more than sixty seconds, you’re in for a surprise when you come back and try to turn the page…

JManga Loading Screen

…and you’ll have to restart your browser to get JManga to start working again. Since the reader has no bookmarking function, you’ll also need to flip through all of the pages you already read from the beginning to get to where you left off.

Even if you don’t step away from the reader, sometimes you’ll get the loading screen between one chapter and another, or even randomly as you try to turn the page in the middle of a chapter. Even with a lightning fast internet connection and a secure network, making it through even a short book on JManga required me to restart my browser several times.

Reading manga on JManga is not impossible, but it’s not easy, either.

So, is it worth it?

On JManga, manga are purchased with points. As of today (December 3), Aoi Hana cost 499 points. Unfortunately, the minimum amount of points you can purchase is 1000 (which costs $10.00). What this means is that, if you only want to buy one volume of Aoi Hana, it’s going to cost you $10.00. If you do buy this volume and have 501 points left over, you can use your points for another manga, which seems fine until you realize that the next manga you want to read costs either 599 or 899 points.

What this model should be paying for are added incentives. Unfortunately, the JManga site itself is poorly organized, and it’s difficult to find what you’re looking for unless you already know where to find it…

JManga Search Results

The site design is brash and busy and filled with pop-up ads: Read this manga!!! Check out this article!! Have you subscribed to our weekly newsletter?!?!?!

One especially annoying pop-up…

JManga Pop-Up

…persistently urged me to “update your info” so that my account on JManga looks like a profile on Myspace.

In conclusion, browsing JManga and using the site to buy and read manga is a thoroughly annoying and disappointing experience. This makes no sense to me, as many of the titles available on the site can easily be found on scanlation websites (a scanlation of Aoi Hana is the second result of a Google search for the title) that offer high quality images for free without the necessity of restarting your browser every five minutes. The people who buy manga on JManga are thus choosing to spend money to support the site instead of simply finding and reading scanlations for free. I don’t think anyone, no matter how young or internet-saavy, wants to come off as an entitled fan, but the experience of using JManga almost makes it feel as if people who choose to use the site are being punished in some way.

I have no problem with the concept of digital manga. I love reading translated manga on my iPad through the Viz Manga app, the Yen Press app, and the Digital Manga Publishing app. I’ve also had good experiences with the Sublime Manga site, whether reading manga on the site’s browser-based reader or downloading manga as a PDF document. Even the experience of reading manga on a Kindle has improved as titles are reformatted and updated to accommodate larger screens with higher resolutions. I love the Shonen Jump Alpha and Yen Plus magazines, and I loved Viz’s Sig IKKI site back when it was still updating. Digital manga is a wonderful advance in publishing that helps to support the translation and release of manga in America while giving titles such as Aoi Hana a chance in the American market.

JManga has updated its site and user policies according to reader feedback in the past, and I hope it will continue to evolve and improve in the future. Although the site doesn’t currently meet the standards set by other digital publishing platforms, it features some great titles. Still, I think both these manga and their readers deserve better treatment.

Dreamland Japan

Title: Dreamland Japan: Writings on Modern Manga
Author: Frederik L. Schodt
Publication Year: 1996
Publisher: Stone Bridge Press
Pages: 360

In his write-up of this summer’s Otakon convention, Ed Sizemore briefly mentions a panel held by the Anime and Manga Research Circle, in which Frederik L. Schodt’s classic work on manga was discussed. “I was glad to see Fred Schodt’s Manga, Manga! The World of Japanese Comics mentioned,” Sizemore says. “For a while, it seemed like there was a concerted effort in academia to pretend Schodt’s book didn’t exist even though it’s foundational to the study of manga in America.”

I’ve never been able to get my hands on Manga! Manga!, but I love its updated successor, Dreamland Japan. In fact, I love it so much that I read it for the third time earlier this summer. I think Sizemore’s statement about the “concerted effort in academia to pretend Schodt’s book didn’t exist” perhaps betrays a difference in understanding concerning the academic value of Schodt’s work, and so I would like to offer my own assessment of Dreamland Japan.

Even though Dreamland Japan is full of interesting and useful information, it’s not an academic study. The book reads like journalism; and in fact, as Schodt explains in his introduction, he has drawn much of the material published in this volume from material published earlier in newspapers and magazines. As journalism, the writing in Dreamland Japan is marked by certain features that do not often appear in academic writing, such as personal anecdotes. For example, information about how Schodt once witnessed a certain manga artist enter a porn shop in San Francisco may add color to his description of the artist, but it doesn’t really serve as evidence to support Schodt’s argument that the work of the often overlooked artist contains substantial artistic merit. Some of Schodt’s statements also come off as contradictory over the course of the book, such as when he mentions towards the beginning of the book that most manga artists employ a studio system, yet argues later that a certain artist is unique because she employs a studio system.

Dreamland Japan is written in a very personal style, and the reader ends up learning all sorts of information about the author over the course of the book. Some of this information is completely random. For example, in his blurb about Okano Reiko’s manga Fancy Dance, Schodt reveals that one of his friends from high school has lived in a Zen monastery for almost twenty years. Um, okay. Some of this information is unintentionally hilarious. For example, in his chapter on Osamu Tezuka, Schodt brags that he is one of the only people to have seen Tezuka without his trademark beret – before mentioning a page or two later that Tezuka only takes off his beret in bed. Wow, okay. Some of this information is perhaps a little too much information, such as Schodt’s description of his physical reaction to all of the pretty ladies surrounding him at a major dōjinshi convention at the beginning of his second chapter, or how he feels like he knows the manga artist Uchida Shungicu intimately even though he has never met her. Uhh… okay.

To return to the point, Schodt’s writing is not academic. He’ll describe a certain artist as incredibly influential without giving any examples of who or what the artist influenced, he’ll refer to a certain art style as uniquely Japanese without explaining what such a thing might mean, and he takes the things people say in interviews as absolute fact without any further corroboration. He engages in hero worship. He does not consider alternate arguments or non-obvious interpretations of certain works. He’ll summarize complicated issues or topics in one sentence. There aren’t footnotes or references explaining where he got his data. None of this makes Schodt’s work any less interesting or informative, but it’s not “academic.”

This is not a bad thing, and it doesn’t mean that Schodt’s work isn’t worthwhile reading both for manga fans and for people with a more than casual interest in Japanese popular culture. Not only is Dreamland Japan an invaluable resource, but it’s also an absolute pleasure to read.

The book has an interesting layout. Five short chapters sandwich the bulk of the volume’s two longest chapters, a 54-page catalog of manga periodicals and a 96-page catalog manga artists.

The shorter chapters, which gather together bite-size essays on subjects such as “Modern Manga at the End of the Millennium” and “Manga in the English-Speaking World,” serve as informative editorials and snapshots of manga fandom as it existed in the early nineties. In his opening and closing chapters, Schodt covers topics such as censorship and self-regulation in the manga industry, the amateur comics scene in Japan, how manga can be used as propaganda, the panel layout and cinematism of manga, and the first generation of anime and manga fan conventions in the United States. Reading these shorter chapters is like listening to someone who is deeply knowledgeable give an informal lecture on a topic very near to his heart. Not only is Schodt remarkably well read and well informed about the manga industry and fandom on both sides of the Pacific at the time he was writing, but his opinions have also aged well. Schodt’s tone is urbane and polished; and, as I mentioned earlier, his essays are given flavor and texture by his personal anecdotes, many of which are quite fascinating. You have to respect a man who sought out the official store of Aum Shinrikyō after the Sarin gas attack on the Tokyo subway in order to investigate the manga the organization was creating to educate potential members, after all.

The essays contained in Schodt’s shorter chapters are fun and informative, and they don’t feel dated in the slightest. What about the two longer chapters, then?

As Schodt states in his introduction, “fans of manga should not expect to see many of their favorite works here. There are no extended commentaries on Ranma 1/2, Akira, or Pretty Soldier Sailor Moon.” Indeed, most of the manga creators Schodt profiles in his “Artists and Their Work” chapter would probably be unknown to Japanese manga fans. These artists create what might be called “independent comics” or “small press comics” in the West, and they are just as fascinating as they are obscure. There is at least one high definition example of each artist’s work accompanying his or her profile, with translations provided by Schodt. Even if it’s nigh impossible to get one’s hands on the work of these specific artists outside of Japan, Schodt’s discussions of them deal with broader topics, such as the more specialized genres of manga in Japan (like manga about Japanese law and business strategy).

The “Manga Magazine Scene” chapter, which provides information about ten specific manga periodicals and two subgenres of manga periodicals, was probably the most interesting to me, as Schodt’s treatment of each topic functions as a small case study of how the manga industry finds and grooms talent, targets a specific demographic, and then sends its content out into the world in the form of different types of media. Many of the manga magazines Schodt covers, such as Weekly Shōnen Jump, Nakayoshi, and Morning, are still industry leaders; so, even if the circulation data given for each publication is no longer current, the demographic and historical information is still pertinent to someone interested in contemporary manga.

In conclusion, while Dreamland Japan feels a bit dated and obscure at times, and while it’s not exactly a scholarly study, it’s a useful resource to anyone interested in manga in any capacity, and it doubles as entertaining reading material for anyone interested in popular culture in general.