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Comics A.M. | The Hugo Awards, and the politics of fandom

Sad Puppies

Sad Puppies

Fandom | Rob Salkowitz writes about the controversy over this year’s Hugo Awards nominations and the “Sad Puppies” slate, and how skirmishes such as this are further fueled by the media: “The net effect of this, as observed by commentator Ezra Klein, is the politicization of just about everything, dragging a lot of randomly hostile and belligerent people into conflicts that don’t really concern them, but in whose outcome they have been persuaded they have a stake. Media outlets profit, but fan culture, which at its best unites people from all demographics across the political spectrum in their enthusiasm for creative works and community, is the victim.” [ICv2]

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Comics A.M. | ‘Asterix’ art raises $158K for ‘Charlie Hebdo’ victims

Asterix and the Laurel Wreath

Asterix and the Laurel Wreath

Auctions | A page of original artwork from 1971’s Asterix and the Laurel Wreath sold at auction Sunday for more than $158,000, with proceeds going to benefit the families of those killed in the attack on Charlie Hebdo‘s offices. The art included a special dedication by Asterix co-creator Albert Uderzo, who came out of retirement in the days after the attack to draw tributes to the victims. The auction house Christie’s waived its commission for Sunday’s sale. [BBC News]

Political cartoons | Ecuadorean cartoonist Xavier Bonilla, who has been sued, threatened and reprimanded by his own government because of his political cartoons, revealed last week that he has also received threats from an Ecuadorean member of ISIS over a cartoon making fun of the extremist group. While he ultimately decided the threat wasn’t credible, Bonilla said, “It has to be understood within this climate of hostility and harassment that’s been created within the country. It’s gotten to the point where even humor is being persecuted and oppressed by the president.” Reporter Jim Wyss also looks at some other cases of government suppression of political cartoons in Latin America [Miami Herald]

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Comics A.M. | ‘Attack on Titan’ conquers bookstores in June

Attack on Titan, Vol. 1

Attack on Titan, Vol. 1

Publishing | The latest BookScan numbers reveal June was a good month for manga in bookstores, with eight volumes of Attack on Titan making the top 20 — a new record. The first volume topped the list, which means new readers are still discovering Hajime Isayama’s dark fantasy. Overall, manga had a slight edge, with 11 titles, and all three volumes of Saga were on the list, but only one volume of The Walking Dead. And despite the Amazon-Hachette battle, the Yen Press title Sword Art Online: Aincrad made the chart. [ICv2]

Publishing | ICv2 and Comichron’s John Jackson Miller joined forces to calculate the size of the entire comics market, including the direct market, bookstore and digital channels, and both single issues and graphic novels. Inevitably some things get left out, such as subscription services, sales to libraries and the juggernaut that is the Scholastic Book Fair, but it’s a good snapshot. The bottom line: $850 million in 2013. [Comichron]

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Comics A.M. | Amid Korea’s webtoon boom, cartoonists struggle

The Great Catsby, Vol. 2

The Great Catsby, Vol. 2

Digital comics | The Korea Times takes a look at the comics market in that country, where government suppression of comic books in the 1990s (and school-sponsored book burnings even before that) has combined with the current demand for free digital material (in the form of the wildly popular “webtoons”) to create an uncertain environment for cartoonists trying to make a living from their work. “Unlike Japanese manga, which continues to drive a large part of the country’s publishing market and provide a creative influence to movies, music and video games, Korea’s cartoon culture was deprived of its opportunity to thrive,” said Lee Chung-ho, president of the Korea Cartoonist Association. “However, the most difficult process for us will be to find a sustainable business model. Readership has increased dramatically through webtoons, but you have no clear idea on how many of these readers will be willing to pay for content.” [The Korea Times]

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Comics A.M. | Steinberger on comiXology’s growth, what’s next



Digital comics | ComiXology CEO David Steinberger dicusses the growth of the digital-comics platform, which was the top-grossing non-game iPad app for the third year in a row. “We’re finding that a larger and larger percentage of our user base — our new user base — is people who are buying comics for the very first time with us,” he tells Wired. Steinberger also hints at a next step for comiXology: curation. []

Comics | Torsten Adair looks back at some comics trends in from 2013 and looks ahead to what we can expect in 2014. [The Beat]

Comics | Dark Horse Editor-in-Chief Scott Allie discusses the relaunch of the publisher’s Alien, Predator and Alien vs. Predator series and the debut of Prometheus. [io9]

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Comics A.M. | Edmonton Comic Expo attracts 25,000 fans

 Edmonton Comic & Entertainment Expo

Edmonton Comic & Entertainment Expo

Conventions | The second annual Edmonton Comic & Entertainment Expo attracted 25,000 people over the weekend, up from about 14,000 for the inaugural event. [Edmonton Journal]

Conventions | Tom Spurgeon reports in on MIX, the comics expo hosted by the Columbus College of Art and Design in Columbus, Ohio, this past weekend. [The Comics Reporter]

Conventions | And Lyndsey Hewitt was on the scene at Wildcat Comic Con at Pennsylvania College. [Williamsport Sun-Gazette]

Conventions | Jim Steranko and Kim Deitch will be among the guests at the Locust Moon Comics Festival in Philadelphia this weekend. [The Philadelphia Inquirer]

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First Second graphic novels make list of most-challenged books

The American Library Association just released this year’s list of Frequently Challenged Books, and there’s just one graphic novel (actually, a trilogy) on the list. And it’s not The League of Extraordinary Gentlemen or Battle Angel Alita, either — it’s The Color of Earth, Kim Dong Hwa’s quiet, rather poetic trilogy of Korean graphic novels published by First Second. The reasons cited: “nudity; sex education; sexually explicit; unsuited to age group.” I have only read the first volume, but I can tell you that it’s not all that spicy; it’s the story of a young girl growing up with a single mom in a village in rural, 19th-century Korea, and while love and sexuality are a part of life and are discussed openly (including in the bath), much of the conversation is wrapped in nature imagery that is … not very informative. Indeed, the first volume opens with a sex scene, but it’s between two beetles.

I checked in with the folks at First Second, a publisher more at home on ten-best lists than most-challenged lists, and this is what Calista Brill, who edited the book, had to say: “We knew we were risking challenge when we published these books. But sexuality is a part of the adolescent experience, and The Color of Earth and its sequels handle this conversation with remarkable honesty and positivity. These books may have ruffled some feathers, but we remain very proud of them.”

As is often the case with frequently challenged books, this one has some critical support: the Young Adult Library Services Association (YALSA) named it to its Great Graphic Novels for Teens list in 2010, the Texas Library Association’s Maverick Graphic Novels List and Booklist’s Top 10 Graphic Novels for Youth. Interestingly, assuming the list is in order of the number of challenges, this book racked up more challenges than The Hunger Games and frequent fliers like Phyllis Reynolds Naylor’s Alice books, Sherman Alexie’s Diary of a Part-Time Indian, and of course, To Kill a Mockingbird.

Korean publishers woo overseas licensors

ICv2 has an interesting report from the Bucheon International Comics Festival (Bicof) in Bucheon, South Korea. Korea is an interesting case because it actually has a government agency, the Korea Manhwa Contents Agency, dedicated to promoting the nation’s comics industry, and indeed, the manhwa (Korean comics) market is worth about U.S. $32.6 million for a population of 49 million.

While a number of American companies publish licensed manhwa, they usually don’t brand it as such. Tokyopop and Central Park Media started bringing it over in the mid-2000s to supplement their manga lines, which led many fans to dismiss it as an inferior version of manga. I remember sitting in the CPM panel at NYCC in February 2007, when CPM managing director John O’Donnell asked the crowd of mostly manga and anime fans what they thought about manhwa. Hoots of derision echoed off the concrete walls as fans ticked off the things they hate about manhwa, weak art and fractured storytelling looming large among them.

But that had a lot to do with the selection available; at that time, most of the manhwa available in English were second-string genre titles, and a lot of them did look like crappy imitations of manga. What’s more, people didn’t have a sense of manhwa the way they do of manga; the highest-profile manhwa property in the U.S. is probably Tokyopop’s Priest, especially since the movie came out this year, but people don’t necessarily know it’s Korean. Tokyopop made a good try by publishing a number of manhwa by Hee Jung Park that could hold their own in any selection of American indy comics, but they never found their audience, which is a shame. And no discussion is complete without a mention of Bride of the Water God, the beautifully drawn but oft-delayed series published by Dark Horse.

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Good God, this is a scary webcomic [UPDATED AGAIN with translation and creator credit]

[UPDATE: Big thanks to commenter SKFK, who tells us that the story is called “Bongcheon-Dong Ghost” (Bongcheon-Dong was the name of a poor area of Seoul, since renamed to avoid past negative associations), and was written and illustrated by Horang (the pen name of 25-year-old cartoonist Jong-Ho Choi).]

…and that’s about all I can say about it, really: This is a very scary webcomic. The text of the strip and the site on which it’s found is in Korean, which I cannot read, and Google Translate doesn’t clearly indicate an author or title, nor translate the text in the comic itself. But the content is crystal-clear even despite the language barrier. As Batman Incorporated artist Chris Burnham (through whom I found the comic) put it, “The pictures tell the story.” And the story, about a girl walking on a deserted city street who sees a strange-looking passerby in the distance, is scary as hell. Like Emily Carroll’s “His Face All Red” before it, this comic uses the unique properties of the web (albeit in a totally different way — you’ll see when you read it) to deliver an intensely uncomfortable experience. Read it yourself, preferably with your speakers on and nothing you can’t afford to drop in your hands.

Meanwhile, if any Korean readers or manhwa fans out there can help us out with the creator, title, and translation of the comic, please let us know in the comments below.

UPDATE: Commenter GlassThorne directs us to this translation of the comic on Tumblr. Still no word on the creator, though.

Seven Seas sets up global manga webcomics site

Webcomics have been part of the strategy for manga publisher Seven Seas (home of Afro Samurai, Hayate x Blade, and Gunslinger Girl, among others) from the beginning, but always as a way to sell a print book. Now they have set up Zoom Comics, an ad-supported webcomics site that will run both homegrown and licensed manga, launching with four original English language series: Amazing Agent Jennifer (a prequel to their six-volume Amazing Agent Luna), Dracula Everlasting, Paranormal Mystery Squad (a followup to another original series, Aoi House), and Vampire Cheerleaders. Coming soon are two licensed series, both from Korea: Witch Hunter and Lizzie Newton: Victorian Mysteries

Seven Seas formed the site in partnership with Pixie Trix Comix, a webcomics portal set up by webcomics creators Gisele Lagace and David Lumsdon (Magick Chicks) that also runs comics by several other creators.

What’s interesting about the new site is that it looks a lot like a bootleg manga site: The comics are simply displayed in the web browser, rather than embedded in a Flash-based reader, and they are surrounded by ads. If you changed the banner, it could be MangaFox. And Seven Seas has something else in common with the bootleg sites, something traditional publishers tend to neglect: They do forums well, with editor Adam Arnold frequently dropping in to make comments or respond to questions.

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Seven Seas to go digital-first with My Boyfriend Is a Vampire

“Digital-first, followed by print, is the wave of the future for all publishing.”

That categorical statement was made not by a digital distributor wannabe but by Seven Seas publisher Jason DeAngelis, who was announcing the digital-first release of My Boyfriend Is a Vampire. The first volume went up on the Kindle store this week; the print edition will reach stores in October.

Digital manga is becoming more and more common, on both the web and handhelds, but Seven Seas was putting substantial chunks of their homegrown OEL manga online years ago—I talked to Seven Seas editor Adam Arnold about their use of webcomics to promote their print manga way back in ’08.

Interestingly, Seven Seas has chosen not to go with a digital comics app but are selling Boyfriend (which was originally published in Korea, so technically it’s manhwa, not manga) as a book on the iBooks, Kindle, and Nook stores. And they are changing up the format, although digital is still substantially cheaper: A 158-page digital volume is $4.99, but the print edition is a 320-page omnibus retailing at $15.99. On the other hand, you’re more likely to get a discount on the print edition (yup, Amazon has it listed at $10.87).

I can’t possibly do justice to the solicit text for this book, by the way, so I’ll just post it after the jump.

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Exclusive: Tokyopop’s cover art for Priest: Purgatory

Cover art for Priest: Purgatory

Here’s an advance look, courtesy of Tokyopop, at the cover art for Priest Purgatory, a four-part graphic novel that will bridge the gap between the manhwa Priest, which is published by Tokyopop, and the film based on it, which will star Paul Bettany (Legion, The Da Vinci Code) and Karl Urban (Star Trek). Tokyopop sales and distribution specialist Ariyana Edmond says this piece will likely be on one of the covers. Here’s the skinny on volume 1:

Four young Priests and a Priestess (XLX-33, CXV-75, VI-16 and XV-45) are assigned a treacherous mission: to locate and recover a holy relic (the “Domas Porada”) in a recently discovered vampire nesting ground. So treacherous in fact, that a first team of Priests (led by DC-66) had been sent on the same mission six months prior but never seen again. The Priests (and the regular soldiers they command) begin their long journey/battle through vampire-infested lands, their alliance as uncertain as the dangerous path ahead. Through the various soldiers we are given different perceptions of the Priests (some hate them, others celebrate them), and on the Priest side the tumultuous relationship between XLX-33 and CXV-75 threatens to derail the entire mission.

If you’re curious about the original manhwa, it looks like the whole volume is online for free at the Tokyopop site.

Government-issued comics fail to convince skeptical youth

Government-issued comix

The government of South Korea has a wee problem: Nobody believes them any more, at least when it comes to their account of the sinking of a patrol boat last March. According to polls, over half of South Koreans in their 20s don’t buy the official explanation that the boat was sunk by a North Korean torpedo. So what’s a beleaguered government to do?

Make some comics! As Bloomberg News reports, the government of Lee Myung Bak has released a 32-page comic about the incident, featuring a journalist who is investigating the story and discussing it with his fiancee. Here’s some sample dialogue:

“When it comes to security issues, I wish that all people would speak with one voice,” says a survivor of the sinking depicted in the comic strip. “The people should love and trust us in the military.”

As that sparkling bit of dialogue indicates, this comic is about as well done as most government propaganda comics, and it’s about as well received, too: Rather than stirring up support for the government, the comic appears to be resurrecting memories of the not-so-distant past, when South Korea was a military dictatorship and such propaganda was the norm.

Interview: Kurt Hassler on Yen Plus online, and more!

8.2010_Cover[1]Yen Press editorial director Kurt Hassler unveiled the online version of Yen Plus magazine at Comic-Con last month, and it has given people plenty of fodder for discussion. The magazine is available in all regions (unlike other online manga sites, which are often limited to North America), and it will cost $2.99 per month, although Yen is offering a free online trial through September 9. What’s up at the moment is a mixed bag of old and new, Korean and original English-language manga—but no Japanese titles, although Hassler has hinted broadly that the all-ages favorite Yotsuba&! will be included in the mix in future.

Coincidentally (or perhaps not), the Japanese series Black Butler, Nabari no Ou, and Pandora Hearts, which had been serialized in the print edition of Yen Plus, are now up on a new online manga site from Square Enix, the Japanese publisher of those series. That site is also in a free-sample mode right now, with an online store projected to open in the fall. Hassler would not comment on the relationship between the two, but the Square Enix site is currently hosting the Yen Press editions of these manga.

I spoke to Kurt about the new Yen Plus, the recent removal of all the online manga from, and Yen’s new line of children’s books.

Brigid Alverson: How will the paid version of Yen Plus differ from the free version we have been reading?

Kurt Hassler: It’s really not going to be different. The experience you have now will be pretty much the same. The only different element will be the PayPal component for getting your subscription.

Brigid: What about the Japanese content?

Kurt: That is something we are working on. We have the first title, but finalizing the contract is always getting down to the wire. It is not going to be a ton of material initially; you are going to see material being added gradually over time as licensors get comfortable with digital distribution.

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Yen Plus magazine goes online


Yen Plus magazine launched two years ago at San Diego Comic-Con, and at this year’s SDCC, Yen Press relaunched it as a web-only publication.

Subscriptions to the magazine will be priced at $2.99 per month, compared to $8.99 per issue for the print version, and Yen is offering a free trial through September 6, so I thought I’d go in and kick the tires a bit. What I found was a mixed bag: The interface is clean and smooth, and I was delighted to find a short comic by the talented Madeleine Rosca (creator of Hollow Fields), but just as with the print version, I was left wondering who exactly they are editing this magazine for: The signup restricts it to readers over 17, but most of the series (Nightschool, Maximum Ride, and especially Rosca’s Haunted House Call) are more appealing to younger teens, while Jack Frost and Gossip Girl are clearly pitched at older readers—and may make the magazine off limits to younger teens, at least if their parents get a glimpse of the full content.

There are no Japanese manga in this issue, although the Yen folks promise that Yotsuba&! will join the lineup in future issues. One reason for this may be that the Japanese publisher Square Enix has set up its own online manga site (apparently in partnership with Yen Press) and their titles include Black Butler and Soul Eater, two former Yen Plus series. I hope Square Enix is giving Yen a good cut of the take from that website, because Black Butler is one of their most popular series.

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