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Japanese Manga in Translation and American Graphic Novels: A Preliminary Examination of the Collections in 44 Academic Libraries

by Glenn Masuchika and Gail Boldt


Available online 17 September 2010

American graphic novels are increasingly recognized as high-quality literature and an interesting genre for academic study. Graphic novels of Japan, called manga, have established a strong foothold in American culture. This preliminary survey of 44 United States university libraries demonstrates that Japanese manga in translation are consistently collected at a lower rate than American graphic novels.

INTRODUCTION
There is little argument that comics, cartoons, and graphic novels are being seriously collected by librarians as legitimate scholarly resources.1 Once considered nothing more than low-brow entertainment primarily for children,2 comics have developed significantly. Comics such as Ghost World, Watchman, Fun House, and Black Hole, and comic writers including Daniel Clowes, Alan Moore, Alison Bechtel, and Charles Burns demonstrate that comics can be fully and successfully adopted to investigate the themes of human life and existence in creative and imaginative ways. Will Eisner's 1978 coining of the term graphic novel marks an important step toward increasing the legitimacy of this medium of literary expression. Responding to the belief that the terms comics and comic books carried too much of the earlier childish baggage, Eisner added weight by using the term graphic novel to describe his book A Contract with God and Other Tenement Stories. Since this time, the designation of graphic novel has been applied to any book-length publication that utilizes drawn pictures along with narrative, with little regard for whether the subject matter is a biography, history, memoir, or fiction. The genre gained prominence with the publication of Maus I: A Survivor's Tale (also know as Maus I: My Father Bleeds History) by Art Spiegelman in 1986 and its sequel Maus II: And Here My Troubles Began in 1991. Spiegelman's gritty, thick line drawings of Jews as mice and Nazis as cats, boldly added new dimensions to the story of his parents as the tortured survivors of Auschwitz. After the commercial success of Maus, other graphic novels were published in quick succession and became a lucrative part of book publishing. The graphic novel industry in the United States was estimated at $375 million in retail in 2007 and $395 million in 2008.3 While many of the works lauded as high-quality literature by such prestigious reviewing sites as the New York Times feature works by American and other Western authors, these texts do not necessarily represent the only popular graphic novels in the American market. That designation is shared with graphic novels written in Japan and translated into English by American publishers. Collectively, Japanese graphic novels go by their Japanese name, manga. In 2007, manga represented 56% of all graphic novels released in the U.S. and 56% of all graphic novel sales. In 2008, manga was 55% of all graphic novels released in the U.S, but its market percentage went down to 44%. One common explanation for this reversal in market share was the 2008 release of The Dark Knight, based on the Batman graphic novel series, as well as the 2008 run up to the 2009 release of Watchmen, based on Alan Moore and Dave Gibbon's graphic novel of the same name.4 Regardless of these market vagaries, it is clear that manga has a significant presence in the American market.

Glenn Masuchika, Pennsylvania State University Libraries, State College, PA, USA <gnm1@psu.edu>; Gail Boldt, Pennsylvania State University, State College, PA, USA <gboldt@psu.edu>.

The Journal of Academic Librarianship, Volume 36, Number 6, pages 511517

November 2010 511

In spite of manga's popularity in the United States, a preliminary review of the graphic novel pages from commercial sites reveals a Western-leaning bias. For example, none of Amazon's Best Books for 2008: Top 10 Books: Comics and Graphic Novels (editor's picks)5 or the Library Journal's Best Graphic Novels of 20086 are manga. This observation gives rise to the question that frames this study: do the collections in the libraries of American colleges and universities also reflect this bias?

A BRIEF HISTORY

OF JAPANESE

MANGA

In Japan, the tradition of narrative pictorial art called manga shares with American comics a history of being originally considered comical, easily dismissed and disposable, a lightweight pictorial entertainment for the amusement of the public. Cartooning has a long history in Japan. When the Horyuji Temple, originally built in 607 A.D. was renovated in 1935, workers found caricatures of people and animals with humorously and grossly exaggerated physical features on the planks of the building.7 In the twelfth century A.D., Bishop Toba, a Buddhist priest, drew caricatures of fellow priests, a style that became so popular, it was named Toba-e after the priest, and has been considered one the of forerunners of manga.8 Although there is evidence that the world manga was used as early as the 1770s,9 the word manga came into common use in 1814 by the Japanese painter Katsushika Hokusai (17601819).10 Manga can be loosely translated into English as whimsical pictures and can stand for caricature, comic strips, or comics. Today the use of the word manga in Japanese is equivalent to the words cartoon or comic in American English.

...the word manga came into common use in 1814 by the Japanese painter Katsushika Hokusai [and] can be loosely translated into English as whimsical pictures and can stand for caricature, comic strips, or comics.

The American occupation of Japan after World War Two changed the face of Japanese manga. With the influx of American influences into Japan, many young Japanese artists in the 1950s freely began mixing their Japanese cartooning styles and traditions with the flowing American cartooning styles. One such young writer/artist was Osamu Tezuka who is credited with introducing the Disney animation techniques to Japanese manga.11 An artist often referred to as the God of Comics in Japan, he began creating characters which soon expanded the reach of Japanese manga to the rest of the world.12,13 In the early 1960s, he created characters such as Tetsuwan Atomu (translated into English as Astro Boy) and Ribon no Kishi (translated into English as Princess Knight). Perhaps the most wellknown manga in America was Tatsu Yoshida's Mach GoGoGo, animated and redubbed into English as Speed Racer. In the past 50 years, manga has expanded from lighthearted and often child-oriented topics into more controversial, darker areas of study. In 1957, Tatsumi Yoshihiro coined the term gekiga, meaning dramatic pictures, to describe a new genre of manga emphasizing the adult themes found in politics and social issues fraught with psychological turmoil.14 Keiji Nakazawa wrote Hadashi no Gen (translated as Barefoot Gen), first serialized in a manga magazine in 1973, a quasi-autobiography of his life as a child who witnessed the death of his family and his world during the atomic bombing of Hiroshima, and the long plight of his wretched life after the war was over. Since then, there has been an explosion in both fiction and non-fiction manga dealing with such serious themes as alcoholism, homelessness, suicide, and environmental degradation.

Manga enjoys enormous popularity in contemporary Japan. The Japanese newspaper, Mainichi Shimbun, reported in 2007 that 74% of men in their teens, 64% of men in their twenties, 47% of men in their thirties, and 30% of men in their forties read manga.15 Manga are also popular among women. 47% of women in their teens, 42% of women in the twenties, 31%of women in their thirties, and 24% of women in their forties report reading manga.16 Manga books sales made up to 25% of all book sales and manga magazine sales made up to 20% of all magazine sales in Japan in 2006.17 Manga in Japan is also very lucrative. In 2006, the revenue from both manga book and manga magazine sales was 503.2 billion Japanese Yen,18 equivalent to approximately $4.3 billion in 2006 dollars. Today, manga in Japan are published serially, usually in weekly or monthly magazines, with chapter installments from multiple series. In its magazine form, manga are published in black and white, sometimes having a few colored pages at the beginning of the serial run to introduce the story. Published on cheap paper and running up to 800 pages per issue, Japanese consumers typically read and then toss aside manga magazines, just as they might a newspaper. Manga in magazine form are not considered to have any intrinsic value as collectables and are not collected by fans or investors However, if a manga becomes popular, chapters are gathered from several of the weekly or monthly magazines and are published in a higher quality paperback version. The manga that are translated into English and licensed to non-Japanese publishers to print and distribute in the United States are the collected paperback versions. The growth in manga's popularity in the United States has been astounding. Manga sales in the United States tripled between 2003 and 2007.19 This expansion has been fueled in part by the growth of the video game industry and by the airing of manga series in their cartoon, or anime, form on American powerhouse children's television networks, Nickelodeon and Cartoon Network. Although manga stories turned into anime have been widely available in the U.S. since the 1960s, manga translated into English only became widely available for American consumers in the mid-1980s, when Toren Smith founded Studio Proteus to act as an agent and translator of several popular manga series. At the same time, Japanese publisher Shogakukan founded the U.S. subsidiary Viz. Shogakukan publishes many of Japan's most popular manga and with the founding of Viz, series such as Pokemon, Ranma and Sonic the Hedgehog became available in English.20 With the American success of these publications, more American publishers have entered the field and the number of titles available in English has continued to expand. In 2008, manga sales in the United States and Canada produced $185 million in revenue.21 Increasingly manga is becoming an area of serious academic and literary discussion. In the past few years, discussion of manga has taken place in such venerable publications as The Wall Street Journal and The New York Times. Importantly for this study, there are numerous academic studies either written in or translated into English about manga, including topics such as: manga's origins from the Edo period of Japan;22 manga's influence on post-World War II Japanese theater;23 the history of manga's influence on literacy and discourse;24 and manga's ever reaching influence on other literary areas including science fiction and other media such as film.25 Courses dedicated to manga are to be found at many American universities. Manga can also be found in academic discussions involving gender identity,26 Women's Studies,27 art education,28 and studies in literacy.2931 Given manga's academic status, the question of whether manga is adequately collected by American academic libraries demands investigation.

PURPOSE

AND

METHODOLOGY

The purpose of this study is to investigate if American academic libraries are actively collecting Japanese manga at a rate similar to that of American graphic novels. Whereas it is not reasonable to expect that American academic libraries would collect every form of text

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from every country, as we have argued above, the case of manga is different. Given the position of manga in contemporary American culture, it seems reasonable to argue that manga deserves consideration at least equal to that of American graphic novels. That is, we are not considering here whether manga is under-collected in comparison to other, more traditionally valued academic genres, but whether it is under-collected in relation to the American version of the same genre. This is a preliminary study, in that we have limited both the library collections analyzed and the titles for which we searched. While our findings are therefore suggestive rather than conclusive, they are consistent enough to warrant calling attention to this as an area of collections concern. Because we considered this a preliminary study, we limited the number of titles searched in a number of ways. We looked only at manga that was translated into English by an authorized publisher. There are numerous websites that offer English translations of Japanese manga, violating both American and Japanese copyright laws. These translations are often incorrect and cannot be considered authoritative or official. We further limited our investigation to manga published in the years 2007 and 2008. We reasoned that given the growth trends in manga sales as well as the growing popularity of manga as an object of academic study, awareness of manga and interest in manga would be strongest in these recent years. In other words, by ignoring earlier years, we looked at manga collection in the most generous light possible, looking for years when we expected collection to be at its strongest. Given that we completed our survey during late 2009 and early 2010, 2008 and 2007 were the most recent years for which we could get complete information. We further limited our search of manga and graphic novels titles collected by academic libraries by searching for titles that appeared on carefully selected best of lists. Best of lists are a resource often used by librarians, particularly when collecting in areas beyond their usual expertise. Our goal was to find manga and American graphic novel titles that had achieved enough recognition to appear on at least two reputable best of lists. While locating best of American graphic novels lists from sources recognized by librarians as influential and reputable was simple, similar best of manga lists were more difficult to find, which we believe speaks to the still-marginal status of manga in these quarters. We had some difficulty finding agreement about the best of status of American graphic novels, whereas there was more agreement on manga titles. This did not pose a problem for our question of whether manga is less collected; if anything the lack of consensus about the best graphic novels in a given year should lead to any particular graphic novel title being less collected than manga titles, about which there was more consensus. For American graphic novels, we had to compare six best of lists for 2007 and eight for 2008 in order to achieve the necessary overlap for including the books in this study. For both 2007 and 2008, we found six titles for each year that met our criteria. For 2007, we worked with Amazon's Top 10 Best Graphic Novels for 2007,32 Booklist's Top 10 Graphic Novels [for 2007],33 Fresh Ink's Best Graphic Novels for 2007,34 Library Journal's Best Graphic Novels 2007,35 Nerdage's Matt Price's 10 Best Graphic Novels of the Year [2007],36 and Time Magazine's Top 10 Graphic Novels for 2007.37 For 2008, we chose Amazon's Top 10 Best Graphic Novels for 2008,38 Booklist's Top 10 Graphic Novels [for 2008],39 Fresh Ink's Best Graphic Novels of 2008,40 New Jersey Library Association's Year's Best Graphic Novels 2008,41 Library Journal's Best Graphic Novels 2008,42 Nerdage's 10 Best Graphic Novels,43 NPR's Best Graphic Novels 2008,44 and New York Magazine's Best Graphic Novels 2008.45 Unlike publications or awarding organizations for books that have authority, such as the New York Times Review of Books or Pulitzers Prizes, creating best of lists for manga is still a hit or miss proposition. None of the sources for best of graphic novel lists published a best of list for manga. At the same time, with the advent of the internet,

nearly anyone can create a best of manga list and demand attention. There are best of manga lists, created by web fans with little noted authority or credentials, both anonymous and not. For our research, we were able to get agreement about the best manga titles for 2007 and 2008 by looking at just three sources, one from an established publication; one from an authoritative website, and one from a widely recognized fan website. They are the PW (Publisher's Weekly) Top 10 Manga for 200746 and 2008,47 About.com's Best New Manga List of 200748 and 2008,49 and Manga Recon's Our Favorite Manga of 200750 and 2008.51 We found eight manga titles for 2007 and nine for 2008. While we therefore looked at university collections for more manga titles, again this did not pose a problem for our design since it should mean that we would find more rather than less manga collected.

Unlike publications or awarding organizations for books that have authority, such as the New York Times Review of Books or Pulitzers Prizes, creating best of lists for manga is still a hit or miss proposition.

As the designated sampling population, we have chosen 44 academic libraries organized into three groups of twelve libraries each and a fourth group of eight libraries. The first group is comprised of the libraries of universities participating in the Committee on Institutional Cooperation (CIC).52 The CIC is a consortium of the University of Chicago and the eleven Big Ten universities: the University of Iowa, the University of Michigan, the University of Minnesota, the University of Illinois, Indiana University, the University of Wisconsin, Michigan State University, Ohio State University, Pennsylvania State University, Purdue University, and Northwestern University. These twelve institutions are located mainly in the American Midwest. The second group of twelve academic libraries is comprised of libraries on or near the west coast of the United States: the University of Washington, Washington State University, the University of Oregon, Oregon State University, the University of California at Berkeley, San Francisco State University, Stanford University, the University of California at Los Angeles, the University of Southern California, the University of California at Santa Barbara, the University of Arizona, and Arizona State University. The purpose of using two geographically separated groups is an attempt to eliminate any historical and cultural biases in the libraries' collection policies. The Western United States has had a longer history of Asian and Asian American populations than the rest of the United States. There is also a disproportional amount of Asians and Asian Americans living in these four states than the rest of the United States. One in three Asians and Asian Americans in the United States live in the four states of Washington, Oregon, California, and Arizona, while one in ten Asians and Asian Americans live in the eight states of Illinois, Indiana, Iowa, Michigan, Minnesota, Ohio, Pennsylvania and Wisconsin.53 In total population numbers, the four West Coast states had an Asian and Asian American population of 5,414,510 (10%of the population of the four states) in 2008, while the eight Midwest states had an Asian and Asian American population of 1,710,468 (2.5% of the population of the eight states) in 2008.54 By looking at universities in these four states, we hoped to take into account how history and demographics may have influenced the academic interests of the institutions on the West Coast and resulted in a more Asian-interested leaning in their collection policies than the institutions in the American Midwest. The collection rates of American graphic novels and Japanese manga could also vary depending on the areas of academic interest of

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Table 1 For the year 2007, a total of eight manga were surveyed. Number of each manga owned by the universities is indicated
Author
Fumiyo Kouno Keiko Takemiya Masahi Tanaka Hitoshi Iwaaki Taiyo Matsumoto Eiji Otsuka & Sho-U Tajima Mari Okazaki Kazahiro Okamoto Totals Grand total the institutions themselves. It is reasonable to hypothesize that colleges and universities well know for expertise in a particular academic area would actively collect materials to support that area of study. To see if institutions well known as centers of Japanese studies might be collecting manga at a higher rate, we searched libraries at institutions with highly respected Japanese Studies program, and those with the highest percentage of graduating students in Japanese Studies. The addition of these twenty universities added greater geographic diversity to the search. For the first of these two lists, we turned to the website of the Association of Asian Studies (AAS), a professional association for scholars and students interested in Asia. The Association lists 27 different colleges and universities in the United States well known for their Japanese Studies programs.55 Four universities on the list were previously included on the Midwest and West Coast institution lists and therefore were not included for consideration for this third list. To keep the sample size consistent with our first two lists, the AAS list was culled down to twelve colleges and universities of various sizes and locations in the United States. Our third list includes Middlebury College, Harvard University, Columbia University, the University of Virginia, Johns Hopkins University, North Carolina State University, the University of Alabama, the University of Mississippi, the

Title
Town of Evening Calm, Country of Cherry Blossoms To Terra, v. 13 Gon, v. 12 Parasyte, v. 12 Tekkon Kinkreet MPD Psycho, v. 13 Suppli, v. 1 Translucent, v. 12

CIC (12)
5 3 2 1 1 1 1 0 14

WC(12)
2 2 1 1 2 0 0 0 8

JS(12)
5 1 1 1 1 1 0 1 11

J(8)
0 1 0 1 1 1 0 0 4 37

University of California at San Diego, the University of Hawaii, Montana State University, and Western Michigan University. The final group of academic libraries was gathered from the website Collegetoolkit.56 This website lists the top ten colleges with the highest percentage of Japanese Studies majors among the graduating 20072008 classes. Two colleges on the list of ten were previously included on one of the previous three lists and were removed from consideration for this fourth list. The eight remaining institutions are Salem International University, Earlham College, Willamette University, Gettysburg College, Hope College, Case Western Reserve University, the University of Guam, and Yale University. In December 2009, and January and February 2010, we conducted a search through the online catalogs of all 44 libraries, for the 17 best of manga and 12 best of American graphic novels. The results follow.

FINDINGS
The results are found on Tables 14. CIC indicates the twelve Midwest university libraries. WC indicates the twelve West Coast university libraries. JS represents the twelve libraries associated with college or universities with top Japanese Studies programs, while J represents the eight libraries associated with colleges or universities with the highest percentage of total graduating students in Japanese Studies.

Table 2 For the year 2008, a total of nine manga were surveyed. Number of each manga owned by the universities is indicated
Author
Seiichi Hayashi Osamu Tezuka Hideo Azuma Est em Takehiko Inoue Kazume Kawakara Hiro Mashima Nina Matsumoto Hiroya Oku Totals Grand total

Title
Red Colored Elegy Black Jack, v. 12 Disappearance Diary Seduce Me After the Show Real, v. 12 High School Debut Fairy Tail, v. 14 Yokaiden Gantz

CIC (12)
5 3 1 0 0 0 0 0 0 9

WC(12)
5 3 0 0 1 0 1 1 0 11

JS(12)
3 3 1 0 2 0 0 0 0 9

J(8)
1 1 1 0 1 0 0 0 1 5 34

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Table 3 For the year 2007, a total of six American graphic novels were surveyed. Number of each graphic novel owned by the universities is indicated
Author
Adrian Tomine Rutu Modan Grant Morrison and Frank Quietly Jeff Lemire Bryan Lee O'Malley Alan Moore and Kevin O'Neill Totals Grand total Shortcomings Exit Wounds All-Star Superman, v.1 Ghost Stories, v. 2 Essex County Scott Pilgrim, v. 4: Gets It Together The League of Extraordinary Gentlemen: Black Dossier

Title

CIC (12)
9 9 4 5 1 3 32

WC(12)
10 7 2 2 1 1 23

JS(12)
6 8 5 3 4 1 27

J(8)
3 1 1 1 1 2 9 91

SUMMARY
While it is clear that American university libraries are avidly collecting neither manga nor graphic novels, there is a significant difference in the rate of collection between the two. Even searching for 12 graphic novel titles compared to 17 manga titles yielded a strong bias in favor of graphic novels. Of the 250 individual books held across the 44 libraries, 71 of the titles, or 28%, are manga, despite the 17-to-12 manga-to-graphic novel discrepancy. If we weight that to account for the greater number of manga titles searched, graphic novels are about five times more likely to be collected than manga. This observation is independent of any library factor, including location and programs. In fact, of the 42 individual manga books held across the 24 major Midwest and West Coast universities, 23, or 53%, were held by midwestern universities. The prediction that libraries located in a geographical area with a greater history of Asian and Asian Americans would collect Japanese manga in translation at a higher rate is not born out in the data.

Midwest or West Coast libraries. In both comparisons, the libraries in the JS and J groups collected manga at a rate equal to the Midwest and West Coast Libraries, despite being institutions known for the established expertise in Japanese Studies. For libraries in the JS group, manga represent 28% non-weighted or 20% weighted to graphic novels searched, and for libraries in the J group, manga represent 33% non-weighted or 23% weighted to graphic novels searched. The data also suggest that for both manga and graphic novels, texts that stand alone rather as individual or grouped volumes within a serial collection are more likely to be collected. Of the 29 titles we looked at, 14, or 48%, were stand-alone texts, yet they represented 65% of the texts collected. For manga, stand-alone titles represent 41% of the texts and 44% of sales. For graphic novels, stand-alone titles represent 58% of the texts and 74% of the sales.

DISCUSSION
Reasons for the collection discrepancy between the numbers of American graphic novels and Japanese manga in translation are beyond the scope of this research and are conjecture at best. Clearly, to understand this pattern better, further research in the form of surveys and interviews is necessary. Nevertheless, we have speculated about several possible explanations. The fact that neither graphic novels nor manga are widely collected suggests that by and large academic librarians are not aware of or are not convinced of the value of these kinds of texts for academic collections. Nevertheless, when this genre is collected, graphic novels are considerably more likely to be collected in spite of manga's strong presence in the graphic novel market. Perhaps university library collection developers in the United States have yet to recognize that the subject matter or style of manga

The prediction that libraries located in a geographical area with a greater history of Asian and Asian Americans would collect Japanese manga in translation at a higher rate is not born out in the data.

Libraries associated with strong Japanese Studies programs and with highest percentages of graduates in Japanese language and culture do not perform better in manga collecting than either the

Table 4 For the year 2008, a total of six American Graphic novels were surveyed. Number of each graphic novel owned by the universities is indicated
Author
Dash Shaw Lynda Barry Jonathan Ames and Dean Haspiel Brian Woods and Ryan Kelly Scott McCloud Gerard Way Totals Grand total What It Is The Alcoholic Local Zot! The Complete Black and White Collection, 19871991 Umbrella Academy, v. 1: Apocalypse Suite

Title
The Bottomless Belly Button

CIC (12)
9 9 8 5 4 2 37

WC(12)
4 6 2 2 2 1 17

JS(12)
4 8 5 2 3 3 25

J(8)
2 3 1 1 1 1 9 88

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can hold literary value equal to that of the high quality American graphic novels. Sophisticated, adult graphic novels like Spiegelman's Maus and more recently Asterios Polyp by David Mazzucchelli, published in 2009, have received a good deal of press and created some awareness of graphic novels among American librarians; no manga has reached a similar status in the United States. It does not help that the most popular manga in the United States are those manga which are transformed into anime for television programming and video games aimed largely at children and adolescents. None of these titles appear on the best of lists, which might be seen as a virtue to those who equate such popularity with low literary value, but it also leaves the Japanese best of titles in even greater obscurity. Manga is more likely than American graphic novels to be serialized. While our sample is too small to make a definitive claim, it appears that librarians are less likely to collect serialized texts than stand alone texts. This makes sense to us; serialization suggests that the narratives are not complete and demand continued acquisition. However, we note that the number of serialized texts on the best-of manga list dropped from six out of eight or 75% of the manga titles in 2007, to four out of nine or 44% of the titles in 2008 and in spite of this change, slightly fewer manga titles were acquired in 2008 than in 2007. Likewise, the number of serialized texts on the best of lists dropped from four out of six or 67% in 2007 to one out of six or 17% in 2008, and the number of graphic novels collected also experienced a small decline. The reluctance to collect serialized graphic novels and the slight decline in graphic novel collection overall could indicate that the cuts to library acquisitions budgets that are currently plaguing academic libraries today were already being felt in 2007 and 2008. While the decline in both manga and American graphic novels collected during this period was too small to be seen as a trend, it is possible that if these kinds of texts, American or Japanese, are seen as somewhat peripheral to the collection, they may be falling victim to hard choices about what to add now and what to leave for another time. However, without comparing this decline to general library acquisitions statistics for this period, we do not know if this decline is part of a larger trend in declining overall acquisitions that was already beginning in 2008.

CONCLUSION
While the reasons for this disparity clearly deserve further research and investigation, we have seen that Japanese manga in translation has a significant presence in American popular culture and an increasing influence upon academic culture. The addition of more of the best of Japanese manga in translation will, at a minimum, support a college's and university's departments of Asian Studies, Asian American Studies, cultural and ethnic studies, as well as art, art history, art education, sociology, anthropology, comparative literature, history, literacy studies, English and English Literature, Asian and/or World Literature, creative writing, and more. The amount of academic work being published about this Japanese narrative art form is growing, and as manga and its filmed version anime further permeates both the academic and the popular cultural environment of the United States, it would behoove academic libraries to respond in kind by officially not only recognizing this genre of sequential narrative art as worthy of collecting as an integral, essential, and necessary part of a major academic library but also by allocating funds to add manga to its collections so to serve the expanding interests of their academic communities, to actively add to the intellectual worth of the university environment, and to further facilitate the advances of scholarly research in the 21st century.

NOTES

AND

REFERENCES

1. Lorena O'English, J. Gregory Matthews, & Elizabeth Blakesley Lindsay, Graphic Novels in Academic Libraries: From Maus to

Manga and Beyond, The Journal of Academic Librarianship 32 (March 2006): 173182. 2. Douglas Wolk & Reading Comics, How Graphic Novel Work and What They Mean, Da Capo Press, Cambridge, MA, 2007, p. 1. 3. Kiel Phegley, NYCC: The ICV2 Graphic Novel Conference. Online. CBR News. (February 9, 2009) Available: http://www.comicbookresources. com/?page=article&id=19938 (December 1, 2009). 4. ICv2 Estimates U.S. Manga Sales were Down 17% in 2008 (Update 2). Online. Animenewsnetwork. (February 5, 2008) Available: http:// www.animenewsnetwork.com/news/2009-02-05/icv2-estimatesu.s-manga-sales-were-down-17-percent-in-2008 (November 22, 2009). 5. Amazon's Best Book of 2008: Top 10 Books: Best Graphics & Comics (editor's picks). Online. Amazon.com. (N.D.) Available: http://www. amazon.com/gp/feature.html?ie=UTF8&plgroup=1&docId= 1000298631 (December 5, 2009). 6. Martha Cornog & Steve Raiteri, Best Graphic Novels of 2008. Online. Libraryjournal.com. (March 15, 2009) Available: http:// www.libraryjournal.com/article/CA6643242.html (December 5, 2009). 7. Kinko Ito, Manga in Japanese History, in: Mark W. MacWilliams (Ed.), Japanese Visual Culture: Explorations in the World of Manga and Anime, edited by Mark W. MacWilliams, London, England: M.E. Sharpe, Armonk, New York, 2008, p. 26. 8. Frederik L. Schodt, Dreamland Japan: Writing on Modern Manga, Stone Bridge Press, Berkeley, California, 1996, p. 33. 9. Isao Shimizu, Manga no Rekishi, Iwanami Shoten, Tokyo, Japan, 1991, pp. 1820. 10. Frederik L. Schodt, Manga! Manga! The World of Japanese Comics, New York, New York: Kodansha International, Tokyo, Japan, 1983, p. 18. 11. Kaoru Misaka, The First Japanese Manga Magazine in the United States, Publishing Research Quarterly 19 (4) (winter 2004): 29. 12. Paul Gravett, Manga: Sixty Years of Japanese Comics, New York: Laurence King, London, 2004, p. 24. 13. Frederik L. Schodt, The Astro Boy Essays: Osamu Tezuka, Mighty Atom, and the Manga/Anime Revolution, Stone Bridge Press, Berkeley, California, 2007, p. 16. 14. Sharon Kinsella & Adult Manga, Culture and Power in Contemporary Japanese Society, University of Hawaii Press, Honolulu, 2000, p. 25. 15. Matt Thorn, Just How Much of the Japanese Read Manga? Online. Matt-Thorn.com. (September 29, 2008) Available: http://matt-thorn. com/wordpress/?p=261 (December 3, 2009). 16. Ibid. 17. Manga Industry in Japan. Online. Japan External Trade Organization. (N.D.) Available: http://www.jetro.org/trends/market_info_ manga.pdf (December 14, 2009). 18. Ibid. 19. Pink, Daniel. Japan Ink: Inside the Manga Industrial Complex. Online. Wired 15:11 (October 22, 2007) Available: http://www. wired.com/techbiz/media/magazine/15-11/ff_manga (December 12, 2009). 20. VIZ Media. Online. (N.D.) Available: http://www.viz.com (December 14, 2009). 21. Reid, Calvin. HarperCollins, Tokyopop Ink Manga Deal. Online. Publisher's Weekly. (March 28, 2006) Available: http://www. publishersweekly.com/article/CA6319467.html (December 12, 2009). 22. Adam L. Kern, Manga from the Floating World: Comicbook Culture and the Kibyoshi of Edo Japan, Harvard University Asia Center, Cambridge, Massachusetts, 2006. 23. Yoshiko Fukushima, Manga Discourse in Japanese Theater: the Location of Noda Hideki's Yume no Yumiisha, Kegan Paul Limited, London, 2003.

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24. John E. Ingulsrud & Kate Allen, Reading Japan Cool: Patterns of Manga Literacy and Discourse, Lexington Books, Lanham, Maryland, 2009. 25. Christopher Bolton, Istvan Csicsery-Ronay, & Takayuki Tatsumi, in: Robot Ghosts, Wired Dreams (Eds.), Japanese Science Fiction from Origins to Anime, New York, New York: University of Minnesota Press, Minneapolis, Minnesota, 2007. 26. Junko Ueno, Shojo and Adult Women: A Linguistic Analysis of Gender Identity in Manga (Japanese Comics), Women and Language 29 (spring 2006): 1624. 27. Fusami Ogi, Female Subjectivity and Shoujo (Girls) Manga (Japanese Comics): Shoujo in Ladies' Comics and Young Ladies' Comics, Journal of Popular Culture 36 (spring 2003): 780803. 28. Toku, Masami, What is Manga? The Influence of Pop Culture in Adolescent Art, Art Education 54 (2) (March 2001): 1117. 29. Adam Schwartz & Eliane Rubinstein-Avila, Understanding the Manga Hype: Uncovering the Multimodality of Comic-book Literacies, Journal of Adolescent and Adult Literacy 50 (September 2006): 4049. 30. Kate Allen & John E. Ingulsrud, Manga Literacy: Popular Culture and the Reading Habits of Japanese College Students, Journal of Adolescent and Adult Literacy 48 (May 2003): 674683. 31. Boldt, Gail, Literacy, Learning and a Boy in Love: A SocialPsychoanalytic Theorization of Passionate Attachment in Reading, Pedagogies: An International Journal 4 (October 2009): 246263. 32. Amazon's Best Book of 2007: Top 10 Editors' Picks: Comics & Graphic Novels. Online. Amazon.com. (N.D.) Available: http://www.amazon. com/gp/feature.html?ie=UTF8&docId=1000158411 (December 5, 2009). 33. Ray Olson, Top 10 Graphic Novels: 2008 [sic]. Online. Booklist Online. (March 15, 2008) Available: http://www.booklistonline. com/default.aspx?page=show_product&pid=2597652 (December 5, 2009). 34. Derek Snowden, Best Graphic Novels of 2007. Online. Fresh Ink. (December 28, 2007) Available: http://g4tv.com/attackoftheshow/ freshink/60686/Best-Graphic-Novels-of-2007.html (December 5, 2009). 35. Staff of Library Journal, The Best Graphic Novels of 2007. Online. Libraryjournal.com. (March 15, 2008) Available: http://www. libraryjournal.com/article/CA6541462.html (December 5, 2009). 36. Matt Price's 10 Best Graphic Novels of the Year. Online. Nerdage. (December 31, 2007) Available: http://blog.newsok.com/nerdage/ 2007/12/31/matt-prices-10-best-graphic-novels-of-the-year/ (December 5, 2009). 37. Lev Grossman, Top Ten Graphic Novels. Online. Time Magazine. (N. D.) Available: http://www.time.com/time/specials/2007/top10/ article/0,30583,1686204_1686244_1692006,00.html (December 5, 2009). 38. Amazon's Best Book of 2008. 39. Ray Olson, Top 10 Graphic Novels: 2009 [sic]. Online. Booklist Online. (March 15, 2009) Available: http://www.booklistonline. com/default.aspx?page=show_product&pid=3332987 (December 5, 2009).

40. Frank Meyer, Fresh Ink Online: Best of Graphic Novels 2008. Online. Fresh Ink Online. (December 28, 2008) Available: http:// g4tv.com/thefeed/blog/post/692145/fresh-ink-online-best-ofgraphic-novels-2008.html (December 5, 2009). 41. David Lisa, Karla Iverson, Tyler Rousseau, Laverne Mann, Year's Best Graphic Novels 2008. Online. New Jersey Library Association Conference. (April 2009) Available: http://njla.pbworks.com/f/ GraphicNovelsNJLAhandout2009.pdf (December 5, 2009). 42. Cornog and Raiteri, Best Graphic Novels of 2008. 43. Matt Price's 2008's Best Graphic Novels. Online. Nerdage. (December 26, 2008) Available: http://blog.newsok.com/nerdage/2008/12/26/2008s-best-graphic-novels/ (December 5, 2009). 44. Laurel Maury, Best Graphic Novels of 2008. Online. NPR. (December 3, 2009) Available: http://www.npr.org/templates/ story/story.php?storyId=97636274 (December 5, 2009). 45. Dan Lois, The Top Ten Graphic Novels. Online. New York Magazine. (December 7, 2008) Available: http://nymag.com/arts/cultureawards/2008/52771/ (December 5, 2009). 46. Kai-Ming Cha, Top Ten Manga for 2007. Online. Publishers Weekly. (January 1, 2007) Available: http://www.publishersweekly.com/ article/ca6514738.html (December 1, 2009). 47. Kai-Ming Cha, Top Ten Manga for 2008. Online. Publishers Weekly. (January 15, 2008) Available: http://www.publishersweekly. com/article/ca6626499.html (December 1, 2009). 48. Deb Aoki, 2007 Best New Manga List. Online. About.Com. (N.D.) Available: http://manga.about.com/od/recommendedreading/ tp/2007BestNewManga.htm (December 1, 2009). 49. Deb Aoki, 2008 Best New Manga List. Online. About.Com. (N.D.) Available: http://manga.about.com/od/recommendedreading/ tp/2008BestNewManga.htm (December 1, 2009). 50. Katherine Dacey, Ken Haley, and Erin Finnegan, Our Favorite Manga of 2007. Online. Manga Recon. (December 19, 2007) Available: http://www.popcultureshock.com/manga/index.php/ features/our-favorite-manga-of-2007/ (December 1, 2009). 51. Katherine Dacey, Sam Kusak, Michelle Smith, Ken Haley and Erin Finnegan, Our Favorite Manga of 2008. Online. Manga Recon. (December 15, 2008) Available: http://www.popcultureshock. com/manga/index.php/features/our-favorite-manga-of-2008/ (December 1, 2009). 52. Committee on Institutional Cooperation. Online. (N.D.) Available: http://www.cic.net/Home/AboutCIC.aspx (November 27, 2009). 53. Facts derived from U.S. Census data. Online. U.S. Census Bureau: State & County Quickfacts. (N.D.) Available: http://quickfacts. census.gov/qfd/index.html (February 12, 2010). 54. Ibid. 55. Asian Studies Programs and Centers. Japan. Online. The Association for Asian Studies: the Professional Association for Scholars and Students Interested in Asia. (N.D.) Available: http://www. aasianst.org/programs/japan.htm (February 12, 2010). 56. Major Overview of Japanese Studies. Online. Collegetoolkit.com. (N.D.) Available: http://colleges.collegetoolkit.com/colleges/ browse/majors/byid/japanese_studies/05.0127.aspx (February 12, 2010).

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