Author: admin

A friend passed along a press-kit the other day that’s 3 shades of awesome, announcing the team-up of manga-ka Moyoco Anno (best known in America for her manga Happy Mania for Tokyopop, and Sugar Sugar Rune for Del Rey) and international upscale cosmetics giant shu uemura to produce a “sophisticated yet invigorating collection of cleansing oils and make-up tools” for shu uemera’s 2009 artist collaboration series. The line is called Tokyo Kamon Girls, inspired by traditional Japanese kamon crests (like Japanese-style heraldry) and featuring Anno’s manga-riffic take on contemporary Japanese women.

The line contains 4 different products, a series of balancing and cleansing oils that will run between $77 and $89 CDN, and be available exclusively at Holt Renfrew in Canada (Bloor Street, Yorkdale, Vancouver). Anno has contributed art and design for the packaging of the product, and generated a loose narrative around five archetypical Japanese women, each relating to a different ‘flavour’ of product. Also available is a make-up brush kit with Tokyo Kamon Girl designs emblazoned on the case, and a custom make-up box, also sporting Anno’s designs.

Incorporating traditional Japanese ukiyo-e woodblock print styles and Japanese iconography, laid overtop of ultra-contemporary packaging, these are some downright lovely pieces of design. They integrate the traditional elements of Kamon design including circles and nature, with each flower or plant on Anno’s badges representing different aspects of the women she’s created… Kamon in particular were typically reserved for upper-class families, and the application of these designs uses lots of shiny gold foil and ink to give the products a luxurious, high-end feel. A lot of thought and effort has gone into this campaign, and shu uemera has spared no expense.  (Click for larger.)

This in and of itself is lovely, and would make for a lovely post here at Comics212. But here’s the most awesome part: The press kit also came with a gorgeous booklet which espouses the philosophy of the line and the various “girls” on one side, and a biography and gallery of Moyoco Anno’s manga and illustratuin work on the other! And a CD-ROM full of images from Moyoco Anno’s vast bibliography! And permission to post them (until at least October 31st, 2009)! So if all of the images disappear at some point in the future, you’ll know why.

Get ready for some lovely art. Let’s start with the book, first.

The Tokyo Kamon Girls 40-page flip-book could only be the product of an international upscale cosmetics company with money to spend… if you take my meaning. It’s a high-end production, with gold-foil inset on the cardstock cover depicting the Kamon  Girl designs in something approaching their historical mode: shiny and austentatious. The book features glossy full-colour production with liberal use of a fifth-colour gold ink to add that extra oomph.

Scattered throughout are biographies of each of the five Tokyo Kamon Girls: “pure and innocent” Sakurako, “energetic and strong-willed” Tamaki; Tsuruha (“who sparkles as she drifts through the streets of Tokyo”);  “reserved and elegant” Matsuno; “coquettish” Katsura. In addition to the Kamon featuring the girls, Anno also created a full-size illustration of Sakurako as an ukiyo-e print, which is gorrrrrgeous:

The first half of the book is then rounded out with a description of the make-up brushes and make-up box, a page featuring quotes from Anno on her inspirations for creating the series (“I felt afresh that shu uemura is a global brand which is aimed at the world and treasures Japanese aesthetics. That is why, when designing the bottles, I felt I wanted to design something with a hint of modern Japanese taste.”). Oh, and a walk through the five real-life Tokyo neighborhoods that the five fictional ladies live in, places that you will never live because you are poor (for the record: Ueno Park, Den-En-Chofu, Ginza, Azabu-Juban, Shirokane). It is amazing.

The other half of the book (and really it’s a flip-book, maybe this is side-a and the cosmetics-focussed side is side-b) is an introduction to Moyoco Anno, artist. It contains a biography, partial bibliography, and dozens of illustrations. Because the bio wasn’t presented to me in a digital form, I feel awkward about copy-pasting it in here, but the notable bits from her biography are that she’s been making manga for 20 years, she’s an accomplished ukiyo-e woodblock printer in addition to being a manga-ka, she’s had a bunch of hit series, and her website is http://www.annomoyoco.com.

One of the most interesting bits about Moyoco Anno that isn’t in the printed bio? It doesn’t mention that Moyoco Anno’s manga has appeared from more publishers in English than any other manga-ka! It’s true. Her North American debut was in the pages of the Tokyopop-published Happy Mania (11 volumes), but her next series was the satirical bishonen role-reversal series Flowers & Bees from Viz (7 volumes). Her current, and most-popular English-language series is Sugar Sugar Rune, an all-ages shojo series from Del Rey (8 volumes, ongoing) about magical young witches who gain their powers from breaking boys hearts (HEH). Somewhere in there, Anno contributed a story to the French/Japanese co-production JAPON, known in North America as Japan as Viewed by 17 Creators from Fanfare/Ponent-Mon (1 volume). Actually, the bibliography mentions all of these stories except Flowers & Bees, but despite being an English-language booklet produced for an English audience, it doesn’t mention which… if any… of her manga works have been translated into English! If it weren’t for the fact that my customer demographic and the demographic for these products were so far apart, I’d fear customers coming in to ask me for manga like Hatakari Man or Sakuraman. But I have a feeling I’ll be able to sleep easy on this one.

What this book does do though is provide lots of gorgeous illustrations and excerpts from her catalogue, which I am free to run below. Yay! Oh, and: all images Copyright ©2009 Moyoco Anno, all rights reserved. Don’t copy or distribute these images. Got it?

Lovely, isn’t it? That “Tundra Blue Ice” one actually reminds me a little bit of Taiyo Matsumoto’s work, and it’s from very early in her career. Heck, it might’ve been her first series actually… the timing works out right. Nice.

Here’s two more pieces, but these are particularly cool. These are wordless comic strips from Moyoco Anno’s newspaper strip, called Ochibisan. It runs in Japan’s Asahi Shinbun, and is illustrated in the style of ukiyo-e woodblock prints. It’s a celebration of the seasons, and each strip runs in brilliant full colour.

Seeing all of these pieces together, it really shows the range that Anno posesses. Moving effortlessly from manga to fashion illustration to ukiyo-e woodblock prints to newspaper strips to product packaging and design. She has a phenomenal career, and I find myself really inspired by her work.

In closing, I wanted to talk about a few little biographical tidbits that I didn’t get to mention early on. First off, sadly Moyoco Anno took a break from manga last year for health reasons, stopping the serialization of her incredibly popular Hatakari Man manga mid-stream (which may account for why it has not yet been licensed for release in North America). It is currently unknown when she’ll return to manga (though she is continuing her newspaper strip), though given the prestige of the Tokyo Kamon Girls project I can’t imagine why she would.

Moyoco Anno is also the wife of Neon Genesis Evangelion director and co-creator and Gainax founder Hideki Anno. They wed in 2002, over 5 years after The End of Evangelion.

—

For more on Moyoco Anno and Tokyo Kamon Girls, check out these resources:

Wikipedia Biography – Moyoco Anno at AnimeNewsNetwork – Moyoco Anno Official Website – shu uemera at The National Post – shu uemera Tokyo Kamon Girls Official Website

– Christopher
Thanks to Nathalie for the heads-up!

This past weekend a new Japanese pop-cultural centre opened in San Francisco, and it sounds pretty awesome. It’s called New People and it’s… well it’s kind of a Japan-style mall. It’s got a gift shop with manga and artbooks and designer toys and things, 4 different goth/loli-informed clothing stores including a North American outpost for hyper-popular label Baby The Stars Shine Bright, a movie theatre sponsored by Viz, a cafe (or two), and an art gallery. It sounds like a pretty amazing building actually.

To celebrate the opening of New People, they held a great big cultural festival called the “J-Pop Summit”, with bands and clothes and artists and presentations from Yoshitaka Amano (final fantasy), Yuichi Yokoyama (New Engineering), and the director of the live action 20th Century Boys movie, which I guess Viz announced they have the rights to now? At least they had an actor dressed up like “Friend” from the books, which is kind of amazing too.

Check out these event descriptions from [About.com], [Same Hat!], and [Anime Vice].

All in all, it sounds like a truly amazing event, and a step forward for the promotion of Japanese pop culture in North America. It also seemed really weird to me as well, here’s why:

I think I mentioned that this fall I was lucky enough to see a presentation on Otaku by Professor Kaichiro Morikawa, an expert on Otaku, Japanese culture, and the export of Japanese culture outside of Japan. One of the most interesting points in his lecture (and the whole thing was phenomenal) was that Otaku spaces are generally _closed_ spaces, hidden from the public eye, and that non-Otaku spaces are all about being clear and visible and open to the public. The manga, software, doujin, and toy stores in Japan have their windows blacked out, and popular clothing and mainstream culture stores have big glass windows inviting eyes inwards. Otaku are introverts, ashamed of their purchases, non-otaku are extroverts flashing their shopping bags with massive brand-name labels on them (this is both only part of his larger point, and a simplification, but still). Check this out:

Animate Flagship, Manga/Anime/Character Goods Store, Ikebukuro.

Softmap Software store, Akihabara

Lamtarra, Porn Store, Akihabara

Now, conversely, check out the frontage on these fashionable flagship stores in Fashion-capital Harajuku.

Christian Dior Flagship, Transparent Building

Ralph Lauren, 25ft high windows

Louis Vuitton, giant glass windows with Takashi Murakami art done up in lights. Gorgeous.

Can you see the difference?

Actually as a bit of an aside: Perhaps the most interesting thing here? Japanese Otaku have largely rejected much of LV ‘partner’ artist Takashi Murakami’s work, apparently. He appeals to the mainstream, to youth culture, and especially to other artists. But the hardcore nerds simply aren’t into his work or his ideals, so far as I can tell. There’s nothing moe about his work… Louis Vuitton’s great big transparent open-concept retail space (with multiple scultptures visible from the street…!) is directly in opposition to contemporary otaku retail and public spaces.

So I trust this point has been well illustrated?

Here’s what the NEW PEOPLE building looks like.

It doesn’t look like an Otaku space at all, not even a little. I mean, it’s GORGEOUS, it looks like cutting-edge Japanese fashion retail design. It reminds me a lot of the Harajuku H&M flagship actually, lemmie see if I can find a picture of it.

The scale of these two buildings is really, really different btw. The New People building is probably about as tall as the top lit part of that H&M building (called ‘the ice cube building’ btw) in the middle. But you see what I mean about that right, where each floor is open to the street, for 30+ feet of transparent frontage? That was the thing that struck me when looking at the reports on the opening of New People–it doesn’t look like it’s a space for nerds… despite the fact that it is clearly intended to be a space for nerdish pursuits.

The first-floor of the New People building features New People: The Store, a sort of gift-shop of Japanese culture. Artbooks, manga, toys, shirts, paper goods, designer items, etc. The folks at Anime Vice did a great walk-through of the space, and apparently they allow embedding so spend 30 seconds or so watching this:

Here’s a still photo, in case it doesn’t embed correctly or you don’t like clicking things:

Again, it’s got a big open floor plan and it’s lovely and well-designed, but it’s laid out like a boutique clothing store, not something ‘otaku’. Check this out, here’s what a hardcore otaku shop looks like:

Animate, Ikebukuro

Village Vanguard, a pop culture chain store. Shown: Odaiba location.

“So where the hell is he going with this?” you’re asking yourself. And to be honest, I’m not 100% sure. The whole thing is just leading to more questions for me, about intent, about the future of Japanese culture (and therefore manga…) in North America, about the future of retail. But I think what it all comes down to is the future, and the industry passing from a planning/regrouping phase into actively seeking “What’s Next?”.

I’m specifically curious what this means for Viz, whose CEO and parent-company are the primary investors/visionarries involved in this undertaking. Let’s face it, they’re so huge now that when you’re talking about the North American manga industry, you’re talking about Viz (publishers of Naruto, Bleach, and Pokemon, for those not in the know). For years I’ve been discussing whether or not “What’s Next?” in manga is going to be an aging demographic embracing more mature works… or if it’s just going to be 40 year old Naruto fans (mirroring the superhero comics industry). While they have continued to funnel new product into the all-consuming shonen/shojo machine, Viz seems to have clearly staked out the mature next steps, the seinen manga, the light novels, the more mature shoujo manga, the sci-fi fantasy novels. But they’re also importing larger parts of both Japanese youth culture and otaku culture. We’re getting more art books, we’re getting more Japanese movies, we’re getting more character goods. We’re getting online manga, for free, for audiences that could be entirely new to comics (or at the very least a part of the burgeoning literary/new mainstream graphic novel clique). Viz seems to be betting on a wider, wilder, more diverse manga industry (as part of a larger J-culture industry), and part of that is creating a cultural context for the material here in North America… that more than hardcore nerds are aware of. New People is clearly a massive leap in that direction.

But: NEW PEOPLE are deliberately eschewing the “otakuness” of otaku culture in an effort to present otaku culture to the mass market.

Viz, Shogakukan, all involved over there, they’re trying to create a mainstream cultural awareness of many different facets of Japanese culture, which (if successful) will make it much easier for them to import the thousands of more complicated, unique, challenging manga that they have access to through their Japanese parent companies. It’s a canny move from where I’m seeing, if it plays out right. To be honest, as a fan of complicated, unique, challenging manga I win no matter what.

It also looks like Viz just might be trying to move their fortunes out of the iron grip of the increasingly fickle thieves (“but I’m just sampling!”) that make up anime and manga fandom to… you know, ‘normal’ people. I just wonder when, or if, the hardcore nerds, the American Otaku, are going to revolt when their fandom is opened up to the general public… It already happens all the time on smaller scales, the fandom all watches pokemon, it gets too big, they hate pokemon and people who still like it are “Poketards”. Ditto Naruto, and it’s die-hard fans who are called “Narutards” by the otaku elite (you can tell they’re elite because they refer to anime with North American releases by their Japanese names).

I wonder how long it’ll be before, much like Nintendo hardcore fans (called “core gamers” in the lingo) before them, the American Otaku cry that the manga industry has abandoned them for the general public, where companies can make a fuckload of money for a tenth the effort of satisfying their often insane and frequently contradictory desires…?

Or has that editorial already been written?

Anyway, maybe it won’t go tits-up after all, no core-fans vs. casual-readers in Thunderdome.

Uniqlo is a popular Japanese clothing chain, it’s like the Japanese equivilent of The Gap (actually Uniqlo’s been eyeing buying The Gap for years now… anyway). Uniqlo has been doing a series of radical partnerships for the last few years, putting manga characters and art, and anime, and video games, onto t-shirts. Inexpensive t-shirts too, that ‘normal’ people are expected to buy and wear. They call the whole thing “Mega Culture”.

MEGA CULTURE. Parappa + Uniqlo = greater than the sum of their parts. The blending of introvert and extrovert culture.

Uniqlo’s got the big glass-fronted stores & they’ve got otaku culture all wrapped-up in them, in their lovely boutique-style store layouts. And they’re making money hand-over-fist. When I was visiting Japan, the recently released slate of Shonen Sunday Anniversary shirts had made a debut, and the Harajuku Uniqlo was actually hosting a gallery exhibition and mangaka signing, VIP invite only. I did not get in (LAME) but I did get to observe the normals, the average hip man-and-woman off the street, prowling the same t-shirt racks as obvious otaku, both finding common ground in a bitch’n Gundam Anniversary T or distressed Urusei Yatsura LUM women’s longsleeve. MEGA CULTURE.

So maybe that’s what we’re heading towards… a more seamless blend of nostalgia, youth, and introvert culture with the mass market. Maybe there’ll be friction between the established fans and those trying to spread/exploit that fandom. James Cameron’s NEON GENESIS EVANGELION probably won’t be worse than this summer’s G.I. Joe movie (how could it be?). Maybe not, and video game t-shirts goth-loli affectations will fade. But with the opening of a three-floor, culturally oriented shopping centre by a Japanese-owned American publisher with 15 years of experience in importing Japanese culture, one thing is for certain: the game has definitely changed.

– Chris