Page 1 INTERNATIONAL JOURNAL OF COMIC ART VOI. v13, NO

﹂
６ ” ”製
０ ≧ヽい ヽＯ Ｑ”≧ヽい ０ ﹁ ｎＯ ≧︺
ヽ≧Ч﹃ヽとヽ﹁ヽ
INTπ RNA7'ONAL′ OURNAL
OF COMIC ART
ヽ石
01.13,No。 2,Fa11 2011
くｏＦ Ｐい。Ｚο・ｐ・曖´
”〓 ●０︼“
An lndependent Publication
す
165
164
ThiS paper eXanlincs her carecr,bcginning、 vith a ncccssaw considCration of
lalaysia:An Approach
to lts Current Ⅱybridiけ
through the Career ofthe Sh可 O langaka Kaoru
langa in
thc histOric translllission ofJapancse inanga and rclated rncdia products to thc
chinesC― lalaysian community lt was this transmission that cstablishcd the
local audicnce which allowed a ncv/gcncratiOn of crcators with original
perSpCCtiVes tO ariSC An analysis Of this histOry suggcsts a nc、
Gan Sheuo】 三ul
v、 vay
of
looking at“ translnission''as a follll of apprOpriation fl・ om tlle outsidc rathcr
than a movemCnt that radiates fl・ om a ccntcr Finally,this papcr discusses
vhether rnanga― based conlics crcatcd by and for、 vomcn may seⅣ c as an opcn
、
l in Malaysia is Kaoru,a
One of the most prominent s力 ″ο 777α ″gα たα
young Chinesc― X/1alaysian artist、 vho uscs a Japancse pen namc and、 vh。
platfOrm for intcraction among thc complex cultural communities within
lalaysia
publishcs her、 vorks in the Malay languagc for a largely A/1alay audicncc stiH
atypical,thcse aspccts of Kaoru's work were unimaginablc in N/1alaysia a dc_
cade ago Kaom's、 vorks show an active fon■ of sclecting and transお rllling
The TransⅡ lission of Japanese langa:
Departure from Pirated TailⅣ anese Editions
diミtrcnt cultllral clclllents,or rnorc prccisely,dcmonstratc an altemative lom
of“ local identity"、 vithout an apparcnt“ local stylc''、 vhiCh is notcwOrthy in a
multicthnic socicけ such as Malaysia Fulthcrmorc,whcn Kaoltl's works arc
That the rnulticultural and multilingual rnix found in Malaysia has been
translatcd into English and Chincsc and cxportcd to Singaporc and China,hcr
divided by racc,rcligion,and education since thc countら /'S indepcndcncc in
1957,rnakes it an intcrcsting model for an examination ofthc transmission of
Japancse manga Rcvic、 ving thc dcvclopmcnt ofrnanga stylc in Malaysia re¨
‐
肘餞 ‐
￨
Chinesc cthnicity,but not hcr Malaysian nationaliw iS emphasizcd(Fig.1)
veals that thc usual idca of a translllission fl・olll thC Center to the periphc=y is
inappropriatc 2 Rathcr than a ccntral cultural source(Japan)cxpOrting a■
ifacts
for fbrcign consumption, it was thc forcign audience that sclcctcd what it
wanted frolll the sourcc and appropriated it for its own usc Historicaly,this
process of appropriation bcgan、 vith piratcd Chincsc-languagc versions of
Japancse manga from Taiwan that had been popular among the Chinese com―
サず′■．
ケ藉滲 ｔ
″′ ／● 一ク″ 〃 ′
munity inゝ /1alaysia sincc the 1980s,alongsidc otllcr Chinese― languagc conlics
Om Mainland China,HOng Iく ong,and Taiwan This distinctivc routc for thc
transmissiOn Of Japanesc manga to cOuntrics with Chinese― spcaking commu―
fl・
器謂憮)粘鵠鷺
胤駄 Ψ麟』
∫
騒
∫
Ъ怖器麗
l翼 野
1器 :胤 服
期寓∬
鼎淵∬
蹴[
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棚轄
軍ド
Ifl藷 MlII淋
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:11lJ[Ri:∬
i』
一
炒
liよ
111i∴ ::iT憲 冨聰鷹絲■::l kl:￨ム
li
l『 :1翼 :猟
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t r,I:hed
[職 :椰 島
研1職 聯
i椰 椰∬
y
co
t翼
胤1詳 ]駕
ぶ
織総
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iぶ鳥環
鴇 二∬ ∫
瀧
:l鷺 #麓 :許 胤
IJOCし 4 Fα 〃 2θ ′′
￨
ASCし 4,Fr/〃
2θ
′′
167
166
一
一一
穆
鰊
″
一
一
一
一
一
一
¨
μ
Sillgaporc and Hong Kong,whOSC drallla scrics produccd by TvB tind A、
itl
Tclcvision,1■ oviCS,and stars havc bCCn a part of cvcryday lifc liNr intll))N/1を
ト
′
laysian Chincsc sillcc thc 1 980s
颯
`‐
Within this languagc― cclltcrCd transmission of various lllcdia tぅ
Japancsc lllanga v/crc lound cspccially attractivc becausc ofthcil‐
1‐
()(ltlct、
、
ll1lilluc coll―
tclnporaneous scnsibilitics,nalTativc approaches,and drav〆 ing styics.、 vhich
C0111pared favorably to collliCS iolll othCr Countrics Thcir t(llcshncss''was
′
?/1ι ′
α′
7/1ι
αOr′ ″ ″/111`′ that
/ith Chillcsc′ ノ
cspccially visiblc whcn contrastcdヽ ハ
`α
`′
adaptcd、 vorks of classical litcrature such as「
/1り
/1`、 /ο
α″sブ ο″s Tllcsc
ル〆
α′
κ′
′
7g`fO′ 7バ ,and H D″ θ
"9/RC″
`77・
tradi
'/rl`/1“
Iケ
を、
r. f/′ ′
で
c.
onal itlcs wcrc O貴 cn
rccolanlllcndcd as constl‐ tlctivc readi1lg lllaterial bccausc oftllcil cし
1ltt11‐
al v〔 lluc
・
HOng Kong comics,on thc othcr hand,such as O/″ ル
rc′
2(I_a()Fu Zl)by
`ゞ
4ong Chak and r/1c cヵ プ
θ〃C′ 0(Chung― wah Ying hung)by Ma wing_
″ゞ
ヽ
ヽ
ハcrc
shing,3、 vcrC gcncrally poptllar、 vith childrcn and youlng adults bllt tllcy、 「
`ζ
c、
vic、 vcd
ncgativcly by many parcnts 4 0ther collliCSヽ Vitll philosophica1 0、
toncs or hul■ orous qualitics, such as thosc by Cai Zhi―
cl・
zhong alld Zhtt Dc―
yong liom Taiwan,havc cllloyed a ccrtain populanty among thc litcrati,but
ncvcr forillcd a mass audicncc Thcse carlicr Chincsc connics plcliarcd thC
ground liVr thc appropriation alld intcgration ofJapancsc rnangそ
l tllat grcldし Icllly
movcd bcyond thc basic Chinesc-languagc collncction of thc piratcd cditions、
sctting thc stagc for thc currcnt popularity of translatcd, as、
ハ
ls locally
/cil を
￨カ
Fig.2.T,vo pages from
D″ is″ た
“Ncw「 riends,'' an eight―
pagc short comic included in
but this location
10Cation
supposed to be Kuala Lumpu■
was not'(2008).The
made explicit
in theisillustrations(pp.34-35).O
Cempak 2011.
prodtlccd,rnanga
●
軌リブ″
ク′
“Ⅳ〔alaysia"in Offlcial
ledia and in``Ncbulous''Sl151o TⅥ anga
￨‐
￨￨ ,￨ ￨
多アタ￨
麟
驀樹I 涌 ‖
1椰 淵鱗i僣 業
轟‖
￨:′
`′
￨￨′
￨
￨
‐■
￨‖
lt‖ ぶT,咄 !Ⅷ l
Ⅷ喘露職襦訛片1棚 路
思∫
、
vcbsitc dcincs it as fbHov/s:
vhcrc a‖ thc colors, 1lavors、
Thcrc is ollly onc placc 、
Asia conlc togcthcr― ―A/1alaysia No othcr co
SOt口 1(lS alltl Sigl,tS tlド
raccs, Malay, Chincsc, Indian, plus various
1ltinlbcrs No、 vhcrc has such cxciting divcrsit〕
tions and custolllS,0ヾ cring lllyriad cxpcricncc
Asia'as Malaysia 'Malaysitl,Truly Asia'cap
ol｀
thc cottntry's t11liqし
lc divcrsity lt st111ls tlp
ol Malaysia that inakc it an cxccptiona1 lourist clcStinati()11・
wh‖
1′
:Lirih習
ll(11誕 窯
■:c翼 鮮
//2θ //
OCЧ ,晟 γ
1話
乳
il:1群 :￨∬
慧llsl‖ ‖下
翼
夢
co°
mた by K¨ lu ndidd in
1:[:ボ 古
Itiltttl∫ 11‖ 』
glyfttattin∬ ∬
∫
∫
品‖
思
情 1:11品 ″琴
ti:liltttlll:ISill∬
1ム
rlll湖 :1』 ‖
t出
富 li‖ ilLi:h:∬
:猟 ,1=IIPageS flol“ :訴 y,"an。 11:￨:hi∴
lピ
瞥 轟晨tttlttus｀ I鼎 肌l TTぜ
ill
満I
)lT跳 胤脱
‖
‖ さ
i彙
btthけ
]FttF:平
1・
lll°
′ノ
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14,√ ■γ
′
/2θ
/ノ
169
168
statcnlcnt for tourisllo Othcr、
that thc statc― o、vncd()il
/cll― lClloヽ Vn
adVCrtiscmcnts ol'tlnis killd al‐
c th(ぅ
and gas collapany PETRONAS tlsually sp01ns01、
aircd dul‐ illgllllorcCICbratiolls,such
、
c
bc
aslndCpcndcllcc Dayl Hari Raya Aidillll
thc CIhincsc Nc、 v Ycar and Dccpavali,thc festival oflights Thc c010「
■ons,sccnic localcs,andた
1。
stive atl■
l
c011lbilla_
oSphcre that arc juxtapOscd with cvcry
day lifc storics ofpcoplc ofdittfcrcllt cultural backgrounds arc vcry sclltilncn_
tal,yct、 cyc― catching
and lllorc in dcpth than those by thc Toし lrisn1 01hcc「
It gocs、 vithout saying that thesc lllcdia― constrtlctcd inlagcs Of N/1alaysia、
Onc aiincd at forcigners and thc other at nativc vic、 vcrs,havc difncrclll agcll_
｀
das Nonethcless,botll pr● cCt a dcsircd,idcalizcd multicthnic inlagc Ofヽ Maヽ
laysia''Evcn though tllcsc lllcdia prtDlcclons arc in coninual llux,thcy pr()_
vidc a contrasting backgrotlnd to tllc contclllporary vic、
/nlllanga
loulld ill most holllc― grOヽ ハ
v oft.c001 culttlrc｀
Kaom's、 vorks,lor cxalmplc.ustl[llly lack〔
'
1
dclllitc locality,hcr narrativc scttings ottcn being imaginativc and alllbigl10us
ln Dα
′
府 (■ rSt publishcd in Malay in 2005),whiCh iS Cxpliclly sctin Malay
おι
a's
capital Kuala Lumpur(commOnly known as KL),thc Cityscapc and clothing
strongly suggcst an illlagillaw KL that vagucly rcselllblcs Japan(Figs.2 and
3)ThcsC“ Japanesc''clcments arc blcndcd with local scnsibilitics,avoiding
riSqLl`faShion and othcr dcpictions that、 vould o∬Qnd thc llnOral standards o「
Fig.4. Frlο
r″
む σα/t″ Ao″ ド′ (2007:4-5).O Gelllpak 2011.
conccnlcd、 vitll ccnsorshipド
／′
・ ‐
■■■‐￨■
,￨■ ￨￨■
・ ■
lalaysian socicty,and thLIS illakillg this.(othcr''KL acccptablc to atlthoritics
暉
Kaoru in thc WIIalaysian Context:Achieving a Balance
betlⅣ een
Chinese and ⅣIalay Readers while Elllp10ying
Japanese langa¨ Style
1楼
the pOpular iPhOne cOnfirnls thc story as a contcmporary
fantasy Of an imaginary ヽFictOriall era (〕 Cenlpak 2011.
靭蹴:腸‖
〕
:}器 」
ll:n審 鴇
i総 〔
Rlllittil計 肛驚
よ
渚
賞黒誕
rノ
Fセ
'こ
′2θ ′′
IJ()(Ⅵ ,ノ
「
て lH ′7/′ 2/1//
``ノ
ニ
170
171
糧r配 蹴出膜鮮:驚意1就lttt雑 樅λ
肝糧ギ
は
Kao側 'S
pOpularity is atypical in that it is largcly based On suppolt fl・
om
lnlalc rcaders across thc cthnic spcctlum
Dcspitc thc colllpany's Malay name,Kaoru's publishcr Gcmpak startz is
owned by cthnicaHy Chillcsc Malaysians Gθ 771Pα たInagazillc,whOsc contcnts
avcragc 65 pcrccnt conlics,has a circulation of74,190 copics thrOughout Ma_
laysia(Alt Square Group,2010:without pagination)Fiiccll in_hOusc cOmics
altists(inCluding comics assistants)and 20 flcclanccrs cOntributc thcir wOrks
to the rnagazine on an il■
egular basis Kaoru has becn working forthc nlagazinc
鰯 躍
sincc 2000 and is now considcrcd thcir lcading sh● o manga artist To datc,
scrial
cOnlics cultures has shi■ cd their viewpointtowards thc lllcdium This younger
audicnce sceS COmiCS not only as a business,but as an cxciting mcdium of
young adults fOr expressing cmotions and lilbstylc.
SincC thC 1960s,thcrc has been a strongly contcl■
1,′
￨lil:`
`￨:!t,′
■′漱
￨1熊 ■
,″
:な
´
,′ ,″ .'tは :,■
,´
:
′
″
: 多
t=￨:,4,1タ リ
￨“
=み
￨′ ″￨￨す 舅
￨れ ,II,,11111 11tl l11 111:￨′
■
￨￨″
'￨, ,多 “
,■ ,t`解 ￨￨.雛
lporaw quality to thc
ねshiOn and dcsign clements in Jtapancsc manga,palticularly in shoJo or i―
male― orientatcd works ln Japanesc manga,there is a fastcr pacc of stylistic
`111■
:子 1=￨;`￨￨:,′
∬胤 獣
COlllpttrCd t0 1iterature and fllnl,thc younger gcncration's exposurc to various
volume book format, plus an cight_
es(Fig.6)Hcr latCSt work,■ 4α ブ
″ルイαプ ,is an Ongdng
"″
shc has publishcd four titles in a one―
volume manga sc
l品 電ll『 :I嘔 ::蜜:‖ 電鼻 f111∬li∬ :}1温 l蹴 鳳
changc COmpared to othcr comics availablc in Chincsc Whcn tccnagers in
￨:′ ￨.:
NIIalaysia colllpare the non―
Japancsc comics around them、 vith Japanese rnanga,
they ind a grcater a、vareness of curently popular intercsts and stylcs in thc
`1‐
latter,while the others appear to be variations on oldcr approachcs that have
been slow to cvolve Kaom's interestin crcating shao manga rolllance nalla―
i4'4″ ′
￨￨,11■
`
￨,多
:′
″
`
1141髯 ,''議 :1,■
,
4'″
`111t′
￨れ
,,:‐
″
tl′ 4■ ￨′ ￨￨れ ,1,●
{「
`,な
`411J`″
■
J:虎 ″́ ::
`機
,tl多
■
″
tives rcsponds to and beneflts flon■
名 ,1燿 数を
子ち11'''場
This tcndency can alsO bc obscⅣ cd in the work ofothcr Cθ 171pα たInaga―
zinc artists According to chief cditor Slaiunl,nonscnsica1/nonscnsc and hor―
:″ ￨
″ ル■ ザ
1甕
￨″
￨ラ
イ
￨￨′
″′
'■
:.
￨
￨● =,‐ ケ響
Юrtogcthcrwith romancc hmlthc magazine'sthrcc malor gcnrcs 13 Nonsensi
1熊
￨17″ ,議 ″ ■1,■ ,,■ :￨:「 11■ 11":
cal cOnlics by in― hOuse fcmale artists Nishiki and Ncko arc targeted at prinlaw
.
“
凛II′ イ
■,
￨`脅 ″11み
" IL彰
‐
`￨"率
ふ′￨れ r41,″ f"脅 ,11r
:′
彰1`″
:′
11′
11`'
,`=″
'′
誌
服儡惜
姉 [ly庶 ,嚇 :誦剛
尋計
=魃
sir[」 I縄 晰
尋ξ
鵠跳IF鞘 沼眠i訛 R薔 『躙駕ぶ曽
;
髄 櫛 墨鷲 1鷲翼飾 ン 鳳]I躙 辮器
′
11111お
′
'`′
.′
プ
￨イ ″
■′
￨プ ′,`
ZI:′
tタ
に
ィ
・
`=瑳
111′
→
lz
=議
タ
レ
,i彼
`ノ
11`凛
`″
:痛 ￨タ
:″
′
￨ ￨'あ
￨″ :‐
iみ
′
″‐
t,考
:観
:ヤ
議
l鷲
4,￨li
‐
咤:ル 111ち 考↓予
′́タイ
14,It″ :'1'■
￨■ 移=:′
:"1′
'￨`111111
″
■￨￨
14`1多 ■
`フ `￨￨‐
:ヽ
l舅
tな 111ケ ,':￨`,,112`1'r tl=1'1111:
",7,ι
`￨::7.
1´
'
:牢
l
=″
イ ￨“ ■ :`"′
:“
￨
￨￨,41■
:∫
′
:'t'レ
イ夕 ″,「 争
リ
ケ
″
・・
・
`=:`'1楊
“
￨￨力
look cool and
sophisticatcd
,￨■ ￨￨14,
￨′
this cmphasis on curentねshion Thc
audicncc feelsthcy can leam flonl hcr rnanga which inakes thcl■
,多 :ll`',レ :た ,`1● ,′ ,
::義 :″
3111夕
11
“
1,41,￨:￨,
■μ ,「・′
″
“
Fig 6 A list of Kaortl's mallga
〃 OCИ Fレ 〃 2θ ノ′
IJOCIИ ,Fα 〃 2θ ′′
͡
173
172
“Japan''for nlost ofher audicncc is an imagined spacc,rathcr an actual country
that can bc visitcd Prcciscly thcrcfore,JapanesC pen namcs are not likcly tO
囃 榊f∬織lIぱ ::ltW:irtti:l∬ l
∬1鷺「¶
1∬ ぶ
incct any clllotional dcnial ln an intervicヽ V,Nishiki colllments that hcr usc ofa
rcgard tO dCpiCtiOns ofromantic situations contributcs to thc appcal ofKaol■
Japancsc pen namc is mainly bccausc of the prcfercnccs of thc lllagazinc's
wOよ s
ilき
l's
target groups ln othcr、 vords,clilllinating thc Chincscncss of hcr givcn nalnc
can attract rcaders or rclax conccms prompted by local cthnic cOnccrns FOl_
lo、 ving
this logic,Iく aoltl chOSC to writc hcr lincs in
lalay frolal thc bcginning
and have a prooicader go ovcrthcnl,instead of、 vriting il](3hinesc and having
ittranslatcd by the company latcr lt dcservcs attcntion that Kaoru's wOrks arc
originally crcated in Malay and only latcr translated into Chincsc and English
Slaiul■ n
also spoke about thc proccss of editing out narativc clcmcnts、
パ
/hich
would appear too Chincse,and commcnts or jokes only undcrstandablc tO
ltists
Chincsc ハ、
as wcll arc cxtrcmely cautious to kcep thcir stories as cultur―
ally neutral as possible Whcn one flips through Kaoru's works,it is nOt diin―
cult to locatc places,signboards,or school unibrms which slightly l‐ cfcr t0
lalaysia Such associations creatc a scnse of familiarity without gcncrating
too strong a scnse oflocality
ativc
ln othcr words,cmploying Japancsc rnanga stylc and inlaginaw nal■
lalaysia
prOvidcs
vith
thc
rcality
of
settings that have apparcntly littlc to do、
a comfortable platforlll to cntcrtain diversc audicnces As a rcsult,rcadcrs lcam
littlc about the artist's distinctivc cultural background ln Kaoltl's fourth vol―
umc ofi表 ?″ οs Ecノ ″sθ ,thC f10nt covcr design cmploys Chincsc calligraphy in
the background,which is rarc and visually attractivc ltis noncthclcss obvious
thatthosc clcmcnts arc inercly decorativc withoutsuggesting any dcCperlllcan―
i盤
踊
s漁
蹴
灘
:￨∬ i瀧 iTR既
貯 譜 鳳 黒 讐 冊
:∬ :I∫ ::li]
Fig.7.Book cover of,α Js″ 力′(2008)that became
controversial becausc of its sexiness.()Gempak 2011.
Concluding Thoughts
■
30Ct4,fb//2θ ノノ
′,SC14 Frr′ ′2θ ノノ
175
174
´1lthough itis stin tOo s。 。
n
lalaysian altist,wh。
to knottЪ thc、ハ
/ork OfKaoru,a lnainstream fcmalc(]hinese
publishes in Malay,suggcsts that it rnay bc possiblc
and cvcntually cmbracc onc another's dil fercnces
h∝ cly識
,礼 程 [1肥 需 Л 胤『
謂:駅
I
∬
i獲驚灘i廿 鱗
墨I棚嚇思
衛要
Ofinqui[yヽ VhiCh arc ofconccrn to a global audicncc
「
詭
織 官∬
川 器
In hcr、 vork and that ofhcr compatriots,aspccts ofJapanesc rnanga culturc arc
uscd to crcatc imaginary placcs that providc a spacc、 vhich is rclativcly ti cc()f
thc cthnic tcnsions of everyday life This is signiflcant bccausc Malaysia's
colnplex situation can casily lead to a biascd rcading ofrccognizablc 10calitics
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As rnulticthnic coll1lllunitics arc incrcasingly bcconling thc nOrm arOund thc
Endnotes
world,the qucstion arises whcthcr Japancsc manga sサ le may ilnctiOn as a
cross― cthnic space for fan comlnunitics in countrics such as Francc,tllc unitcd
Statcs,and so on,as wcll
Thirdly,shclJo stylc manga wol・ lcs by crettors such as Kaoru prOvidc an
l The tCmls力 ″ο777α ″gα 肋 ,orshaO manga al■ ist,is widcly uscd in Malaysia,
espeCially among fans(bOth Chincsc and Malay)refcl■ ing to altists who adopt
cspccially cffcctivc way to rcach a cross― ethnic fcmale audicncc in N/1alaysia
mallga styL and thc sllolo gcnrc
Romancc and fashion sccm to be cspccially suitcd for thc crcation ofa fこ
2 1n this papcr,“ rnanga style''rcfcrs to thc so― cancd story l■langa as ftllned in
space,sincc thcsc stereotypical themcsお
lllalc
r girls havc thc potential()f casily
cscaping the attcntion ofrnalc authorities and ccnsors Fan productions、
vhich
Japan,While``colnics''is used as a gcncral tcrm br all solls of scqucntial
pictorial stow―tClling
are vcry close to BL― rclatcd dolinshiin Japan call bc found onlinc or at comics
3 A notc on thc order ofthe nalncs:Chincsc and Japancse names are given in
markets,and they suggcst that femalc manga culturc indccd cxists without
thc domestic ordcr,sumamc appcaring bcお rc givcn namc
dra、 ving
4 Thc criticism atthattime was directed attllc adult humOrin O′
llltlch oficial scrutiny ln regard to Malaysia,this calis fbr compari―
″ノ
イαsた ″2,as
luch ofthe resistancc,how―
sons betwccn thc cross ethnic popularity of shao inllucnccd comics and
、
vell as the violence found in Zみ
h/1alaysian collDics intluenccd by othcr genrcs of lllanga or by collliCS from
cver,camc fl・ om thc stereotypical conception ofpictorial sequential ai as cul―
other countrics
turany insigniflcant rnaterial for children Fulthcr inforlllation on thc ban on
`Chブ
/1asθ
Hc″ ο
Japancsc manga to attract local intcrcst, but thcsc aspects 1lavc not bccn
HongIく Ong cOnlics in 1970s Singaporc and Malaysia can bc found in John zヘ
Lel■ t,cd Pク
″ Dθ /Jlο ″s(1999)The cventllal acccptancc ofJapancsc manga by
pronlotcd by Japan Discussions ofintcrcultural translllission nccd to includC
many parents emcrgcd in concc■ with thc“ Look East Policy,''initiatcd by thc
this idca of appropriation which is quitc diffcrcnt fl・ on■ thc idca of ovcrscas
Malaysiall gOvcmmcntin 1981 The o面 cialintcllt was to lcam iom Japall(and
Finally,Kaolll's Malaysian comics rcveal hcr appropriation ofaspccts Of
promotion by Japan 15 1tis also di二
trent ti・
om thc idea ofcultural cxChangc as
Korea)in regttd tO nation― building.In this context,lllanga,although not con―
Malaysian contents arc not going to Japan As Japancse busincss intcrcsts
havc long sprcad throughout 2ヽ sia sccking consumcrs for Japallcsc productS
獣
and establishing ovcrseas oficcs and factorics for Japancse colllpaniCS,thCrc
has been a tcndcncy to vicw thc popularitv of Japancse l13anga stylC as s0111C―
′
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177
176
″′κα″ ″ WCrC COnSidCrcd prc」 udicial tO public ordcr
′
クノsプ αand Pθ たDα ′
“ thc Printing “
and banned undcr
PressCS alld Publicationsノ ヘct(PPPA)In this
instance, Zunar's cartoons that rcVCaled a speciic locality and cOnfrOntcd
firi沈 鸞
11
鷺」
難
authorities、 vith his caricatures unavoidably faced closc exanlinati01l by thc
govcmment
9 Gθ 777Pα
たiS a bi― nlonthly h/1alay― languagc information magazine laullched in
1998 and also thc abbrcviated name ofitS publisher Gcmpak Staltz,、 vhO、 vas
the irst comics publisher in
lalaysia to employ li11ltime in― hOusc altists and
prOvidc thcm with a rnonthly salary,as wcll as additional bonus Gθ
J椰鄭
繹囃1舘
牌鷲貫
盤茸
17基織
恵
than by cultural expollation
″ち
υαたalsO
activcly rccrtlits ncwcomcrs iolll tillllc to timc as comics assistants、 vitll thc
llcdged comics altists Gθ ′
フ
talcnted ones gradually being upgradcd to lilll―
ψα
References
/t
is undcr thc lnanagcment ofthcノ ヘ■ Square Group,、 vhich also lnanages cight
othcr inagazines printed in
lalay,English,and Chinese and is said tO be Onc Of
thc largest and most pr01iic publishers of colllics and infotainmcnt―
rclatcd
1l Square Group consists ofノ ヽrt Squarc
materials in Malaysia today Thc´ 、
Creation Sdn Bhd,Alllung Taipan Sdn Bhd,Gala Unggul Resourccs Sdn Bhd,
and Gcmpalt Startz Sdn Bhd.A Singapore branch callcd A■ Squarc Crcation(s)
Pte Ltd、vas cstablishcd in 2008
10 Kaoltl's favorite lnangaka include rclativcly unconvcntional altists such as
Ono Natsume and Yoshinaga Fumi Kaoコ ■also notcd thatlnoue Takchiko had
憫殷驚l糧 轟肌理1濯冊:I
l驚
Ⅷh‖
謂 紺亀
I」
and httd to undcrstand''(PopCOm,2009:without pagination)
Ai SquarC Group 2010 Pamphlct on publication profllcs and advcrtiscmcnt
ratcs
Bch,Hartlllli 2003“ Globalization Thco7■ om tllC Bo■ omUp:Japall's Contri―
bution"υ ttψ α″
“`Sr17清 `s23(1):3-22
Kaorll,Neko,Nishiki,Slailllll.2010 Unpublishcd intcn/icws and group discus―
sion with Cran Sheuo Hui,Bandar Tasik Selatan,Ktlala Lulllpur,Ma―
laysia,Dec.23
Lent,Jollll A 1999.``Conlics Con仕 oversics al■ d Codcsi Rcvcrbcrationsin Asia"
′
た
In Pν ″ Dθ 7790′ S 177′ θ′
κα′
ブ
0″ α′D′ 777θ ″
Sプ 0″ S9/」/1θ Pο SFltα ″И刀
C0771ブ の Cα 771pα ブ
,η ,edited by John A Lent,pp.179-214 NJ:Fairlcigh
Dickinson University Press
1l Personal inten/ie、 v with Slaiunl,thc chief cditor of Gθ ″′αた,and the feinlale
Lcnt,John A 2010.“ Mangain East Asia"Inル 4α んgα ИηИ″r/7ο わν げ G′ οろα′
[鮮:[難
蠍 錨轟警
撚瑕茸滸
鯨
jl濃
α77″ C″ ルタ″
α′Pθ rspθ ε′
ノ
νas,edited by Toni Johnson― Woods,pp
314.Ncv√ York:Continullm.
棺
#慧
re
試
}:lttic脚 ∝
鴛
Ⅷふ l稔縄
計
漁 ぶ柵里
lξ
297-
Lim,Cheng TJu.“ Lcst Wc Forgct:Thc lmpoltancc ofHistow in Singaporc alld
Malaysia Conlics Stlldies''In C′ οbα ノMa″ yS′ 17″ ′
as 1/a′ ′
r Cο /77JCS
″b′ ′
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s■ 力ο7r7パ カ″ ο′αG′ οわα′
“
α′
θ,cditcd by Jaqucline “
Bcmdt,pp 187-199
Kyotol lntemational
Sc・
Malaga Rcscarch Ccntcr
Zint(a male comics allist)is quitc popular as wcll
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178
179
1ccturcr in the Manga Faculty at lく yoto Seika Univcrsity and a rcsearchcr fOr
thc Japan Subculmre sttldics.Her rcscarch intcrcsts include thc intcr_disci_
plinary conncctions betwecn manga,anilne,and livc― action ilms Shc is alsO
cxploring cOnncctiOns tO Japancse rnanga and anilllc in the works Ofsoutheast
Wolllen“ Using langa tO Tell Local Stories":
Aミ、rkshop On the``Glocality"
of langa in sOutheast Asia
Asian altists She has prcscntcd papers on her rescarch in Japan, Canada,
Unitcd Kingdonl,Greccc,Soutll Korca,Tai、 van,and Singapore
Angela
10reno Acosta
Mangat has gained an imprcssive amount of popularity in thc Unitcd
StatCS and Europe,palticularly among young women and girls For somc of
thcsc womcn and girls,whosc only intcraction with conlics had been、 vith the
malc― dominatcd worlds of supcrhcro collliCS, it was the flrst tilne they
cncountercd v/orks that offcrcd a fcmalc pcrspcctivc This experience
cncouragcd inany to aspirc to bc profcssionals in thc conlics busincss,Inany
Ofthcm hoping to work spcciflcally inthc mangaindustw Lcaming ofwomcn
in Japan who had flourishing carccrs madc thclll rcalizc that comics wcrc
dcflnitely not a``boys only club''The sprcad ofrnanga's inllucncc ovcrscas,
among female readers in particulat and the subsequent rise of womcn as
manga artists was precisely what the conference“
Women's Manga beyond
Japani Contcmporary Comics as Cultural Crossroads in Asia"(National
Univcrsity of Singaporc,Fcbrtlaw 20H)wiShCd to addrcss As part of this
contrcncc,a、 vorkshop titlcd“ Using Manga to Tcll Local Storics''was hcld,
in orderto explore manga's“ glocaliサ "(apOrtmalltcau of“ global''alld“ local''),
or more precisely.the ways in which manga as a cultural product that is
consumcd on a global scale,is appropriated and used by altists on a local
scalc ln an attcmpt to dclvc into this, as、 vell as the issue of、 vomen's
authorship,、ve held a panel discussion、 vith flvc invited female conlics altists,
wherc linteⅣ icwed them(■ rstin tum,later as a group)On stage in fl・ ont ofthc
prcscntcrs and gucsts ofthc confcrcncc 2 Thc f。 1lo、 ving is a report ofthosc
intcllriews,discussions and flndings
``Glocality"of
langa
Up to now,most of the research on manga's globalization has bcen
focuscdmainly onrcadcrs andthcirfandoms 3 1fthc altistsbccollac tlle suoject
of rescarch,critics often point out ho、 v their inanga are global but not rcally
localin tems ofcontents.This bccamc cvidcnt、 vhcn in Dcccmber 2009,atthe
lStlntcrnational Conircncc on conlics and inanga at the Iく
yoto lntemational
Mallga Muscum,comics c
tic Lim Cheng T」 u4spOke abouttllc currcnt situation
in Singapore and Malaysia,strcssing the impoltancc ofhistorical referencc in
regards to contents He argued that、 vithout a sensc ofhisto■ y,thc work loses
its rclation to social rcality,as``we arc prbducts Of our own expcricncc and
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