Tag Archives: Red Hot Chili Samurai

My San Diego Comic-Con 2010: Part 1

Wow, Comic-Con was a blast! I was trying to think of any complaints, but I honestly could not think of any that were actually con-related other than my poor aching feet, which I rested today. I only got to stay through part of Saturday, but I got a lot packed in. Here’s the highlights of what I did:

Preview Night: My night was a little relaxed. I met up with friends at the hotel, got our badges, headed into the dealers hall and bought things that people wanted me to buy before heading out to dinner. In more exciting news than what I ate for dinner, Vertical Inc. announced their license of Lychee Light Club by Usamaru Furuya. If you remember that name, CMX was set to license Furuya’s 51 Ways to Save Her before their sad and sudden closure and Viz has licensed Furuya’s Genkaku Picasso.

Thursday: I started my day with Top Shelf’s Manga For Grownups: Gekiga, Garo, Ax and the alternative manga revolution panel. Comic book writer Sean Michael Wilson and manga scholar Ryan Holmberg led the panel along with Top Shelf’s Leigh Walton. They talked about the beginnings of gekiga back in the 1950’s as an alternative to manga (in other words, the word gekiga replaces the word manga) and how this lead to the famous alternative manga mag Garo and it’s replacement Ax, an English version of which is out this month by Top Shelf. (Here’s my review.) They were also pleased to announce Cigarette Girl by Masahiko Matsumoto will be released by Top Shelf sometime in 2011.

A little while later, I stopped by the Fantagraphics booth to get my copy of A Drunken Dream signed by Moto Hagio. It has to be the most beautiful book I’ve bought in the last few years and I haven’t even gotten a chance to really read it yet. Please, please, please buy this book and let it be known to publishers that we want this kind of quality and these kinds of amazing mangaka on our bookshelves!

Next came the Best and Worst of Manga panel, led by Tom Spurgeon of The Comics Reporter. The panel was a fantastic splash of excellent manga, god-awful manga (including one I worked on, Red Hot Chili Samurai *sob*) and a wishlist of manga the panelists would love to see. (And later in the con, there was wish fulfillment!)+ Unfortunately I was too busy being a fan girl to remember everyone on the panel or take notes, but the panelists included Deb Aoki of About.com, editor Shaenon Garrity of Viz and Jason Thompson of Suvudu.com. It was an excellent panel that filled the room instantly, so if you plan to go next year (which I recommend) make sure you get their early and hopefully it will be in a much larger room. EDIT: Here’s the list of the best and worst manga of this year in it’s entirety.

Right afterward was the Lost in Translation panel run by freelance translator and former Viz editor-in-chief William Flanagan. Panelists included Shaenon Garrity and Jason Thompson again, as well as many other manga industry freelancers. They opened up the floor to questions and gave a lot of helpful advice to people looking to break into the industry and opinions on the future of the industry, translating and scanlations.

That night I attended an anime and manga blogger meet-up at Analog Bar where I did way too much karaoke with Gia Manry of ANN and met awesome people such as Vertical Inc.’s Ed Chavez. If you want to get up close and personal with manga industry people, being a blogger helps a lot!

For brevity, I’m going to stop here and continue on my experiences at SDCC tomorrow. There’s just too much to put in one post!

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My Life as a (Rookie) Editor: My Collected Works

Manga blogger Ed Sizemore of Manga Worth Reading recently suggested that I re-do my banner to include manga that I’m credited for.

There’s only one problem…

It would look like this:

Red Hot Chili Samurai

"ALL BY MYSEEEEEEELLLLLFFFFF~~~~~~"

See, there’s only two three manga out there (so far) with my name on it. This is the only one I own.

The other manga is Gakuen Alice vol. 9 and Your & My Secret vol. 5 if you’re wondering.

The reason for this is actually quite simple. People at TOKYOPOP kept handing me BLU stuff and asking: “You like boys’ love, don’t you?” (Answer: “I don’t mind it.”; Translation: “I am lowly intern scum, so I’m going to say yes regardless of whatever I REALLY think about it.”) So I kept editing BLU titles and the thing about BLU titles is that NO ONE LIKES TO ADMIT THEY WORKED ON THEM. Don’t believe me? Grab the closest BLU title, flip to the back of the book, find the credits page and look for the names of the English-language staff.

Now, there’s nothing wrong with not wanting to admit to being responsible some of the shounen-ai and yaoi that’s been put out (whether from BLU or other companies), but I kind of sort of feel like I should get some credit for copy-editing Madness. (I worked on both volumes of the series, actually.) That title came back from the letterers so full of errors that I went back multiple times just to make sure I didn’t miss anything. On top of that, the art style is very tone-heavy, so it was pain to mark all of the really really darkened panels. As hard as I worked on it though, there’s no way I want to be associated with some of the funky stuff that goes down in Madness, so I guess that I’ll stop whining about it.

If you’re interested here are some of the volumes that should have my name somewhere in them:

April-

Fruits Basket Fanbook: Banquet (4/27)

Battle Vixens 15 (4/27)

June-

Gravitation Collection 5 (6/1)

Fruits Basket Ultimate Edition 5 (6/1)

Sgt. Frog 19 (6/29)

July-

Zone-00 4

August-

Genju no Seiza 8

I hope you enjoy them all and I hope I get to fill my bookshelf with awesome titles that I’ve worked on someday!

P.S. I don’t REALLY hate working on yaoi or shonen-ai, I just dislike the assumption that because I’m a female manga fan, I must be an obsessive yaoi fangirl. All that really happened was that I got asked “you like boys’ love, right?” a lot while interning at TOKYOPOP and it kind of became something I privately giggled about. Plus, through editing so much yaoi manga, I became that much more familiar with it’s tropes and whatnot. I can speak about it with a lot more confidence now and that’s good for a lot of things! Also, in comparison to Madness, copy-editing the Fruits Basket Fanbook was a lot harder!

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