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    Scanlation

    From Wikipedia, the free encyclopedia


    Scanlation (also scanslation) is the fan-made scanning, translation, and editing of comics from a language into another language. Scanlation is done as an amateur work and is nearly always done without express permission from the copyright holder. The word "scanlation" is a portmanteau of the words scan and translation. The term is mainly used for Japanese manga, although it also exists for other national traditions on a lesser scale. Scanlations may be viewed at websites or as sets of image files downloaded via the Internet.
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    History[edit]

    Frederik Schodt describes having "dreamed of [manga translation] as far back as 1970 or 1971" . Subsequently, Schodt, Jared Cook, Shinji Sakamoto, and Midori Ueda formed a group named Dadakai. Schodt referred to Dakadai as "really the beginning of manga translation", however described these efforts as "way too early" because they could not get anything published.[1] One of the manga Dadaki licensed was Osamu Tezuka's manga titled "Phoenix", and the translation was later published by Viz Media from 2002 to 2008.[1][2] The amateur press association (APA) was the first formally organized form of manga scanlation.[citation needed] Their major period of activity occurred during the late 1970s through the early 90's.[citation needed] Scanlation groups began forming in Europe before the United States translating into their respective languages; the largest of which was the French.[3]
    Parallel to the increasing growth of the Internet in the late 1990s, people increasingly began to translate manga scripts, soon after which groups began editing those translated scripts onto manga scans. Initially scanlations were distributed using mail, CDs, and emails within anime clubs.[4] By 1998, many free hosting services such as Geocities and Angelfire hosted scanlations, and eventually scanlators congregated to form an IRC channel named #mangascans. In 2000, organized scanlation groups began to emerge.[5] The majority of scanlation groups seemed to uphold an unspoken agreement between them and manga publishers; that when a series is officially licensed, scanlators are expected to police themselves. For instance, when Viz licensed three of the most popular series that Toriyama’s World was scanlating, the website took their scanlations offline.[6] To help kickstart the initial publication of Shounen Jump, Viz Media partnered with several scanlation groups including Toriyama's World to promote the magazine and subsequently received a cut of the revenue through Viz's affiliate program.[7][8]
    Process[edit]

    Scanlation is usually done by a group of fans who collaborate through the internet. Many scanlators actively communicate with each other, even with those of other groups, some even belonging to several groups at once; others choose to avoid communication completely. One former scanlator, by the pseudonym Stephen, noted that scanlators often fall into three types of cliques: those who belong to prestigious 'old guard' groups that have been active for several years, to newer groups that established themselves through hard work, and to fringe groups that attempt to undercut other groups attempting to best them via larger download count. Much stigma exists between the old and new. Stephen stated that Old Guard consider newer groups as "trend- or fame-whores" and thus choose to work on series that have more cultural or artistic significance whereas newer groups consider the Old Guard bitter losers who are no longer popular and tend to work on the more popular titles.[9] Many groups have their own webpage as well as an IRC channel. IRC (Internet Relay Chat) is an important part of the community aspect, as they allow for real-time interaction between the group staff and the target audience. IRC also allows the groups to recruit new staff.[citation needed]
    Much like their earlier predecessors, the anime fansub community, scanlators tend to organize into groups and divide the labor amongst themselves. The first step in scanlation is to obtain the "raws" or the original content in print form, then to scan and send the images to the translator and the cleaner. The translator reads original text from the raws and translates into the desired language of release then sends the translated text to a proof-reader to check for accuracy. The cleaner removes the original text, corrects blemishes that arose from scanning, adjusts brightness and contrast levels so that the finished product looks like officially published volumes, etc.[9][10] The typesetter then takes the translated text and places it into the 'cleaned' raw, making the translated texts fit in the dialogue boxes and selecting appropriate fonts for effect such as emphasis.[11] Finally the translated, typeset manga is sent to the scanlation group's quality controller who copyedits the final product before releasing it to the websites that it will be viewed or downloaded from.[10]
    Scanlation groups primarily make their releases available through IRC. However nearly all scanlations on offer are available through BitTorrent links or direct HTTP download links. The vast amount of manga released and multitude of scanlation groups, each with their own individual sites and methods of distribution, sometimes even competing scanlations of the same manga, gave rise to sites such as Manganews that specialize in tracking and linking these releases.[12] These downloadable files sometimes are formatted as cbz or cbr files. Jake T. Forbes, a manga editor and columnist, stated at a Comic-Con 2010 panel that recently scanlation aggregator sites that offer many different titles all in one place have recently become part of the distribution process.[13]
    Motivations and ethics[edit]

    While early official translations of manga focused on localizing the manga to an Anglophone culture, scanlations retained the cultural differences, for example, leaving in forms of address, romanizing sound effects and onomatopoeia instead of translating them, and providing the manga unflipped.[14] This minimalist approach to translation has been referred to as "enculturation". Sound effects can also be left untranslated in scanlations, creating an evocative Japanese atmosphere. The reader can often guess the meaning of the sound effects from the context or lettering choices.[15]
    Fans are often quite unhappy with the translation industry for various reasons. Patrick Macias, a columnist for The Japan Times Weekly described fans, "addicted to page-turning narratives", as impatient with "agonizingly" slow pace at which official translations are released.[6] Douglass, Huber and Manovich say that enthusiasm by fans about a particular series, coupled with delays in official translations led to the formation of scanlation groups.[16] Scanlators say that they scanlate to promote the series or the author in their own language, but Hope Donovan suggests that the scanlator's goal is more along the lines of "self-promotion", and argues that it is prestigious for a scanlator to have many fans.[17]
    As many titles do not get licensed in most countries, or licensed in any foreign country and scanlation groups allow a much wider audience access to the content. The owner of the now defunct Manga hosting site Ignition-One, Johnathan, stated that "The entire reason I joined the scanlations community is to promote manga that I was interested in and, coincidentally, that no one else would translate."[6] Also this practice is common for some manga discontinued due to lack of popularity or sales in the target area.
    In other cases, scanlation groups are formed to get around perceived or actual censorship in the official translation or in the decision to obtain the series license. "Caterpillar" of former Caterpillar's Nest scanlation group, in reference to erotic content that his group released, stated that "I started doing scanlations because I wanted to read certain manga and I knew they didn't stand a snowflake's chance in hell of ever getting an official English translation."[6] In the yaoi fandom, commercially published explicit titles are often restricted to readers aged 18 or above, and there is a tendency for booksellers to stock BL, but also insist that more of it is shrink-wrapped and labeled for adult readers.[18]Andrea Wood has suggested that teenage yaoi fans seek out more explicit titles using scanlations.[19]
    The quality of commercial offerings is a common complaint.[17] Localization is also a common complaint among supporters of scanlations. Commercial releases often have titles, names, puns, and cultural references changed to make more sense to their target audience. The act of horizontally 'flipping' the pages of commercial releases has also received criticism from fans of manga. The reason for this change is that manga panels are arranged from right to left, while the panels in Western comics are arranged from left to right. However, due to large-scale fan complaints that this 'flipping' has changed the finished product from the original (e.g. A flipped manga image will keep the speech translations legible, while any graphics such as the wording on clothes or buildings will be reversed and confusing), this practice has largely diminished.
    The cost and speed of commercial releases remains an issue with some fans. Imported comics from the original countries' markets sometimes cost less than the commercially released version, despite the high cost of shipping. Despite weekly or monthly serialized releases in the country of origin, translated editions often take longer to release due to the necessity of translating and repackaging the product before release.
    A more recent phenomenon amongst scanlation readers is the emergence of Ereaders. Software such as Mangle allows users to more easily read scanlations on their Amazon Kindle. Since most scanlations are distributed as a series of images, many e-book readers already have the capability to read scanlations without additional software. Most, if not all, manga is not released in a digital format that is compatible with e-book readers, so downloading scanlations is the only way to do this.
    Legal action[edit]

    Scanlations are often viewed by fans as the only way to read comics that have not been licensed for release in their area.[10] However, according to international copyright law, such as the Berne Convention, scanlations are illegal.[20]
    According to a 2009 study conducted by Lee Hye-Kyung of the University of London, Japanese publishers felt that scanlation was "an overseas phenomenon", and no "coordinated action" had taken place against scanlation. Lee stated that a possible explanation for some of the lack of legal action is that scanlation groups always make sure to buy an original copy of the work and generally stop scanlating should the work become licensed.[10]
    Historically, copyright holders have not requested scanlators to stop distribution before a work is licensed in the translated language. Thus, scanlators usually feel it is relatively 'safe' to scanlate series which have not been commercially released in their country. Steve Kleckner, a former VP of sales for Tokyopop, stated that "Frankly, I find it kind of flattering, not threatening... To be honest, I believe that if the music industry had used downloading and file sharing properly, it would have increased their business, not eaten into it."[21] However, this view is not necessarily shared among the industry, as some Japanese publishers have threatened scanlation groups with legal action. Since the 1990s, publishers have sent cease and desist letters to various scanlation groups and websites.[22]
    Due to manga's popularity steadily increasing in the overseas market, copyright holders felt that scanlators were intruding on their sales and in 2010, a group of 36 Japanese publishers and a number of US publishers banded together to form the Manga Multi-national Anti-Piracy Coalition to "combat" illegal scanlations, especially mentioning scanlation aggregator websites. They have threatened to take legal action against at least thirty, unnamed websites.[23][24] The coalition has achieved some degree of success. The scanlation aggregator site OneManga, ranked 935 in the entire internet in May 2010 according to a Google listing and top 300 in the United States,[24][25] announced its closure in July 2010 due to their respect towards the displeasure expressed by the publishers, while OneManga officially shut down its online reader in August, 2010.[26]
    Some scanlations leak before the manga is even published in the Japanese weekly magazines.[27] As of April 2014, the Japanese government was looking into amending copyright law to more effectively target translated scans.[28] A 2014 estimate was that lost revenue from scanlations amounted to "560 billion yen per year in only four major cities in China".[29]
    Reception[edit]

    Patrick Macias wrote for The Japan Times that there seems to be an unspoken agreement between scanlators and publishers; once a series obtains an English-language license, English-language scanlators are expected to police themselves.[6] Most groups view the act of scanlation as treading upon a 'gray area' of legality.[citation needed]Johnathan, owner of the now defunct scanlation sharing site Ignition-One, acknowledged that scanlations are illegal no matter what scanlation groups might say, however unlike the manner in which the advent of the MP3 format marked the age of sharing music that harmed the music industry, he believed that scanlating manga in contrast encouraged domestic publishers to license manga.[6]
    Jake T. Forbes, an editor and columnist, criticized the work that scanlation groups in that they in no way are in "legal grey area" and are blatant copyright infringement. He further criticized the community for lacking the right and qualifications to know whether or not scanlation is positive or negative for the industry and the harm it caused, emphasizing the simple truth that the scanlation community is "not" the industry. He describes the current fandom as taking "unfettered" access to copyrighted works "for granted" due to advent of torrents and scanlations.[30]
    Jason Thompson, a freelance editor with deep involvement in the manga industry, stated that although manga companies never mention them, they have placed paying increasing amounts of attention towards scanlations as a means of gauging a title's popularity and the presence of a fanbase.[6] Some licensing companies, such as Del Rey Manga, Tokyopop, and Viz Media, have used the response to various scanlations as a factor in deciding which manga to license for translation and commercial release.[21] Steve Kleckner, former VP of sales for Tokyopop, stated that "hey, if you get 2,000 fans saying they want a book you've never heard of, well, you gotta go out and get it."[21] Toren Smith, a translator, feels differently stating that, "I know from talking to many folks in the industry that scanlations DO have a negative effect. Many books that are on the tipping point will never be legally published because of scanlations."[31]
    Johanna Draper Carlson says that some readers of scanlations do not wish to spend money, or that they have limited mobility or funds, or that they are choosy about which series they wish to follow. Carlson feels that the readers of scanlations "do not care" that scanlations are illegal.[32] Forbes describes the cost of keeping up with new manga as "astronomical", stating that "fans expecting to read any manga they want for free isn’t reasonable, but neither is it reasonable to expect your audience to pay hundreds or thousands of dollars a year to stay up to date with content that their Japanese kindred spirits can get for a quarter the cost."[30]
    Forbes urged the scanlation community to instead of directing their energies towards providing original, creative content as oppose to infringing on copyright laws. He addressed the fandom's criticism of the lack of quality in official stating that it should manifest as discussion. In regards to bridging the gap between cultures, he mentioned translating what Japanese bloggers have to say. Finally he addressed the desire for fame side of the scanlation community by stating that they should try their hand in creating fanart instead of placing their name on an unofficial translation of copyrighted material.[30]
    During a panel on digital piracy in Comic-Con 2010, the comic and music critic and writer for Techland, Douglas Wolk, expressed concern in response to the actions of Manga Multi-national Anti-Piracy Coalition stating that he had seen the music industry "destroy" itself by "alienating its most enthusiastic customer base" in attempts to fight piracy. Forbes, also a panelist, agreed criticizing publishers for this direct retaliation; Forbes stated that publishers were not realizing that consumers wanted large amount of content so they could browse rather than picking and choosing individual items. Deb Aoki, planist and Manga editor for About.com, stated that this was exactly what scanlation aggregator sites provided consumers. Forbes highlighted that until recently scanlations were not problematic; however aggregator sites having been appearing that put scanlations much more readily and easily accessible that run like business function off of ad revenue while the artist and scanlation groups received nothing.[13]




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    All Might vs. Superman: How Our Heroes Are Different

    by Nik Freeman, Apr 29th 2016

    Superheroes are extremely popular right now. Regardless of how you feel about the trend of a new comic-based movie or television series premiering every five minutes, it's undeniable that cape-wearing do-gooders currently dominate pop culture. One of the latest products from this genre is My Hero Academia, an anime based off the Weekly Shonen Jump manga by Kōhei Horikoshi. My Hero comes fresh on the heels of another popular superhero anime, One-Punch Man, which debuted just six months prior to very enthusiastic reception.
    Despite both running in the English version of Weekly Shonen Jump, the two superhero series couldn't be more different. My Hero Academia centers on a group of teenagers who attend a special academy to learn about being superheroes by using their special abilities. It's everything you might expect from a Shonen Jump adventure series - lots of action focus with regular moments of comic relief and a generally optimistic tone. The protagonist, Izuku Midoriya, is friendly, hard-working, and always willing to throw himself into danger to protect those who need his help. Like many Jump series, the plot is focused on its young protagonist's pursuit of his dreams.
    One-Punch Man, on the other hand, is a parody of superhero comics. It's focused even more on action and humor than My Hero, but its humor has a cynical tone. Superheroes spend just as much time jockeying for position amongst themselves as they do combating threats to the city. The protagonist, Saitama, is very open about his ambivalence toward protecting the innocent, he just wanted to become a superhero for personal thrills, and he even tends to get bored of heroism a lot of the time. The humor mostly comes from his indifference toward titanic threats and the ease with which he dispatches them. In short, Saitama is just as apathetic about his superhero role as Izuku is passionate about it.
    However, despite their giant differences in terms of tone and outlook, My Hero Academia and One-Punch Man share many elements of worldbuilding. In both stories, superheroes are a regular part of life. Many gain celebrity status through their heroic acts and use it to acquire fortune and fame. Each series features a massive organization dedicated to registering superheroes and regulating their activity, which even includes assigning ranks to heroes based on their strength and accomplishments. Both organizations also grant heroes their official names - My Hero allows heroes to choose, and One-Punch Man forcibly assigns them. Before joining these organizations, prospective heroes need to prove themselves worthy of being licensed professionals. In My Hero, the hero-training high school U.A. instructs students on how to master their abilities and handle public life as a superhero in general. In One-Punch Man, the process is not quite so rigorous, but prospective heroes must still pass an exam to prove they are physically and mentally capable of handling super-duties.
    It's interesting that these two series have such different approaches to the superhero genre, but still share this core element, because the idea of any governing body regulating superhero activity has been the center of conflict in many recent American superhero works. In the latest DC movie Batman vs Superman: Dawn of Justice, Batman does not trust Superman, believing he will not always use his powers in humanity's best interest, while Superman distrusts Batman's flagrant disregard for the law in his own actions. The tension behind their different views on how each other's powers should be controlled eventually erupts into combat. The new Marvel film Captain America: Civil War explicitly features the Avengers being split into two factions because some of their members support government oversight and others oppose it. Now I'm simplifying the premise of both films by leaving out the specific and personal details behind each hero's catalyst for war, but both share the same philosophical differences between main characters. In both cases, the ultimate hook is that two popular heroes will fight each other, prompting moviegoers to pick sides in their battle.
    But in the two hit Japanese superhero series, this matter of regulation is treated completely differently. It's simply an accepted part of the setting, and characters who do not submit to this regulation are paid little to no respect. In One-Punch Man, heroes who fail an official registration are treated as delusional lunatics, even if they successfully save the world multiple times. Saitama decides to get registered despite not caring if he receives glory for his actions - he simply goes along with the process because it's part of being a true hero in Japan. There is a conflict in My Hero Academia over the matter of superhero regulation, as an alliance of villains rises up in opposition to how superheroes are restricted by the law. But this conflict is very different from those portrayed by Marvel and DC. In American superhero stories, the faces of anti-regulation are Superman and Captain America, two of the strongest symbols of good in superhero history. In My Hero Academia, the face of anti-regulation looks like this:
    So while American superheroes debate whether or not a commission of overseers should have a say in their actions, Japanese superheroes seem to be in agreement that they should be regulated and anyone opposed to that is crazy. Unsurprisingly, if you pose a similar real-life equivalent of that question to the same two groups, they'll likely react in similar ways. As many have observed before me, superheroes are akin to modern-day Greek gods. Despite being superhuman, many of their attitudes and conflicts reflect their creators' real-life culture. Superheroes reflect the values and hopes of the world they originate from, while supervillains represent their fears and insecurities. Sometimes the real-life meaning represented by superhero metaphors can even change over time - anti-mutant prejudice in Marvel Comics has been a story element for decades, and as times have changed, it has been used as an allegory for racism, homophobia, and basically every form of bigotry in an evolving world. Even characters and storylines that are not deliberately symbolic are often influenced by the beliefs of their creators.
    So whatever laws you would theoretically put in place to define what a superhero can and cannot do might also reflect your opinion of when it is appropriate to use extreme or deadly force to resolve conflict. When should Izuku, Saitama, Superman, and Captain America be permitted to use their superhuman strength, and how much force should they be allowed to use? What checks and balances should be in place to ensure that they use their powers responsibly? What conditions would disqualify them from being allowed to use their powers? Should benevolent heroes be allowed more freedom to use their powers for good, or would trusting them too much create a threat to people's safety? Obviously, there are no real-life examples of superhero laws to answer these questions. But if you instead consider how the United States and Japan have approached gun control laws, you start to get an idea of why DC/Marvel superheroes and Shonen Jump superheroes exist in such different settings.
    The USA and Japan are about as different as it gets in their treatment of firearms. In Japan, citizens are not allowed to own guns of any kind, while in America, the ability to own guns is one of the foremost rights afforded to all civilians. There are many regulations and clauses that provide exceptions to both laws - Japanese citizens can own and use some types of guns, while American citizens are not allowed to own some types or carry them in certain places - but the two nations approach the matter from completely opposite angles. As a result, Japan has one of the lowest guns per capita counts in the developed world, while America has the single highest, the only nation that possesses more than one gun per citizen.
    Now before anyone gets worried that this is all going to turn too political, I'm not here to claim that either nation is doing it better or worse than the other. The point is just to illustrate how different people are, well, different. America and Japan's starkly different attitudes toward guns are rooted in their different cultures and histories. Going back to the Greek gods comparison for a moment, consider Ares, the god of war. Many Greek myths involving Ares depict him as a cruel barbarian, but also a coward who would flee to Olympus after suffering the smallest of wounds. These first stories regarded him with contempt, but Ares was viewed very differently by the Spartans, who considered him a model soldier, and his Roman equivalent, Mars, was considered great and valorous, among the most important gods in the Roman pantheon. When you consider that Sparta was the most military-based of the Greek city-states, and that the Roman Empire conquered many territories over the course of centuries, these more positive interpretations of Ares make perfect sense. A symbol can represent the same thing to two different cultures, but get depicted differently based on how those cultures feel about it.
    For the United States, ownership of firearms has been an integral civilian right since the founding of the country. Following the Revolutionary War, people were distrustful of a powerful central government. Firearms were - and often still are - seen as a means to prevent the government from overstepping its bounds and betraying individual rights in America. That attitude is almost unique to the United States, so it seems appropriate that the anti-regulation view in DC/Marvel stories is defended by the patriotic faces of Captain America and Superman. In contrast, there are few positive moments in Japan's history associated with the use of firearms. Strict gun control has been a constant in the nation, enduring through multiple governing regimes across hundreds of years. The last major regime change occurred after the end of World War II, which left Japan so devastated that a new law was written decreeing that it would never declare open war again. For one nation, guns are associated with the ability to fight for personal freedom when all else fails; lacking that association, the other nation focuses on their negative, dangerous qualities.
    These differing attitudes toward guns reflect our feelings on superheroes not only in terms of existing laws, but even how the public feels about those laws. Gun control in the US has been a matter of political discourse for decades. It's an incredibly divisive issue, constantly a point of contention among politicians, lobbyists, and just ordinary citizens who disagree. Some consider it essential to preserve the right of citizens to bear arms, while others argue that the deaths caused by guns outweigh the value of that right. There are seemingly endless opinions on gun control issues, with no end to the debate in sight. But in Japan, even gun enthusiasts support strict gun control, that guns should only be used for hunting or sport, never for self-defense unless you are a licensed officer of the law. Sure, there are a number of people calling for lighter restrictions on guns, but it's hardly a predominant movement pressing for the ability of every adult civilian to own firearms.
    This is why in Batman vs. Superman and Civil War, superheroes are treated as a relatively new concept - it's a means to introduce a sharp division of opinions into the story. Nobody really knows what to do about superheroes yet, and they even fight one another because there's no consensus opinion on the right approach for government to take. Just like with guns, some believe that superhuman powers can be used to protect the innocent and combat staggering threats, so restricting those powers would be wrong; others believe that those same powers used irresponsibly could cause great harm, so they need to be controlled properly. Confusion and disagreement are the status quo, whereas in My Hero Academia and One-Punch Man, society has had more time to adjust to the existence of heroes and superpowers, and they've already decided what to do about them. There was a time in that setting where the same confusion existed, but that story is not the one being told, because it doesn't resonate with Japanese society's modern relationship with dangerous force. Japan is concerned with different issues right now, and so are its superheroes.
    Heroes - super or not - are defined by the values they represent. Our ability to root for heroes is dependent on how much we can identify with what they represent and how they fight for it. When creators come at their stories with different values, the heroes they create will inevitably be different from each other. Superheroes are the most symbolically charged type of hero, accomplishing tasks that normal people can't, because they are not bound by the limits of humanity. When these far more powerful figures represent different ideals, they also contrast with one another far more sharply. Japanese superheroes, even if they're modeled after Superman, might not stand for truth, justice, and the American way. Instead, Izuku and Saitama represent values like humility and dedication to self-improvement. By examining the values of our favorite heroes, we can gain insight into how we feel about the cultures around us.
    So who are your favorite superheroes from America, Japan, or anywhere else in the world, and why? Let us know how you feel in the forums!




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    So what chapter of Berserk are you at again?

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