![]() ![]() MangaProject's staff have found themselves lately to be more partying and having fun then "working" on manga. By mid 2005, Toriyama's World was by all means and purposes defunct, and MangaProject was on a decline as well. Due to TFT's elusive nature and distributing their work in MangaProject's IRC channel, many thought TFT was run by staff from MangaProject, and most people never found out the true story behind TFT.Īs years went on and the original MangaProject staff grew older, real life began taking its toll on the scanlation group. For example, although MangaProject dropped its projects once they became licensed, around 2002 an "underground" group by the name of The Furry Triangles, or TFT, appeared in #MangaProject and began distributing scanlation of licensed series as well series that might cause problem among other groups. There were also a fair amount of controversies. In late 2002, MangaProject and Toriyama's World were the two biggest groups in the scene, other groups like MangaScreener, Snoop圜ool, Dual Translations and ShoujoMagic were also very active. MangaProject was instrumental in fostering a community where most groups knew each other well and shared staff members. In the early days, MangaProject also helped out groups like ShoujoMagic that were just getting into scanlation, and in later years some of MangaProject's staff branched out to form groups of their own. ![]() The group attracted a wider audience by scanlating both shounen and shoujo titles. Some of MangaProject's top projects included I''s, Video Girl A.I., Touch, and Kimagure Orange Road. At its peak, #MangaProject had over 1,000 users, something that was quite rare in the IRC world back then. ![]() In the end, all these efforts resulted in MangaProject releasing extremely high quality scanlation (by the old standards), and the group quickly gained popularity among the fans.īy 2002, MangaProject was already one of the biggest groups in the scene, with hundreds of users in its IRC channel at any given time. Under ZlleH's management, staff coordination was moved from email to IRC to take advantage of real-time communication translations, scans and editing had to meet strict standards set by ZlleH, and those who wanted to join MangaProject were even asked to take a test, something unheard of at the time. One of the main goals of MangaProject was to provide high quality scanlation, and high quality scanlation it provided. When darkshard ran Mangascans, all coordination was conducted through email, and the quality of the group's work left much to be desired. Coincidentally, around this time Mangascans also finished scanlating Love Hina, and most of its staff, including darkshard, moved on to MangaProject, resulting in the demise of Mangascans. After ZlleH released a new project from #MangaProject and subsequently created a website at (the domain went down later and was replaced by ) and, the group MangaProject, led by ZlleH and Ichijo, officially came into existence. The new channel was intended to focus on project discussions between staff, and was only known to Mangascans members. As time went by, ZlleH felt that conversation between staff on scanlation projects interfered with general manga discussion in #mangascans, so together with another person by the name of Ichijo, the two formed a new channel at #MangaProject. In no time ZlleH became an important Mangascans staff and helped darkshard run the group. Mangascans attracted many volunteers, one of which was a person by the name of ZlleH. In 2001, darkshard's scanlation group Mangascans had already established itself as a successful group, and showed that a well organized and structured group was more likely to succeed and flourish. The purpose of this paper is to discuss the relative popularity of Japanese animation and manga amongst American audiences as an example of globalization impacting the United States from another country.If there was a Hall of Fame for scanlators, MangaProject would most definitely have a place in it. This paper will also focus on the subculture of otaku, a group of people known for their devoted following to Japanese animation and comic books. It will discuss what distinguishes Japanese animation from Western animation, how Japanese animation initially gained popularity among American audiences, and how it has subsequently impacted American popular culture. The Cool Japan Project and the Globalization of Anime and Manga in the United States ASU Author/Contributor (non-ASU co-authors, if there are any, appear on document) Joshua Draper (Creator) Institution Appalachian State University (ASU ) Web Site: Advisor Wei XieĪbstract: : This research paper will primarily discuss the impact that Japanese animation and manga have had on American popular culture and the subsequent cult following they developed. ![]()
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