What kind of job is localization?

A lot of people who’re interested in anime and manga often think they’d like to work with it someday, but since localization is kind of a closed industry (understandably, since there’s a lot of IP that needs to stay hidden behind NDAs) there seems to be a lack of understanding for what goes into localizing, just how many different types of jobs there are, and what goes into taking a manga (or manhua or manhwa) from its original language and adapting it for an English-speaking audience. So I figured I’d take my personal experience in the manga localization industry and talk about that today!

What is Localization?

First off, what is localization? Simply put, localization is the process of adapting a translation to fit readers or viewers of a different culture. Literal translations can sometimes leave very large cultural concepts intact without explaining them or making them understandable to a foreign audience, and localization looks to solve that issue by making minor tweaks to the source material—editing a sentence to describe a food that was otherwise just named, changing the currency, changing a youth culture phrase in the source material to a similar style of speech, etc.—to make it easier to understand for readers who aren’t so acquainted with the source culture. I’ve lived in Japan four years and there are still cultural things that pop up in the manga that make me do a double-take, so localization is used to kind of explain or slightly alter certain cultural things that wouldn’t make sense otherwise.

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emo café: B+Library collab showcasing Harada, Akira Minazuki, and Mitsuaki Asou

Nestled in a narrow, trendy side street in Tokyo’s youth fashion district of Harajuku is a bright pink building named emo café, a tiny collab café that partners with mangaka and publishers to turn manga into a culinary experience. emo café is relatively new, having started up in the last few years, and follows in the footsteps of other BL cafés like Toriko Mangaten and ComiComi Studio Machida (r.i.p.).

I first noticed emo café when they did the second B+Library collab, featuring two absolutely wonderful manga that are on our site—Jimi Fumikawa’s I Seriously Can’t Believe you… (one of my all-time favorites!) and Jyanome’s Twilight Out of Focus—as well as Ichikawa Kei’s incredibly famous Blue Sky Complex (licensed by Futekiya).

There’s also been a café for Kurahashi Tomo’s Someday I’ll Fall For You, and a café for Tsubame Koshiora’s There’s Fanfiction About Us?, as well as a handful of other series. Emo Cafe’s had a lot of great stuff on offer.

When I saw they would be doing a third B+Library, this time for Harada’s Happy Shitty Life, Akira Minazuki’s Smoky Nectar, and Mitsuaki Asou’s The Farthest Love in the World I knew we had to go—especially considering Happy Shitty Life is one of our localizations, and Smoky Nectar is coming soon. Unfortunately, because of the massive popularity of all three artists (each one of them being a veteran in the BL genre) I once again couldn’t get in.

…That is, until they extended the end date by a week. Sometimes it pays to sit on Twitter constantly. -w-)b

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“Use a God Right, and the Impossible Can Happen!?” by Sasayama Akira

Read it here!:
Use a God Right, and the Impossible Can Happen!?
Japanese title:
神と不能は使いよう!?
Twitter:
@ssym_akira

This one caught my eye because, put plainly, the cover is very cute. Very, very cute. You know how sometimes you can tell at a glance you’re just going to like something? That’s how I felt looking at the cover. Since I wanted to rewrite the product page anyway, I figured why not read the whole thing and, if I liked it, I’d review it. And I did like it, so I’m here to do just that.

The story follows porn actor Naomasa, and the man he finds Mitaka. No matter how many oysters he eats or supplements he takes, Naomasa just can’t seem to get it up anymore. Out of desperation, he stops by the local shrine on the way back from grocery shopping, hoping he can pray the flaccid away. There, he finds a beautiful young man passed out on the shrine deck. Figuring he can’t just leave him there, Naomsara brings him home and cooks him a vitality-filled meal, figuring some food might help. Sure enough, it does!

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Anime Expo 2023: Industry Noob Edition

When I was suddenly asked in late May to attend AX as a representative of Renta!, I wasn’t sure what to expect. The last American anime convention I attended was in the early 2000s, and in Iowa, which is quite a ways from Los Angeles. I remembered being younger and hearing all the fanfare, seeing all my online friends from Cali attending, and dreaming that someday I’d be going to such a huge con—little old me, from the midwestern United States. And now here I was, being made that offer, from my office in Japan.

I’d never been to such a huge convention—even in Japan I’ve never been to Comiket, instead opting to attend the smaller events scattered through the year like HaruComi and Comic City. I wasn’t sure what to expect. Granted, I would also be attending as an industry insider rather than a fan, which is also a very different experience.

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Artist Spotlight: Coco Aino (相野ココ)

Available on Renta!:
Stop Smiling
The Cat Across The Hall
Intimate, But Not A Friend

Social Media:
Twitter → @ainococo

One of my favorite parts about working this job is that, in getting to read BL manga daily, I’m always getting introduced to new mangaka or titles that I might’ve missed otherwise. A shining example of that is Coco Aino. I was introduced to Coco Aino’s work after being assigned the quality check for Intimate, But Not A Friend, and the more time I spent with it the more I came to love the story and characters. I’ve read every manga she’s released since.

Coco Aino’s art style might be a bit sketchy for some, but I love how soft it makes her scenes feel, and how expressive her character’s faces are. I’m a huge sucker for characters who wear their emotions clearly on their face and how that adds to the scene, and Coco Aino is supremely skilled at that. You’re never left guessing what her characters are feeling in the moment. Her backgrounds are also always detailed without being distracting, and it makes the world of her characters feel so full and real.

In terms of plots, Coco Aino is queen of the Sad Boys (TM). Her plots are often very emotional and sentimental, with a good sprinkling of sexy or comedic content to prevent things from feeling too heavy. Many of her characters are often dealing with inner turmoil (their sexuality, fear of rejection, etc.) and that’s what pushes the plot. Her couples tend to fall into the “you complete me” story archetypes, and so the endings are always very fulfilling. There’s plenty of sad or distressing moments, but you can rest assured you won’t be left hanging.

But for how emotionally-driven her plots and characters are, Coco Aino’s dirty scenes are nothing to wag a finger at. The way she draws bodies and intimacy is so lovely, but her ero scenes are just as sexy as they are beautiful. If you’re seeking something steamy in an emotionally fulfilling way, look no further than Coco Aino’s books.

Intimate, But Not A Friend, in particular, drew me in because I loved the mix of deep emotional pain and trauma mixed seamlessly with romantic yearning and needy, possessive ero scenes.

If you can, I also recommend checking out her titles that aren’t on Renta! (not yet, at least… /wink) as they’re also wonderful. Minami-kun has a special place in my heart, because it’s about a silly shame- and anxiety-riddled social recluse who does x-rated ASMR by night and avoids social interaction by day until meeting a bright, outgoing boy who teaches him it’s okay to be who he is. That kind of super sweet, super sexy, super silly plot is the epitome of Coco Aino’s content, and it’s just wonderful.

Other titles:
Kanpeki na Shiba-Senpai no Yawai Toko
Minami-kun ha Sono Koe ni Jirasaretai
Kimi ha Boku no Koto wo Suuhai Shisugiteiru.

Other links:
ChilChil Interview (Japanese)