191-475: Cobra ( Japanese : コブラ , Hepburn : Kobura ) is a Japanese manga series written and illustrated by Buichi Terasawa . Set in the far future, the series tells the story of Cobra, who lives an adventurous life until his enemies begin to hunt him down. Cobra surgically alters his face and erases his own memory to hide from his foes and have a normal life. Eventually, he regains his memories and reunites with his former partner Lady Armaroid. Terasawa devised it as
382-559: A pure vowel system, phonemic vowel and consonant length, and a lexically significant pitch-accent . Word order is normally subject–object–verb with particles marking the grammatical function of words, and sentence structure is topic–comment . Sentence-final particles are used to add emotional or emphatic impact, or form questions. Nouns have no grammatical number or gender , and there are no articles . Verbs are conjugated , primarily for tense and voice , but not person . Japanese adjectives are also conjugated. Japanese has
573-406: A "rich fantasy" that was unmatched by any other. She said the main character took "after James Bond, albeit somewhat on the silly side, and the costumes and bizarre worlds are but a shade shy of plagiarizing Barbarella ". She was impressed that the series "is surprisingly devoid of the sexual innuendo and exploitation that anime fans have come to associate with decorative female characters"; it avoids
764-518: A 13-episode series in 2010), two original video animations (OVAs) in 2008–2009, audio albums, video games, and other merchandise. In the United States, portions of the manga were published by Viz Media in 1990 and the complete sequel series, alongside full-color remakes of select story arcs from the original manga, was published in Kindle format by Creek & River in 2015. The feature film
955-637: A benefit from the in-group to the out-group) means "[I/we] explained [it] to [him/her/them]". Such beneficiary auxiliary verbs thus serve a function comparable to that of pronouns and prepositions in Indo-European languages to indicate the actor and the recipient of an action. Japanese "pronouns" also function differently from most modern Indo-European pronouns (and more like nouns) in that they can take modifiers as any other noun may. For instance, one does not say in English: The amazed he ran down
1146-483: A budget of over $ 150 million and that he was seeking to have an A-list actor to help attract a funder. One of his main difficulties, Aja said in 2015, was to decide who would star the film: "When I think 'who the heck is going to play that Cobra?', I become unable to move forward." In a June 2016 interview, Aja said he did not abandon it and that "The project is well advanced". Working with the Orange Studio and
1337-465: A compilation of music from the anime series were released on January 20, 2010, and April 14, 2010, respectively. Cobra Song Collection , which encompassed music from the soundtracks of the film, two OVAs and two anime series was released on March 31, 2010 by Nippon Columbia. The Cobra manga has become the basis of two artbooks ; the first focusing on the female characters of the series was released as Cobra Girls on February 1, 1988. Concept designs of
1528-594: A complex system of honorifics , with verb forms and vocabulary to indicate the relative status of the speaker, the listener, and persons mentioned. The Japanese writing system combines Chinese characters , known as kanji ( 漢字 , ' Han characters') , with two unique syllabaries (or moraic scripts) derived by the Japanese from the more complex Chinese characters: hiragana ( ひらがな or 平仮名 , 'simple characters') and katakana ( カタカナ or 片仮名 , 'partial characters'). Latin script ( rōmaji ローマ字 )
1719-470: A direct model for his character Jane, whose hairstyle was also inspired by Princess Aurora 's in the Disney animated film Sleeping Beauty (1959). For his storytelling, panel layout, and narrative pacing in general, he draws influence from manga artist Osamu Tezuka , who mentored him. Terasawa declared, "Without him, ... Cobra would never have existed. Written and illustrated by Buichi Terasawa, Cobra
1910-485: A distinct category of manga. While the category was initially dominated by male manga artists , the emergence and eventual dominance of female artists beginning in the 1960s and 1970s led to significant creative innovation and the development of more graphically and thematically complex stories. Since the 1980s, the category has developed stylistically while simultaneously branching into different and overlapping subgenres. Strictly speaking, shōjo manga does not refer to
2101-414: A distinct language of its own that has absorbed various aspects from neighboring languages. Japanese has five vowels, and vowel length is phonemic, with each having both a short and a long version. Elongated vowels are usually denoted with a line over the vowel (a macron ) in rōmaji , a repeated vowel character in hiragana , or a chōonpu succeeding the vowel in katakana . /u/ ( listen )
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#17327985479432292-493: A diversity of narrative genres such as fantasy and science fiction, saw new competitors emerge in the 2000s: Monthly Comic Zero Sum in 2002, Sylph in 2006, Comic Blade Avarus in 2007, and Aria in 2010. These new magazines explicitly targeted an audience of anime and boys' love (male-male romance) fans by publishing manga that closely resembled the visual style of anime, featured bishōnen protagonists in fantastical environments, and which deliberately played with
2483-456: A female audience faced a changing market: josei manga had declined in popularity, girls increasingly preferred television dramas over printed of entertainment, and the manga market generally had slowed. Many major publishers restructured their shōjo manga magazine operations in response, folding certain magazines and launching new publications. The majority of the newly launched magazines during this period were commercial failures. In 2008,
2674-437: A few pages of black and white text, with few or no illustrations. 41 total magazines remained in publication in 1945, two of which were shōjo magazines: Shōjo Club and Shōjo no Tomo . With the end of the war, Japan entered into a period of large-scale artistic production in cinema, radio, and publishing. Fiction novels enjoyed a surge of popularity, while the number of published magazines grew from 41 in 1945 to 400 by 1952;
2865-400: A focus on human relations and the emotions that accompany them. Some critics, such as Kyoto International Manga Museum curator Kayoko Kuramochi and academic Masuko Honda [ ja ] , emphasize certain graphic elements when attempting to define shōjo manga: the imaginative use of flowers, ribbons, fluttering dresses, girls with large sparkling eyes, and words that string across
3056-527: A genre that permits its audience to avoid adult female sexuality by distancing sex from their own bodies, as well as creating fluidity in perceptions of gender and sexuality by rejecting socially mandated gender roles. Parallels have also been drawn between yaoi and the popularity of lesbianism in pornography , with the genre having been called a form of "female fetishism ". Female-female romance manga, also known as yuri , has been historically and thematically linked to shōjo manga since its emergence in
3247-419: A glide /j/ and either the first part of a geminate consonant ( っ / ッ , represented as Q) or a moraic nasal in the coda ( ん / ン , represented as N). The nasal is sensitive to its phonetic environment and assimilates to the following phoneme, with pronunciations including [ɴ, m, n, ɲ, ŋ, ɰ̃] . Onset-glide clusters only occur at the start of syllables but clusters across syllables are allowed as long as
3438-458: A group of twenty concept artists, Aja was able "to develop an absolutely huge universe in visual research". One of the drawbacks that made him slow the process was the release of Guardians of the Galaxy in 2014, because Aja had to change several aspects of Cobra to differentiate it. In June 2017, he revealed the script was ready, but commented that another drawback is the big budget required for
3629-705: A hero who would be able to carry a concealed weapon and then the Psychogun was created before the titular character. His concept of a hero has been greatly influenced by "spaghetti westerns with a James Bond -type spin to them." Also from Bond series came the concept of several women who circulate around Cobra. For Cobra, he also drew inspiration from the French actor Jean-Paul Belmondo and his "phlegmatic style", specifically from his characters on Breathless (1960) and That Man from Rio (1964). The then rising actresses Dominique Sanda and Catherine Deneuve also inspired
3820-484: A listener depending on the listener's relative social position and the degree of familiarity between the speaker and the listener. When used in different social relationships, the same word may have positive (intimate or respectful) or negative (distant or disrespectful) connotations. Japanese often use titles of the person referred to where pronouns would be used in English. For example, when speaking to one's teacher, it
4011-417: A live-action film adaptation of Cobra . Aja was inspired to create this film adaptation because the original manga was one of his childhood favorites. Aja said he wanted to create a "tent pole-sized live action franchise". In 2011, Aja wrote a script with Gregory Levasseur, and production was held by Aton Soumache and Dimitri Rassom under Onyx Films and Studio 37 with a budget of more than $ 100 million. Later,
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#17327985479434202-602: A major figure in the Class S genre whose novels such as Hana Monogatari centered on romantic friendships between girls and women. The visual conventions of shōjo manga were also heavily influenced by the illustrations published in these magazines, with works by illustrators Yumeji Takehisa , Jun'ichi Nakahara , and Kashō Takabatake [ ja ] featuring female figures with slender bodies, fashionable clothing, and large eyes. Japanese artists who studied in France at
4393-534: A mix of Spaghetti Western and samurai stories, and aspects of films, varying from James Bond to Disney . The manga was originally serialized in Shueisha 's Weekly Shōnen Jump from November 1978 to November 1984. Later, Shueisha collected the chapters and published them in 18 tankōbon volumes. The Cobra manga spawned various sequel manga series, one-shots , a 1982 feature-length anime film , two anime television series (a 31-episode series in 1982, and
4584-425: A mix of kashi-hon reissues and original creations. Horror shōjo manga published by kashi-hon publishers was typically more gory and grotesque than the horror manga of mainstream shōjo magazines, in some case prompting accusations of obscenity and lawsuits by citizens' associations. These publishing houses folded by the end of the 1980s as they became replaced with mainstream shōjo manga magazines dedicated to
4775-902: A narrative focus on themes of friendship, family, school, and love. While early romance shōjo manga was almost invariably simple and conventional love stories, over time and through the works of manga artists such as Machiko Satonaka and Yukari Ichijō , the genre adopted greater narrative and thematic complexity. This gradual maturity came to be reflected in other subgenres: horror manga artist Kazuo Umezu broke shōjo artistic conventions by depicting female characters who were ugly, frightening, and grotesque in his 1965 series Reptilia published in Shōjo Friend , which led to more shōjo artists depicting darker and taboo subject material in their work. Shōjo sports manga , such as Chikako Urano 's Attack No. 1 (1968–1970), began to depict physically active rather than passive female protagonists. In 1969,
4966-430: A particular readership age range or narrative genre. Shōjo manga originated from Japanese girls' culture at the turn of the twentieth century, primarily shōjo shōsetsu (girls' prose novels) and jojōga ( lyrical paintings ). The earliest shōjo manga was published in general magazines aimed at teenagers in the early 1900s and began a period of creative development in the 1950s as it began to formalize as
5157-509: A robot. Japan later exported this idea to the United States as part of the Super Gobots toyline under the name "Psycho", designed by Murakami Katsushi. In Japan, action figures, T-shirts, kewpie dolls , Cobra's Psychogun and Crystal Bowie's claw replicas, stamps , and limited-edition whiskey bottles were sold as merchandise for the series. In 1982, Popy Electronics created the hand-held games Space Cobra Professional and Space Cobra
5348-583: A sense of fun that definitely makes it work in a very good way" and has "a solid visual design." Washington, in a review for Otaku USA , commended it for being "entertaining overall" and having "an overall fun vibe" because of its "smooth" art; he, however, criticized what he called "serious misogynistic tendencies." Chris Beveridge from Mania.com praised the Cobra the Animation anime series and its visual design, compared to those of The Psychogun , but said it
5539-408: A sentence need not be stated and pronouns may be omitted if they can be inferred from context. In the example above, hana ga nagai would mean "[their] noses are long", while nagai by itself would mean "[they] are long." A single verb can be a complete sentence: Yatta! ( やった! ) "[I / we / they / etc] did [it]!". In addition, since adjectives can form the predicate in a Japanese sentence (below),
5730-527: A shift in characters and settings: while foreign characters and settings were common in the immediate post-war period, stories began to be set in Japan more frequently as the country began to re-assert an independent national identity. Meiji University professor Yukari Fujimoto writes that beginning in the 1990s, shōjo manga became concerned with self-fulfillment. She intimates that the Gulf War influenced
5921-428: A single adjective can be a complete sentence: Urayamashii! ( 羨ましい! ) "[I'm] jealous [about it]!". While the language has some words that are typically translated as pronouns, these are not used as frequently as pronouns in some Indo-European languages, and function differently. In some cases, Japanese relies on special verb forms and auxiliary verbs to indicate the direction of benefit of an action: "down" to indicate
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6112-657: A special issue of Weekly Shōnen Jump . It was then published in a single tankōbon by Shueisha in 1988 under the magazine's Jump Comics Deluxe line. Space Adventure Cobra: The Psychogun , a fully colored "computer graphics" manga, was serialized in Super Jump in 1995. A "computer graphics" sequel called Space Adventure Cobra: Magic Doll was serialized in Super Jump from 2000 to 2002. Along with several other series serialized in Super Jump , they were published from 1995 to 2002 in Jump Comics Deluxe under
6303-831: A specific style or a genre but rather indicates a target demographic . While certain aesthetic, visual, and narrative conventions are associated with shōjo manga, these conventions have changed and evolved over time, and none are strictly exclusive to shōjo manga. Nonetheless, several concepts and themes have come to be typically associated with shōjo manga, both visual (non-rigid panel layouts, highly detailed eyes) and narrative (a focus on human relations and emotions; characters that defy traditional roles and stereotypes surrounding gender and sexuality; depictions of supernatural and paranormal subjects). The Japanese word shōjo (少女) translates literally to "girl", but in common Japanese usage girls are generally referred to as onna no ko ( 女の子 ) and rarely as shōjo . Rather,
6494-424: A specific style or a genre, but rather indicates a target demographic . The Japanese manga market is segmented by target readership, with the major categories divided by gender ( shōjo for girls, shōnen for boys) and by age ( josei for women, seinen for men). Thus, shōjo manga is typically defined as manga marketed to an audience of adolescent girls and young adult women, though shōjo manga
6685-467: A speeding car whose driver looks like Captain Vaiken. When Johnson mentions the resemblance, the driver reveals himself as Vaiken. He asks Johnson about "Cobra" and threatens to kill Johnson if he does not answer. Johnson unconsciously lifts his arm and a ray shoots out of his hand, killing Vaiken. The shot explodes Johnson's arm, revealing the Psychogun embedded in it. Johnson rushes home, where Ben notices
6876-420: A style that began to resemble the kawaii aesthetic that would emerge several decades later. New manga artists, such as Osamu Tezuka and other artists associated with Tokiwa-sō , created works that introduced intense drama and serious themes to children's manga using a new format that had become popular in shōnen manga: the "story manga", which depicted multi-chapter narratives with continuity rather than
7067-615: A succession of essentially independent vignettes. Princess Knight (1953–1956) by Tezuka is credited with introducing this type of narrative, along with Tezuka's innovative and dynamic style, to shōjo magazines. At the same time, shōjo on the kashi-hon market developed its own distinct style through the influence of jojōga ( lyrical painting ). Jojōga artists Yukiko Tani and Macoto Takahashi drew cover illustrations for shōjo manga anthologies such as Niji and Hana before transitioning into drawing manga themselves. Rather than following Matsumoto's trajectory of moving away from
7258-421: A teaser poster depicting promotional concept art for Cobra: The Space Pirate , along with a release date scheduled for mid-2013, was unveiled. In September 2013, however, Aja admitted that making the film will be "very hard" since "to do a new kind of Star Wars , [is] expensive" though he stated "we are trying everything, we will make it." In July 2014, Aja revealed it was estimated that the project would require
7449-411: A term for illustrated novels and poems aimed at an audience of girls) and only incidentally on manga. Shōjo shōsetsu nevertheless played an important role in establishing a shōjo culture, and laid the foundations for what would become the major recurrent themes of shōjo manga through their focus on stories of love and friendship. Among the most significant authors of this era was Nobuko Yoshiya ,
7640-494: A wide range of both josei and teens' love manga. The genre gradually migrated from small publishers to larger ones, such as Dessert and Shogakukan's mainstream shōjo magazines. By the 2000s, this niche shōjo manga, particularly the teens' love genre, had largely abandoned printed formats in favor of the Internet, in response to the rise of mobile phones in Japan . In the 2000s, publishers who produced manga aimed at
7831-624: Is compressed rather than protruded , or simply unrounded. Some Japanese consonants have several allophones , which may give the impression of a larger inventory of sounds. However, some of these allophones have since become phonemic. For example, in the Japanese language up to and including the first half of the 20th century, the phonemic sequence /ti/ was palatalized and realized phonetically as [tɕi] , approximately chi ( listen ) ; however, now [ti] and [tɕi] are distinct, as evidenced by words like tī [tiː] "Western-style tea" and chii [tɕii] "social status". The "r" of
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8022-641: Is " Kizudarake no Yume " by Yoko Takahashi and it ending theme is "Wanderer" by Shigeru Matsuzaki. Both were released as singles on August 27, 2008, by Nippon Columbia. The second OVA used "Time Drive" by Sasja Antheunis as its opening theme and " Kimi ga bi Waraunara " by Shigeru Matsuzaki as its closing theme. "Cobra the Space Pirate" by Sasja Antheunis and " Kimi no Uta " respectively were used as opening theme and closing theme for Rokunin no Yūshi . On March 24, 2010, both were released as singles by Nippon Columbia. A soundtrack containing music from both OVAs and
8213-486: Is Buichi Terasawa's debut manga series. Previously he had written and illustrated between twenty and thirty science-fiction shōjo (targeted towards girls) short stories for manga contests held by manga magazines, with one of them earning an honorable mention. Terasawa created Cobra by combining the Spaghetti Western subgenre and Japanese stories featuring a "wandering swordsman". Terasawa wanted to create
8404-482: Is a significant subgenre of shōjo manga. Works in the genre typically focus on androgynous men referred to as bishōnen (literally "beautiful boys"), with a focus on romantic fantasy rather than a strictly realist depiction of gay relationships. Yaoi emerged as a formal subgenre of shōjo manga in the 1970s, but its portrayals of gay male relationships used and further developed bisexual themes already extant in shōjo manga. Japanese critics have viewed yaoi as
8595-546: Is also depicted more openly, though these depictions in turn came to influence shōjo manga, which itself began to depict sexuality more openly in the 1990s. Several manga magazines blur distinctions between shōjo and josei , and publish works that aesthetically resemble shōjo manga but which deal with the adult themes of josei manga; examples include Kiss at Kodansha, Chorus and Cookie at Shueisha, and Betsucomi at Shogakukan. Niche shōjo publications that eschewed typical shōjo manga conventions emerged in
8786-426: Is also read by men and older women. Shōjo manga is traditionally published in dedicated manga magazines that are directed at a readership of shōjo , an audience that emerged in the early 20th century and which has grown and diversified over time. While the style and tone of the stories published in these magazines varies across publications and decades, an invariant characteristic of shōjo manga has been
8977-448: Is also seen in o-medetō "congratulations", from medetaku ). Late Middle Japanese has the first loanwords from European languages – now-common words borrowed into Japanese in this period include pan ("bread") and tabako ("tobacco", now "cigarette"), both from Portuguese . Modern Japanese is considered to begin with the Edo period (which spanned from 1603 to 1867). Since Old Japanese,
9168-527: Is also used in a limited fashion (such as for imported acronyms) in Japanese writing. The numeral system uses mostly Arabic numerals , but also traditional Chinese numerals . Proto-Japonic , the common ancestor of the Japanese and Ryukyuan languages , is thought to have been brought to Japan by settlers coming from the Korean peninsula sometime in the early- to mid-4th century BC (the Yayoi period ), replacing
9359-438: Is an editorial category of Japanese comics targeting an audience of adolescent females and young adult women. It is, along with shōnen manga (targeting adolescent boys), seinen manga (targeting young adult and adult men), and josei manga (targeting adult women), one of the primary editorial categories of manga. Shōjo manga is traditionally published in dedicated manga magazines , which often specialize in
9550-440: Is appropriate to use sensei ( 先生 , "teacher"), but inappropriate to use anata . This is because anata is used to refer to people of equal or lower status, and one's teacher has higher status. Japanese nouns have no grammatical number, gender or article aspect. The noun hon ( 本 ) may refer to a single book or several books; hito ( 人 ) can mean "person" or "people", and ki ( 木 ) can be "tree" or "trees". Where number
9741-701: Is associated with comedy (see Kansai dialect ). Dialects of Tōhoku and North Kantō are associated with typical farmers. The Ryūkyūan languages, spoken in Okinawa and the Amami Islands (administratively part of Kagoshima ), are distinct enough to be considered a separate branch of the Japonic family; not only is each language unintelligible to Japanese speakers, but most are unintelligible to those who speak other Ryūkyūan languages. However, in contrast to linguists, many ordinary Japanese people tend to consider
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#17327985479439932-536: Is associated with the emergence of a new generation of shōjo artists collectively referred to as the Year 24 Group , which included Moto Hagio , Keiko Takemiya , Yumiko Ōshima , and numerous others. Works of the Year 24 Group focused on the internal psychology of their characters, and introduced new genres to shōjo manga such as adventure fiction , science fiction , fantasy , and historical drama . The art style of
10123-466: Is better documentation of Late Middle Japanese phonology than for previous forms (for instance, the Arte da Lingoa de Iapam ). Among other sound changes, the sequence /au/ merges to /ɔː/ , in contrast with /oː/ ; /p/ is reintroduced from Chinese; and /we/ merges with /je/ . Some forms rather more familiar to Modern Japanese speakers begin to appear – the continuative ending - te begins to reduce onto
10314-509: Is correlated with the sex of the speaker and the social situation in which they are spoken: men and women alike in a formal situation generally refer to themselves as watashi ( 私 , literally "private") or watakushi (also 私 , hyper-polite form), while men in rougher or intimate conversation are much more likely to use the word ore ( 俺 "oneself", "myself") or boku . Similarly, different words such as anata , kimi , and omae ( お前 , more formally 御前 "the one before me") may refer to
10505-417: Is important, it can be indicated by providing a quantity (often with a counter word ) or (rarely) by adding a suffix, or sometimes by duplication (e.g. 人人 , hitobito , usually written with an iteration mark as 人々 ). Words for people are usually understood as singular. Thus Tanaka-san usually means Mx Tanaka . Words that refer to people and animals can be made to indicate a group of individuals through
10696-755: Is less common. In terms of mutual intelligibility , a survey in 1967 found that the four most unintelligible dialects (excluding Ryūkyūan languages and Tōhoku dialects ) to students from Greater Tokyo were the Kiso dialect (in the deep mountains of Nagano Prefecture ), the Himi dialect (in Toyama Prefecture ), the Kagoshima dialect and the Maniwa dialect (in Okayama Prefecture ). The survey
10887-568: Is not for those who are unaware of the original series. He said the anime has "a healthy dose of action, the kind of sexuality that's a trademark of the series ... as well as a good bit of silly fun". In the second episode review, Beveridge said it "seems to be following much the same kind of pace and structure" as the OVAs. Its animation was compared to Darkside Blues ; ANN's Erin Finnegan described it as "gritty" animation, but that from episode five,
11078-420: Is often called a topic-prominent language , which means it has a strong tendency to indicate the topic separately from the subject, and that the two do not always coincide. The sentence Zō wa hana ga nagai ( 象は鼻が長い ) literally means, "As for elephant(s), (the) nose(s) (is/are) long". The topic is zō "elephant", and the subject is hana "nose". Japanese grammar tends toward brevity; the subject or object of
11269-498: Is preserved in words such as matsuge ("eyelash", lit. "hair of the eye"); modern mieru ("to be visible") and kikoeru ("to be audible") retain a mediopassive suffix - yu(ru) ( kikoyu → kikoyuru (the attributive form, which slowly replaced the plain form starting in the late Heian period) → kikoeru (all verbs with the shimo-nidan conjugation pattern underwent this same shift in Early Modern Japanese )); and
11460-547: Is removed from speech balloons and spread across the page, especially in instances where the dialogue communicates the thoughts, feelings, and internal monologue of the speaker. Third is mahaku ("break"), referring to the symbolic use of white space . A defining stylistic element of shōjo manga is its depiction of characters with very large, detailed eyes that have star-shaped highlights, sometimes referred to as dekame ( デカ目 ) . This technique did not originate in shōjo manga; large eyes have been drawn in manga since
11651-523: Is republishing Cobra the Space Pirate through its MFR Series . Out of requests, Terasawa announced in February 2016 he would create a new saga for Cobra . He aims to deal with the unsolved plot of the strange resemblance of two female characters—Dominique and Secret. More than three years later, in November 2019, Comic Flapper magazine's official Twitter account announced the release of Cobra: Over
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#173279854794311842-402: Is the version of Japanese discussed in this article. Formerly, standard Japanese in writing ( 文語 , bungo , "literary language") was different from colloquial language ( 口語 , kōgo ) . The two systems have different rules of grammar and some variance in vocabulary. Bungo was the main method of writing Japanese until about 1900; since then kōgo gradually extended its influence and
12033-471: Is used for the present and the future. For verbs that represent an ongoing process, the -te iru form indicates a continuous (or progressive) aspect , similar to the suffix ing in English. For others that represent a change of state, the -te iru form indicates a perfect aspect. For example, kite iru means "They have come (and are still here)", but tabete iru means "They are eating". Questions (both with an interrogative pronoun and yes/no questions) have
12224-405: Is why some linguists do not classify Japanese "pronouns" as pronouns, but rather as referential nouns, much like Spanish usted (contracted from vuestra merced , "your ( majestic plural ) grace") or Portuguese você (from vossa mercê ). Japanese personal pronouns are generally used only in situations requiring special emphasis as to who is doing what to whom. The choice of words used as pronouns
12415-485: The American comic book market was largely oriented towards male readers at the time, shōjo manga found early success by targeting a then-unreached audience of female comic book readers; English translations of titles such as Sailor Moon , Boys Over Flowers , and Fruits Basket became best-selling books. The English manga market crashed in the late 2000s as a result of the financial crisis of 2007–2008 , and when
12606-400: The Cobra manga under their Shueisha Jump Remix line. Irezumi no Onna Hen, , which spanned two volumes, was published on October 7 and 21, 2002; Rugball Hen , which spanned two volumes, was published on November 2 and 18, 2002; and Shido no Megami Hen , which spanned three volumes, was published from June 9 to July 7, 2003. Media Factory also published Cobra in a kanzenban edition; it
12797-724: The Cobra the Animation line for the series' 30th anniversary. The first of the series was The Psychogun , which was released direct-to-DVD between August 29, 2008, and February 27, 2009. It was written, storyboarded, and directed by Terasawa. Its sequel OVA, Time Drive , was released between April 24, 2009, and June 26, 2009. It was co-directed by Terasawa and Kenichi Maejima, and co-written by Terasawa and Mitsuyo Suenaga. Both OVA series were later released in Blu-ray box set on February 19, 2010. The anime television series Rokunin no Yūshi , directed by Keizo Shimizu, aired on BS 11 between January 2, 2010 and March 27, 2010. Crunchyroll streamed
12988-517: The Japonic language family, which also includes the Ryukyuan languages spoken in the Ryukyu Islands . As these closely related languages are commonly treated as dialects of the same language, Japanese is sometimes called a language isolate . According to Martine Irma Robbeets , Japanese has been subject to more attempts to show its relation to other languages than any other language in
13179-514: The Philippines , and various Pacific islands, locals in those countries learned Japanese as the language of the empire. As a result, many elderly people in these countries can still speak Japanese. Japanese emigrant communities (the largest of which are to be found in Brazil , with 1.4 million to 1.5 million Japanese immigrants and descendants, according to Brazilian IBGE data, more than
13370-517: The Ryukyuan languages and the variously classified Hachijō language . There have been many attempts to group the Japonic languages with other families such as the Ainu , Austronesian , Koreanic , and the now-discredited Altaic , but none of these proposals have gained any widespread acceptance. Little is known of the language's prehistory, or when it first appeared in Japan. Chinese documents from
13561-738: The United States (notably in Hawaii , where 16.7% of the population has Japanese ancestry, and California ), and the Philippines (particularly in Davao Region and the Province of Laguna ). Japanese has no official status in Japan, but is the de facto national language of the country. There is a form of the language considered standard : hyōjungo ( 標準語 ) , meaning "standard Japanese", or kyōtsūgo ( 共通語 ) , "common language", or even "Tokyo dialect" at times. The meanings of
13752-806: The de facto standard Japanese had been the Kansai dialect , especially that of Kyoto . However, during the Edo period, Edo (now Tokyo) developed into the largest city in Japan, and the Edo-area dialect became standard Japanese. Since the end of Japan's self-imposed isolation in 1853, the flow of loanwords from European languages has increased significantly. The period since 1945 has seen many words borrowed from other languages—such as German, Portuguese and English. Many English loan words especially relate to technology—for example, pasokon (short for "personal computer"), intānetto ("internet"), and kamera ("camera"). Due to
13943-448: The standard dialect moved from the Kansai region to the Edo region (modern Tokyo ) in the Early Modern Japanese period (early 17th century–mid 19th century). Following the end of Japan's self-imposed isolation in 1853, the flow of loanwords from European languages increased significantly, and words from English roots have proliferated. Japanese is an agglutinative , mora -timed language with relatively simple phonotactics ,
14134-640: The "fighting girl" (as in Katsuji Matsumoto's Nazo no Kurōbaa , where a girl takes up arms to defend the peasants of her village), and the " crossdressing girl" (as in Eisuke Ishida's Kanaria Ōjisama , where a princess is raised as a prince). Osamu Tezuka's Princess Knight represents the synthesis of these two archetypes, wherein a princess who is raised as a prince comes to face her enemies in combat. These archetypes were generally popular in shōjo war fiction , which emerged in tandem with
14325-527: The 1.2 million of the United States ) sometimes employ Japanese as their primary language. Approximately 12% of Hawaii residents speak Japanese, with an estimated 12.6% of the population of Japanese ancestry in 2008. Japanese emigrants can also be found in Peru , Argentina , Australia (especially in the eastern states), Canada (especially in Vancouver , where 1.4% of the population has Japanese ancestry),
14516-435: The 1950s, notably Hideko Mizuno , Miyako Maki , Masako Watanabe and Eiko Hanamura , most of them debuted within the kashi-hon anthology Izumi ( 泉 ) . While they constituted a minority of shōjo manga creators, the editorial departments of magazines noted that their works were more popular with female readers than works created by their male peers. By the 1960s, the ubiquity of television in Japanese households and
14707-465: The 1970s, though yuri is not strictly exclusive to shōjo and has been published across manga demographic groups. A relationship between shōjo culture and female-female romance dates to the pre-war period with stories in the Class S genre, which focused on intense romantic friendships between girls. By the post-war period, these works had largely declined in popularity in favor of works focused on male-female romances. Yukari Fujimoto posits that as
14898-443: The 1980s, particularly in the horror and erotica genres. This occurred in the context of the decline of kashi-hon publishing, where publishers survived market shifts away from book rental by offering collected volumes of manga that had not been previously serialized in magazines. Hibari Shōbo and Rippū Shōbo were among the publishing companies that began to publish shōjo horror manga in this format, typically as volumes that contained
15089-575: The 1990s. As shōjo manga began to focus on adolescents over children beginning in the 1970s, romantic relationships generally become more important than family relationships; these romantic relationships are most often heterosexual, though they are occasionally homosexual. Characters that defy traditional roles and stereotypes surrounding gender and sexuality have been a central motif of shōjo manga since its origins. Tomboy protagonists, referred to as otenba ( お転婆 ) , appear regularly in pre-war shōjo manga. This archetype has two primary variants:
15280-571: The 2000s and in the 2010s. In the far future, an office worker named Johnson leads a dull and mundane life. One Sunday morning, his robotic servant Ben suggests that he go to the Trip Movie Corporation—a company that enables its customers to experience a dream as though it were a reality. Johnson asks to be a king of a harem and to command a battlestar. In his dream, however, Johnson instead becomes "Cobra", an adventurer who explores space with his android partner Lady Armaroid. Cobra wields
15471-465: The 3rd century AD recorded a few Japanese words, but substantial Old Japanese texts did not appear until the 8th century. From the Heian period (794–1185), extensive waves of Sino-Japanese vocabulary entered the language, affecting the phonology of Early Middle Japanese . Late Middle Japanese (1185–1600) saw extensive grammatical changes and the first appearance of European loanwords . The basis of
15662-597: The American comic book writer Marv Wolfman and published under Viz Communications' Viz Select Comics line. In 2015, Creek & River released the complete full-color CG sequel series alongside full-color CG remakes of select story arcs from the original manga in the US in a 15-volume full-color Kindle edition. The complete manga was printed in several other countries. In France, the manga was first published by Dynamic Visions, and later reprinted by Taifu Comics . Its first volume
15853-548: The Animation has been well received by fans; it was among the best-selling anime for two weeks, and the sixth volume of the anime series was one of the best-selling DVDs for one week. In 2008, Buichi Terasawa said he received a Hollywood offer to purchase the rights to a live-action film adaptation of the series. He stated it was "off-the-record", and that if it happened it would be partly standalone and separate from his original manga. However, in 2010, Alexandre Aja announced he had purchased its rights, and that he planned to direct
16044-447: The French filmmakers that are fans of the series. Cobra has been influential on anime, manga, and video game creators. According to French scholar Marie Pruvost-Delaspre, its humorous style and sexual innuendos influenced manga City Hunter (1985), and Shinichirō Watanabe 's anime Cowboy Bebop (1998) and Space Dandy (2014) owe their nostalgic appearance and the ironic tone, respectively, to Cobra . Manga author Kentaro Miura
16235-630: The Group, influenced by Machiko Satonaka and Yukari Ichijō, came to pioneer new visual standards for shōjo manga: finer and lighter lines, beautiful faces that bordered on exaggeration, and panels that overlapped or were entirely borderless. Numerous artists contributed to innovation in shōjo manga during the 1970s. Takemiya and Hagio originated a new genre, shōnen-ai (male-male romance), with Takemiya's Sunroom Nite (1970) and Hagio's The November Gymnasium (1971). The historical drama The Rose of Versailles (1972–1973) by Riyoko Ikeda became
16426-486: The Japanese language is of particular interest, ranging between an apical central tap and a lateral approximant . The "g" is also notable; unless it starts a sentence, it may be pronounced [ ŋ ] , in the Kanto prestige dialect and in other eastern dialects. The phonotactics of Japanese are relatively simple. The syllable structure is (C)(G)V(C), that is, a core vowel surrounded by an optional onset consonant,
16617-736: The Old Japanese sections are written in Man'yōgana , which uses kanji for their phonetic as well as semantic values. Based on the Man'yōgana system, Old Japanese can be reconstructed as having 88 distinct morae . Texts written with Man'yōgana use two different sets of kanji for each of the morae now pronounced き (ki), ひ (hi), み (mi), け (ke), へ (he), め (me), こ (ko), そ (so), と (to), の (no), も (mo), よ (yo) and ろ (ro). (The Kojiki has 88, but all later texts have 87. The distinction between mo 1 and mo 2 apparently
16808-711: The Psychogun . It was followed by Cobra: Kokuryū Ō no Densetsu , released in 1989 for the PC Engine , and Cobra 2: Densetsu no Otoko , released for the PC Engine in 1990, which was released in North America and Europe for the Sega CD as The Space Adventure - Cobra: The Legendary Bandit . The English version of Cobra was named as one of "The Top 25 Translated-To-English Manga of All Time" by Wizard magazine. Ivevei Upatkoon of EX online magazine praised it as
16999-604: The Psychogun, a cybernetic arm-laser gun, to fight monsters and the Pirate Guild, an organized crime syndicate of pirates. After a battle with the Guild, Cobra allows its leader Captain Vaiken to escape. Vaiken distributes Cobra's picture to other pirates, making him a wanted man. After the dream ends, Johnson describes the fantasy to an attendant, who is surprised because Johnson's dream should not have any reference to pirates or to Cobra. On his way back home, Johnson crashes into
17190-566: The Rainbow . A sequel to the original manga, it started to be released digitally on November 19 through Kadokawa Corporation 's Comic Walker and Niconico Manga websites under the Comic Hu label. The sixth and latest chapter was published on April 19, 2020, before Terasawa's death in September 2023. Tokyo Movie Shinsha adapted the manga into a film titled Space Adventure Cobra , which
17381-464: The Rugball arc of the series into an "original animated series" called Cobra: Return of Joe Gillian . In collaboration with Terasawa's A-Girl Rights, the series is slated to be directed by Hervé Trouillet, produced by Cédric Biscay and Rinko Itoh, and written by Trouillet and Biscay. The announcement of the series was through a promotional teaser released on February 27, 2016. The arc choice was based on
17572-488: The Ryūkyūan languages as dialects of Japanese. The imperial court also seems to have spoken an unusual variant of the Japanese of the time, most likely the spoken form of Classical Japanese , a writing style that was prevalent during the Heian period , but began to decline during the late Meiji period . The Ryūkyūan languages are classified by UNESCO as 'endangered', as young people mostly use Japanese and cannot understand
17763-543: The addition of a collective suffix (a noun suffix that indicates a group), such as -tachi , but this is not a true plural: the meaning is closer to the English phrase "and company". A group described as Tanaka-san-tachi may include people not named Tanaka. Some Japanese nouns are effectively plural, such as hitobito "people" and wareware "we/us", while the word tomodachi "friend" is considered singular, although plural in form. Verbs are conjugated to show tenses, of which there are two: past and present (or non-past) which
17954-400: The animation quality looks more modern and much less gritty. Beveridge said the anime's idea is simple, but added it is "also not a show you see often since it doesn't center around teenagers, schools or the harem concept". He said it is not "a great show", but that "it gives us something different than the usual"—the reason it is "enjoyable". Cobra made Terasawa, who at the time was 22 and
18145-423: The art of Jun'ichi Nakahara was significantly influencing kashi-hon manga artists, especially Macoto Takahashi. Takahashi incorporated Nakahara's style of drawing eyes into his own manga – large, doll-like eyes with highlights and long lashes – while gradually introducing his own stylistic elements, such as the use of dots, stars, and multiple colors to represent the iris. At the end of the 1950s, Takahashi's style
18336-492: The category had developed a unique visual identity that distinguished it from shōnen manga. By the early 1970s, most shōjo manga artists were women, though editorial positions at shōjo manga magazines remained male-dominated. Over the course of the decade, shōjo manga became more graphically and thematically complex, as it came to reflect the prevailing attitudes of the sexual revolution and women's liberation movement . This movement towards narratively complex stories
18527-414: The content of shōjo manga has evolved in tandem with the evolution of Japanese society, especially in terms of the place of women, the role of the family, and romantic relationships. She notes how family dramas with a focus on mother-daughter relationships were popular in the 1960s, while stories about romantic relationships became more popular in the 1970s, and stories about father figures became popular in
18718-480: The cost of a subway ticket at the time. This had the effect of widening access to books among the general public and spurring additional manga publishing. Shōjo manga artists who had been active prior to the war returned to the medium, including Shosuke Kurakane with Anmitsu Hime (1949–1955), Toshiko Ueda with Fuichin-san (1957–1962), and Katsuji Matsumoto resuming publication of Kurukuru Kurumi-chan . During this period, Matsumoto developed his art into
18909-536: The decade attracted the attention of manga critics, who had previously ignored shōjo manga or regarded it as unserious, but who now declared that shōjo manga had entered its "golden age". This critical attention attracted a male audience to shōjo manga who, although a minority of overall shōjo readers, remained as an audience for the category. Since the 1970s, shōjo manga has continued to develop stylistically while simultaneously branching out into different but overlapping subgenres. This development began with
19100-409: The development of female characters "who fight to protect the destiny of a community", such as Red River (1995–2002), Basara (1990–1998), Magic Knight Rayearth (1993–1996), and Sailor Moon (1991–1997). Fujimoto opines that the shōjo manga of the 1990s depicted emotional bonds between women as stronger than the bonds between a man and a woman. In 1980, Kodansha published Be Love as
19291-511: The dominant visual style of shōjo manga. Not all kashi-hon shōjo conformed to this lyrical style: one of the most popular shōjo kashi-hon anthologies was Kaidan ( 怪談 , lit. "Ghost Stories") , which launched in 1958 and ran for more than one hundred monthly issues. As its name implies, the anthology published supernatural stories focused on yūrei and yōkai . Its success with female readers resulted in other generalist shōjo anthologies beginning to publish horror manga, laying
19482-517: The early 20th century, notably by Osamu Tezuka, who drew inspiration from the theatrical makeup of actresses in the Takarazuka Revue when drawing eyes. A large central star that replaces the pupil dot began to appear at key moments in shōjo manga by Tezuka and Shotaro Ishinomori in the mid-1950s, though these details generally trended towards a realist style rather than the emotive style of later shōjo manga. Contemporaneously,
19673-567: The editorial content of these magazines largely concerned topics that were of interest to boys. Faced with growing demand for magazines aimed at girls, the first shōjo magazines were published, and shōnen magazines came to target boys exclusively. The first exclusively shōjo magazine was Shōjo-kai [ ja ] , first published in 1902. This was followed by Shōjo Sekai in 1906, Shōjo no Tomo in 1908, Shōjo Gahō in 1912, and Shōjo Club in 1923. These magazines focused primarily on shōjo shōsetsu ( lit. "girls' novel",
19864-578: The effect of changing Japanese into a mora-timed language. Late Middle Japanese covers the years from 1185 to 1600, and is normally divided into two sections, roughly equivalent to the Kamakura period and the Muromachi period , respectively. The later forms of Late Middle Japanese are the first to be described by non-native sources, in this case the Jesuit and Franciscan missionaries; and thus there
20055-409: The emergence of so-called "boys shōjo manga ", beginning with the magazines Comic High! in 2004 and Comic Yell! in 2007. Magazines in this category publish manga aimed at a male readership, but which use a visual style that draws significantly from the aesthetics of moe and shōjo manga. English-language translations of shōjo manga were first published in North America in the late 1990s. As
20246-548: The emotions being expressed by the eyes of the characters. Eyes also came to serve as a marker of gender, with female characters typically having larger eyes than male characters. Among the most common concepts in shōjo manga is that of ningen kankei ( 人間関係 , "human relationships") , which refers to interpersonal relationships between characters and the interaction of their emotions. Relationships between characters are central to most shōjo manga, particularly those of friendship, affection, and love. Narratives often focus on
20437-442: The end of the 1950s; Macoto Takahashi , a lyrical painter and manga artist, is regarded as the first artist to use this style in manga. The style was quickly adopted by his contemporaries and later by shōjo artists who emerged in the 1960s, while in the 1970s artists associated with the Year 24 Group developed the style significantly. According to manga artist, academic, and Year 24 Group member Keiko Takemiya , shōjo manga
20628-503: The end of the 1960s, sexuality – both heterosexual and homosexual – began to be freely depicted in shōjo manga. This shift was brought about in part by literalist interpretations of manga censorship codes: for example, the first sex scenes in shōjo manga were including by covering characters having sex with bed sheets to circumvent codes that specifically only forbade depictions of genitals and pubic hair . The evolution of these representations of gender in sexuality occurred in tandem with
20819-451: The ending themes respectively, were written by Kayoko Fuyumori and composed by Yuji Ohno ; both were sung by Yoko Maeno. The anime's music was compiled into two albums; Space Cobra: Original Soundtrack and Space Cobra: Complete Soundtrack were released by Nippon Columbia on September 25, 2003, and April 21, 2004, respectively. The musical score for Cobra the Animation was composed by Yoshihiro Ike. The opening theme from The Psychogun
21010-551: The era, introduced sophisticated and avant-garde innovations in shōjo manga, such as the art deco -inspired Poku-chan (1930), the cinematic Nazo no Kurōbā (1934), and his most famous work Kurukuru Kurumi-chan (1938). With the outbreak of the Second Sino-Japanese War in 1937, censorship and paper rationing hindered the development of magazines, which either folded or were forced to merge to survive. The magazines that continued to published were reduced to
21201-431: The fact that it is a favorite of Cobra fans and it aims to incorporate classic characters and elements of the Cobra universe and "a rendering that will not disappoint fans of Cobra ", according to Biscay. However, they hope to attract more people because of economic reasons; as such, it will have a new story and a modern style of animation. The target audience of the series is primarily adolescents of over 12 years and it
21392-440: The fear or rejection of motherhood, appear as major motif in paranormal shōjo manga; for example, stories where mothers take on the appearance of demons or ghosts, daughters of demons who are themselves transformed into demons, impious pregnancies resulting from incestuous rape, and mothers who commit filicide out of jealousy or insanity. The social pressure and oppression borne from a patriarchal Japanese society also recurs as
21583-443: The feminization of shōjo manga's authorship and readership, as the category shifted from being created primarily by men for an audience of young girls, to being created by women for an audience of teenaged and young adult women; since the 1970s, shōjo manga has been written almost exclusively by women. Though they compose a minority of shōjo stories overall, male-male romance manga – referred to as yaoi or "boys' love" (BL) –
21774-402: The film was composed by Osamu Shōji. It used a single opening theme and a single ending theme, and its lyrics were written by Tetsuya Chiaki and composed by Saburo Suzuki. "Daydream Romance" by Shigeru Matsuzaki was used as the opening music and "Stay" by Eve was used at the end. The subsequent anime's music was scored by Kentarō Haneda . The lyrics for "Cobra" and "Secret Desire", the opening and
21965-485: The film, which finds no funders in the US because the franchise is relatively unknown there. In April 2018, Aja announced the interruption of the film production and revealed it was in preproduction at Lionsgate until a regime change occurred; the company's new staff considered the film budget (US$ 130 million) to be high and the release of Star Wars: The Force Awakens was also a factor on the cancellation. In 2016, Monaco-based Shibuya Productions announced it would adapt
22156-496: The first shōjo manga sex scene was published in Hideko Mizuno 's Fire! (1969–1971). By the end of the decade, most shōjo magazines now specialized in manga, and no longer published their previous prose literature and articles. As the kashi-hon declined, so too did their manga anthologies; most folded, with their artists and writers typically migrating to manga magazines. Most shōjo manga artists were women, and
22347-475: The first OVA series between December 18, 2009 to on January 8, 2010. The two episodes of Time Drive were uploaded on January 1, 2008, and Rokunin no Yūshi was simulcasted as it aired in Japan. In April 2016 during the Anime Boston the anime television and the OVAs were licensed by Sentai Filmworks to be released in North America through digital outlets and in the home video market. The soundtrack of
22538-447: The first major critical and commercial success in shōjo manga; the series was groundbreaking in its portrayal of gender and sexuality, and was influential in its depiction of bishōnen (literally "beautiful boys"), a term for androgynous male characters. Ako Mutsu and Mariko Iwadate led a new trend of otomechikku manga. While works of the Year 24 Group were defined by their narrative complexity, otomechikku manga focused on
22729-484: The first manga magazine aimed at an audience of adult women. It was quickly followed by a wave of similar magazines, including Feel Young at Kodansha, Judy at Shogakukan, and You , Young You and Office You at Shueisha. This category of manga, referred to as "ladies' comics" or josei manga, shares many common traits with shōjo manga, with the primary distinguishing exception of a focus on adult protagonists rather than teenaged or younger protagonists. Sexuality
22920-636: The first one, Cobra the Space Pirate: Kokuryū Ō , on March 23, 2006, and the last one, Cobra the Space Pirate: Time Drive , on April 23, 2009, all of which were also under MF Comics . To celebrate the series' 30th anniversary, sixteen manga were reprinted and released by Media Factory; on May 23, 2008, Cobra Fukkatsu and Irezumi no Sanshimai were released, and Magic Doll concluded it, with its release on July 7, 2009. From October 25, 2014 to June 13, 2015, Media Factory
23111-609: The genitive particle ga remains in intentionally archaic speech. Early Middle Japanese is the Japanese of the Heian period , from 794 to 1185. It formed the basis for the literary standard of Classical Japanese , which remained in common use until the early 20th century. During this time, Japanese underwent numerous phonological developments, in many cases instigated by an influx of Chinese loanwords . These included phonemic length distinction for both consonants and vowels , palatal consonants (e.g. kya ) and labial consonant clusters (e.g. kwa ), and closed syllables . This had
23302-687: The groundwork for what would become a significant subgenre of shōjo manga. As manga became generally more popular over the course of the decade, the proportion of manga published by shōjo magazines began to increase. For example, while manga represented only 20 percent of the editorial content of Shōjo Club in the mid-1950s, by the end of the decade it composed more than half. Many shōjo magazines had in effect became manga magazines, and several companies launched magazines dedicated exclusively to shōjo manga: first Kodansha in 1954 with Nakayoshi , followed by Shueisha in 1955 with Ribon . From this combination of light-hearted stories inherited from
23493-470: The horror genre, beginning with Monthly Halloween in 1986. In the 1990s, a genre of softcore pornographic shōjo manga emerged under the genre name teens' love . The genre shares many common traits with pornographic josei manga, with the distinguishing exception of the age of the protagonists, who are typically in their late teens and early twenties. Teens' love magazines proliferated at smaller publishers, such as Ohzora Publishing , which published
23684-407: The human characters and supernatural beings are typically women or bishōnen . Paranormal shōjo manga gained and maintained popularity by depicting scenarios that allow female readers to freely explore feelings of jealousy, anger, and frustration, which are typically not depicted in mainstream shōjo manga focused on cute characters and melodramatic scenarios. Mother-daughter conflict, as well as
23875-403: The interiority of their protagonists, wherein their emotions, feelings, memories, and inner monologue are expressed visually through techniques such as panel arrangement and the rendering of eye details. When conflict occurs, the most common medium of exchange is dialogue and conversation, as opposed to physical combat typical in shōnen manga. Manga scholar Yukari Fujimoto considers that
24066-502: The intruders. Johnson starts to remember his previous existence as Cobra. Hunted by the Pirate Guild for meddling in their criminal enterprises and tired of life on the run, Cobra surgically altered his face and had his memories erased. Lady Armaroid tells Cobra that the Trip Movie has triggered his subconscious to regain access to the memories of his former life. Cobra and Lady Armadroid resume their adventurous life together. Cobra
24257-458: The languages of the original Jōmon inhabitants, including the ancestor of the modern Ainu language . Because writing had yet to be introduced from China, there is no direct evidence, and anything that can be discerned about this period must be based on internal reconstruction from Old Japanese , or comparison with the Ryukyuan languages and Japanese dialects . The Chinese writing system
24448-449: The languages. Okinawan Japanese is a variant of Standard Japanese influenced by the Ryūkyūan languages, and is the primary dialect spoken among young people in the Ryukyu Islands . Modern Japanese has become prevalent nationwide (including the Ryūkyū islands) due to education , mass media , and an increase in mobility within Japan, as well as economic integration. Japanese is a member of
24639-427: The large quantity of English loanwords, modern Japanese has developed a distinction between [tɕi] and [ti] , and [dʑi] and [di] , with the latter in each pair only found in loanwords. Although Japanese is spoken almost exclusively in Japan, it has also been spoken outside of the country. Before and during World War II , through Japanese annexation of Taiwan and Korea , as well as partial occupation of China ,
24830-510: The main character's lack of development as "the only negative thing." He added, "There isn't a ton of depth, but the show doesn't pretend to be anything but a fun, sci-fi romp around the galaxy." ANN's Theron Martin praised its "surprisingly solid" art "for a series of its era" and affirmed, "it does stand up well as high-spirited, fun-loving action fare with occasional darker overtones." Chris Beveridge of The Fandom Post said, "It's simple but full of adventure, interesting characters and locations and
25021-541: The manga were added to a Cobra artbook titled Cobra Wonder: Concept Design Arts of Cobra World , which was released on July 17, 1997, and included two Cobra ' s side stories — Bara and Mahō no Fune —first published in Super Jump in 1988. Popy and Bandai included Cobra's ground vehicle, the Psychoroid, in the Japanese Machine Robo toyline, where it gained the ability to transform into
25212-439: The medium regained popularity in the 2010s, shōnen manga emerged as the most popular category of manga among English-language readers. Nevertheless, every major English-language manga publisher maintains a robust line of shōjo manga; Viz Media in particular publishes shōjo manga under its Shojo Beat imprint, which it also published as a serialized manga magazine in the mid- to late-2000s. The visual style of shōjo manga
25403-514: The middle of sentences, the lattermost of which were scattered across pages in a manner resembling verses of poetry. Prose is accompanied by illustrations by lyrical painters, which are characterized by a sentimental style influenced by Art Nouveau and Nihonga . Particular attention is paid to representations of shōjo , who are depicted as well-dressed and possessing large, very detailed eyes that have star-shaped highlights. This narrative and visual style began to influence shōjo manga towards
25594-460: The militarization of Japan in the 1930s, while an emphasis on cross-dressing arose from the popularity of the cross-dressing actresses of the Takarazuka Revue . Otenba grew in popularity in the post-war period, which critic Yoshihiro Yonezawa attributes to advancements in gender equality marked by the enshrinement of the equality of the sexes in the Constitution of Japan in 1947. By
25785-474: The most influential artists of this era was Katsuji Matsumoto , a lyrical painter influenced in moga culture and the artistic culture of the United States. Having grown tired of depicting typical innocent shōjo subjects in his illustrations, he pivoted to drawing manga in the 1920s, where he was able to depict moga and tomboys more freely. His style, likely influenced by American comic book artists like George McManus and Ethel Hays and American cinema of
25976-580: The names of the Royal Sisters. One of Cobra's main enemies, Crystal Bowie, was named as a tribute to English musician David Bowie . In general, Terasawa has been influenced by films, including Star Trek , René Laloux 's animations, the James Bond film series , Akira Kurosawa 's films, and Disney films prior to The Little Mermaid (1989). For example, Jane Fonda 's performance in the cult science-fiction film Barbarella (1968) served as
26167-437: The number of publishing companies grew from 300 to roughly 2000 during the same period. While not all of theses magazines and companies published children's literature, publications for children constituted a significant percentage of publishing output. Contemporaneously, kashi-hon ( book rental stores) experienced a boom in popularity. These stores rented books for a modest fee of five to ten yen , roughly equivalent to half
26358-425: The only strict rule of word order is that the verb must be placed at the end of a sentence (possibly followed by sentence-end particles). This is because Japanese sentence elements are marked with particles that identify their grammatical functions. The basic sentence structure is topic–comment . For example, Kochira wa Tanaka-san desu ( こちらは田中さんです ). kochira ("this") is the topic of the sentence, indicated by
26549-540: The ordinary lives of teenaged Japanese protagonists. The genre waned in popularity by the end of the decade, but its narrative and visual style made a lasting impact on shōjo manga, particularly the emergent aesthetic of kawaii . Veteran shōjo artists such as Miyako Maki and Hideko Mizuno began developing new manga for their formerly child-aged readers who were now adults. Although their attempts were commercially unsuccessful, with short-lived magazines such as Papillon (パピヨン) at Futabasha in 1972, their works were
26740-410: The origins of ladies comics before the category's formal emergence in the early 1980s. By the end of the 1970s, the three largest publishing houses in Japan ( Kodansha , Shogakukan , and Shueisha ) as well as Hakusensha established themselves as the largest publishers of shōjo manga, and maintained this dominant position in the decades that followed. The innovation of shōjo manga throughout
26931-470: The out-group gives a benefit to the in-group, and "up" to indicate the in-group gives a benefit to the out-group. Here, the in-group includes the speaker and the out-group does not, and their boundary depends on context. For example, oshiete moratta ( 教えてもらった ) (literally, "explaining got" with a benefit from the out-group to the in-group) means "[he/she/they] explained [it] to [me/us]". Similarly, oshiete ageta ( 教えてあげた ) (literally, "explaining gave" with
27122-541: The page, which Honda describes using the onomatopoeia hirahira . This definition accounts for works that exist outside the boundaries of traditional shōjo magazine publishing but which nonetheless are perceived as shōjo , such as works published on the Internet. As the Japanese publishing industry boomed during the Meiji era , new magazines aimed at a teenage audience began to emerge, referred to as shōnen . While these magazines were ostensibly unisex, in practice
27313-415: The particle wa . The verb desu is a copula , commonly translated as "to be" or "it is" (though there are other verbs that can be translated as "to be"), though technically it holds no meaning and is used to give a sentence 'politeness'. As a phrase, Tanaka-san desu is the comment. This sentence literally translates to "As for this person, (it) is Mx Tanaka." Thus Japanese, like many other Asian languages,
27504-456: The pre-war era, dramatic narratives introduced by the Tokiwa-sō, and cerebral works developed on the kashi-hon market, shōjo manga of this period was divided by publishers into three major categories: kanashii manga ( かなしい漫画 , lit. "sad manga") , yukai na manga ( ゆかいな漫画 , lit. "happy manga") , and kowai manga ( こわい漫画 , lit. "scary manga") . In the 1950s, shōjo manga
27695-481: The proposed larger Altaic family, or to various Southeast Asian languages , especially Austronesian . None of these proposals have gained wide acceptance (and the Altaic family itself is now considered controversial). As it stands, only the link to Ryukyuan has wide support. Other theories view the Japanese language as an early creole language formed through inputs from at least two distinct language groups, or as
27886-460: The publishing house Fusosha , which had previously not published manga, entered the manga market with the shōjo manga magazine Malika . The magazine was unconventional compared to other shōjo manga magazines of the era: in addition to publishing manga by renowned female authors, it featured contributions from celebrities in media, illustration, and design; the magazine also operated a website that published music and additional stories. The magazine
28077-697: The readership of shōjo manga is primarily female and heterosexual, female homosexuality is rarely addressed. Fujimoto sees the largely tragic bent of most yuri stories, with a focus on doomed relationships that end in separation or death, as representing a fear of female sexuality on the part of female readers, which she sees as also explaining the interest of shōjo readers on yaoi manga. Shōjo manga often features supernatural and horror elements, such as stories focused on yūrei (ghosts), oni (demons), and yōkai (spirits), or which are otherwise structured around Japanese urban legends or Japanese folklore . These works are female-focused, where both
28268-531: The rise of serialized television programs emerged as a significant competitor to magazines. Many monthly magazines folded and were replaced by weekly magazines, such as Shōjo Friend and Margaret . To satisfy the need for weekly editorial content, magazines introduced contests in which readers could submit their manga for publication; female artists dominated these contests, and many amateur artists who emerged from these contests went on to have professional manga careers. The first artist to emerge from this system
28459-459: The same structure as affirmative sentences, but with intonation rising at the end. In the formal register, the question particle -ka is added. For example, ii desu ( いいです ) "It is OK" becomes ii desu-ka ( いいですか。 ) "Is it OK?". In a more informal tone sometimes the particle -no ( の ) is added instead to show a personal interest of the speaker: Dōshite konai-no? "Why aren't (you) coming?". Some simple queries are formed simply by mentioning
28650-411: The screenplays, giving his suggestions to the writers to fix what was wrong or rewriting the screenplay himself. The episodes were released in eight DVDs and a DVD box set on October 25, 2000 by Digital Site in Japan. The series was released in North America by Nozomi Entertainment in two parts; the first was released on March 4, 2014, and the second one is available since May 6, 2014. In November 2015,
28841-480: The series have a "realistic physique and not some moe jailbait or grotesque bakunyu explosion". Thompson deemed Cobra as a parody of both Western action heroes and Star Wars and 1970s shōjo science fiction and its concept of beauty". Pedro Cortes from Japanator affirmed, " Space Adventure Cobra is interesting in that it takes a shard of an idea from a classic and then spins it out into its own epic." Cortes praised its "charming" designs, but criticized
29032-412: The series to Star Wars and Barbarella , and the main character's attitude to James Bond. Its film adaptation received mixed reviews, and the original anime series as well as Cobra the Animation has been well received by reviewers. The anime series was very popular in France in the 1980s and French-speaking filmmakers and studios have attempted to adapt it into live-action films or animated series in
29223-489: The series was added to the Crunchyroll streaming service to be broadcast in the United States and Canada with English substitles. In June 2020, Discotek Media licensed the anime series and was released on Blu-ray with a new experimental English dub for the first two episodes on September 29, 2020. Cobra was adapted into two OVAs and a television series that were created by Guild Project and animated by Magic Bus under
29414-817: The state as at the time the constitution was written, many of the elders participating in the process had been educated in Japanese during the South Seas Mandate over the island shown by the 1958 census of the Trust Territory of the Pacific that found that 89% of Palauans born between 1914 and 1933 could speak and read Japanese, but as of the 2005 Palau census there were no residents of Angaur that spoke Japanese at home. Japanese dialects typically differ in terms of pitch accent , inflectional morphology , vocabulary , and particle usage. Some even differ in vowel and consonant inventories, although this
29605-409: The stereotypical, beautiful women, and instead creates its own "extreme" world. Upatkoon also said that modern readers might find the manga dated and would be discouraged from reading it, despite the improvement in artistic quality as the series progresses. Writing for Anime News Network (ANN), Jason Thompson described Cobra as "a significant piece of manga history". Thompson wrote that the women of
29796-481: The street. (grammatically incorrect insertion of a pronoun) But one can grammatically say essentially the same thing in Japanese: 驚いた彼は道を走っていった。 Transliteration: Odoroita kare wa michi o hashitte itta. (grammatically correct) This is partly because these words evolved from regular nouns, such as kimi "you" ( 君 "lord"), anata "you" ( あなた "that side, yonder"), and boku "I" ( 僕 "servant"). This
29987-428: The term shōjo is used to designate a social category that emerged during the Meiji era (1868–1912) of girls and young women at the age between childhood and marriage. Generally this referred to school-aged adolescents, with whom an image of "innocence, purity and cuteness" was associated; this contrasted the moga ("modern girl", young unmarried working women), with whom a more self-determined and sexualized image
30178-555: The time were influenced by the methods of expression of Art Nouveau and early pin-up artists. Early shōjo manga took the form of short, humorous stories with ordinary settings (such as schools and neighborhoods) and which often featured tomboy protagonists. These works began to develop in the 1930s through the influence of artists such as Suihō Tagawa and Shosuke Kurakane ; this period saw some female shōjo artists, such as Machiko Hasegawa and Toshiko Ueda , though they were significantly less common than male artists. Among
30369-558: The title Space Adventure Cobra . Space Adventure Cobra: Magic Doll was re-serialized in the Monthly Comic Flapper magazine by Media Factory, and was published under its MF Comics line as Cobra the Space Pirate: Magic Doll Part 1 and Cobra the Space Pirate: Magic Doll Part 2 on February 23 and September 22, 2006, respectively. In addition, Media Factory published six Cobra one-shots;
30560-646: The topic with an interrogative intonation to call for the hearer's attention: Kore wa? "(What about) this?"; O-namae wa? ( お名前は？ ) "(What's your) name?". Negatives are formed by inflecting the verb. For example, Pan o taberu ( パンを食べる。 ) "I will eat bread" or "I eat bread" becomes Pan o tabenai ( パンを食べない。 ) "I will not eat bread" or "I do not eat bread". Plain negative forms are i -adjectives (see below) and inflect as such, e.g. Pan o tabenakatta ( パンを食べなかった。 ) "I did not eat bread". Sh%C5%8Djo manga Shōjo manga ( 少女漫画 , lit. "girls' comics ", also romanized as shojo or shoujo )
30751-419: The two consonants are the moraic nasal followed by a homorganic consonant. Japanese also includes a pitch accent , which is not represented in moraic writing; for example [haꜜ.ɕi] ("chopsticks") and [ha.ɕiꜜ] ("bridge") are both spelled はし ( hashi ) , and are only differentiated by the tone contour. Japanese word order is classified as subject–object–verb . Unlike many Indo-European languages ,
30942-577: The two methods were both used in writing until the 1940s. Bungo still has some relevance for historians, literary scholars, and lawyers (many Japanese laws that survived World War II are still written in bungo , although there are ongoing efforts to modernize their language). Kōgo is the dominant method of both speaking and writing Japanese today, although bungo grammar and vocabulary are occasionally used in modern Japanese for effect. The 1982 state constitution of Angaur , Palau , names Japanese along with Palauan and English as an official language of
31133-480: The two terms (''hyōjungo'' and ''kyōtsūgo'') are almost the same. Hyōjungo or kyōtsūgo is a conception that forms the counterpart of dialect. This normative language was born after the Meiji Restoration ( 明治維新 , meiji ishin , 1868) from the language spoken in the higher-class areas of Tokyo (see Yamanote ). Hyōjungo is taught in schools and used on television and in official communications. It
31324-527: The unique style that emerged at the end of the 1950s which came to distinguish shōjo manga from shōnen manga was primarily derived from pre-war shōjo shōsetsu . Shōjo shōsetsu is characterized by a "flowery and emotional" prose style focused on the inner monologue of the protagonist. Narration is often punctuated with non-verbal elements that express the feelings of the protagonists; writer Nobuko Yoshiya in particular made extensive use of multiple ellipsis ("..."), exclamation points, and dashes in
31515-515: The use of layouts that break from the traditional comic approach of a series of sequential boxes. In this style, elements extend beyond the borders of panels, or the panel border is removed entirely. Intervals between panels are also were modified, with sequential panels that depicted the same event from different angles or perspectives. Second is kaiho ("release"), referring to the use of decompression to create more languid and relaxed sequences. Oftentimes in compositions without panel borders, text
31706-499: The use of non-rigid panel layouts and highly detailed eyes that express the emotions of characters. Beginning in the 1970s, panel layouts in shōjo manga developed a new and distinct style. In his 1997 book Why Is Manga So Interesting? Its Grammar and Expression , manga artist and critic Fusanosuke Natsume identifies and names the three major aspects of panel construction that came to distinguish shōjo manga from shōnen manga. The first, naiho ("panel encapsulations"), refers to
31897-407: The verb (e.g. yonde for earlier yomite ), the -k- in the final mora of adjectives drops out ( shiroi for earlier shiroki ); and some forms exist where modern standard Japanese has retained the earlier form (e.g. hayaku > hayau > hayɔɔ , where modern Japanese just has hayaku , though the alternative form is preserved in the standard greeting o-hayō gozaimasu "good morning"; this ending
32088-417: The visual and narrative conventions of shōjo manga. In sum, the magazines represented the integration of moe in shōjo manga: a term describing an expression of cuteness focused on feelings of affection and excitement that is distinct from kawaii , the more child-like and innocent expression of cuteness typically associated with shōjo manga. Moe was additionally expressed in shōjo manga through
32279-407: The visual conventions of lyrical painting, Tani and Takahashi imported them into their manga, with works defined by a strong sense of atmosphere and a focus on the emotions rather than the actions of their protagonists. Takahashi's manga series Arashi o Koete (1958) was a major success upon its release, and marked the beginnings of this jojōga -influenced style eclipsing Tezuka's dynamic style as
32470-420: The weapon on his arm. Johnson then realizes that he remembers nothing from before the last three years. After looking into a mirror, he finds a knob and turns it to reveal a secret room. There, he finds the revolver which he used in his dream. At that moment, armed intruders break into the house and address him as "Cobra". A battle ensues, and Ben's robot shell breaks to reveal Lady Armaroid, with whom Johnson kills
32661-548: The world. Since Japanese first gained the consideration of linguists in the late 19th century, attempts have been made to show its genealogical relation to languages or language families such as Ainu , Korean , Chinese , Tibeto-Burman , Uralic , Altaic (or Ural-Altaic ), Austroasiatic , Austronesian and Dravidian . At the fringe, some linguists have even suggested a link to Indo-European languages , including Greek , or to Sumerian . Main modern theories try to link Japanese either to northern Asian languages, like Korean or
32852-960: Was Machiko Satonaka , who at the age of 16 had debut manga Pia no Shōzō ("Portrait of Pia", 1964) published in Shōjo Friend . The emergence of female artists led to the development of roma-kome ( romantic comedy ) manga, historically an unpopular genre among male shōjo artists. Hideko Mizuno was the first to introduce romantic comedy elements to shōjo manga through her manga adaptions of American romantic comedy films: Sabrina in 1963 as Sutekina Cora , and The Quiet Man in 1966 as Akage no Scarlet . Other artists, such as Masako Watanabe, Chieko Hosokawa , and Michiko Hosono similarly created manga based on American romantic comedy films, or which were broadly inspired by western actresses and models and featured western settings. Contemporaneously, artists such as Yoshiko Nishitani became popular for rabu-kome (literally "love comedy") manga, focused on protagonists who were ordinary Japanese teenaged girls, with
33043-789: Was a commercial failure and folded after six issues, but came to be emblematic of a new trend in shōjo manga: cross-media marketing , where works are published across multiple mediums simultaneously. Early shōjo manga successes in this cross-media approach include Nana (2000–2009) by Ai Yazawa , Lovely Complex (2001–2006) by Aya Nakahara , and Nodame Cantabile (2001–2010) by Tomoko Ninomiya , all of which were alternately adapted into films, television dramas, anime series, video games, and series-branded music CDs. Older manga series, such as Attack No. 1 and Boys Over Flowers , found renewed success after being relaunched with cross-media adaptations. The shōjo magazines Asuka and Princess , which distinguished themselves by publishing
33234-438: Was a genre that was created primarily by male authors, notably Leiji Matsumoto , Shōtarō Ishinomori , Kazuo Umezu , and Tetsuya Chiba . Though some creators (notably Tezuka, Ishinomori, and Umezu) created works focused on active heroines, most shōjo stories of this era were typically focused on tragic and passive heroines who bravely endured adversity. Beside Toshiko Ueda, several female manga artists started working during
33425-400: Was able to develop this distinct style because the category was seen as marginal by editors, who consequently allowed artists to draw stories in whatever manner they wished so long as reader response remained positive. Stylistic elements that were developed by the Year 24 Group became established as visual hallmarks of shōjo manga; many of these elements later spread to shōnen manga, such as
33616-504: Was adopted by Miyako Maki – one of the most popular manga artists at the time – which led to its widespread adoption by mainstream shōjo manga magazines. From this point on, experimental eye design flourished in shōjo manga, with features such as elongated eyelashes, the use of concentric circles of different shades, and the deformation of the iris to create a glittering effect. This focus on hyper-detailed eyes led manga artists to frame panels on close-ups of faces, to draw attention to
33807-463: Was associated. Shōjo continued to be associated with an image of youth and innocence after the end of the Meiji era, but took on a strong consumerist connotation beginning in the 1980s as it developed into a distinct marketing category for girls; the gyaru also replaced the moga as the archetypical independent woman during this period. Strictly speaking, shōjo manga does not refer to
33998-539: Was based on 12- to 20-second-long recordings of 135 to 244 phonemes , which 42 students listened to and translated word-for-word. The listeners were all Keio University students who grew up in the Kanto region . There are some language islands in mountain villages or isolated islands such as Hachijō-jima island , whose dialects are descended from Eastern Old Japanese . Dialects of the Kansai region are spoken or known by many Japanese, and Osaka dialect in particular
34189-398: Was first published in 1977 in Shueisha 's shōnen manga magazine Weekly Shōnen Jump as a one-shot edition. It was later serialized for six years, running from the November 6, 1978, issue to the November 12, 1984, issue of Weekly Shōnen Jump , and released under the magazine's Jump Comics line in eighteen tankōbon volumes between August 15, 1979, and August 15, 1985. Cobra
34380-735: Was imported to Japan from Baekje around the start of the fifth century, alongside Buddhism. The earliest texts were written in Classical Chinese , although some of these were likely intended to be read as Japanese using the kanbun method, and show influences of Japanese grammar such as Japanese word order. The earliest text, the Kojiki , dates to the early eighth century, and was written entirely in Chinese characters, which are used to represent, at different times, Chinese, kanbun , and Old Japanese. As in other texts from this period,
34571-529: Was influenced by Cobra's Psychogun on creating a prosthetic hand for Guts , the protagonist of Berserk (1989). Cobra's "provoking look", ironic style and capacity of changing from a little smile to a serious face also inspired video game designer Hideki Kamiya to create the character of Dante from the Devil May Cry series. Thirty years after the original manga's publication, the OVA adaptation Cobra
34762-460: Was largely similar to that of shōnen manga until the late 1950s, a function of the fact that both shōjo and shōnen manga were created by the same, mostly male, artists. During the pre-war period, these artists were especially influenced by the modernist style of George McManus , while in the post-war period the dynamic style of Osamu Tezuka became the primary reference point for manga. While shōjo manga inherited some of these influences,
34953-701: Was later distributed by Urban Vision on VHS format in 1998. The film was later released on DVD in the Australasian region by Madman Entertainment in 2007, in the UK by Manga Entertainment in 2008, and on DVD (in 2012) and Blu-ray (in 2015) by Discotek Media in the US. Cobra was adapted into an anime series titled Space Cobra directed by Dezaki and Yoshio Takeuchi that aired on Fuji Television between October 7, 1982, and May 19, 1983. The scenario writers were Haruya Yamazaki, Kosuke Miki, and Kenji Terada . Terasawa himself participated in weekly meetings to discuss
35144-682: Was licensed by Tara for its release in American theaters and by Manga Entertainment in British theaters in 1995. Urban Vision and Discotek Media released it for home video market, while Madman Entertainment acquired it for the Australasian region's release. The anime series was licensed in North America by Nozomi Entertainment and Discotek Media . In Japan, the Cobra manga has sold 50 million copies, making it one of Weekly Shōnen Jump ' s best-selling manga series of all time . Publications for manga, anime and other media have compared
35335-444: Was little known, famous. Approximately 50 million copies of Cobra have been sold, making it one of Weekly Shōnen Jump' s best-selling manga series of all time . The anime television series was a major success in France in the 1980s. Le Monde ' s Frédéric Potet said it "marked a whole generation of young viewers", and Joel Metreau of 20 minutes asserted it gained a cult following . Alexandre Aja and Luc Besson are among
35526-474: Was lost immediately following its composition.) This set of morae shrank to 67 in Early Middle Japanese , though some were added through Chinese influence. Man'yōgana also has a symbol for /je/ , which merges with /e/ before the end of the period. Several fossilizations of Old Japanese grammatical elements remain in the modern language – the genitive particle tsu (superseded by modern no )
35717-401: Was re-published from February 10, 1988, to November 10, 1998, in a ten-volume aizōban edition under Jump Comics Deluxe entitled Space Adventure Cobra . The manga series was only partially released in the United States by Viz Communications in 1990 in a series of twelve books. This English-language publication covered the origin story and the Royal Sisters' saga, with dialogue adapted by
35908-709: Was released in the 1990s Brazil by Dealer, being one of the first manga to be published in the country. The manga was also published in Italy by Play Press, in Taiwan by Tong Li , in Hong Kong by Culturecom, and in Thailand by Vibulkij. Shueisha released Cobra in kanzenban form with the title Space Adventure Cobra: Handy Edition —which included volumes one through ten—from October 19, 2001, to February 4, 2002. Shueisha later created three kanzenban magazine series based on
36099-473: Was released on July 23, 1982, in Japan. It was directed by Osamu Dezaki , with screenplay by Terasawa and Haruya Yamazaki, and retold the Cobra involvement with the Royal Sisters, and his fight against Crystal Bowie. Manga Entertainment released the film in British theaters in 1995. An American dub was created by Carl Macek 's Streamline Pictures , and was released in American theaters also in 1995, by Tara, and
36290-465: Was simply called Cobra Kanzenban , and spawned twelve volumes released between August 23, 2005, and June 23, 2006. Cobra was also sold as an e-book , Space Adventure Cobra: Galaxy Knights for a limited time. The seinen manga magazine Super Jump published several Cobra sequel or spin-off series. The first was titled Cobra: Legend of the Holy Knight , which was serialized in 1986 in
36481-534: Was slated to premiere in 2018. Japanese Japanese language Japanese ( 日本語 , Nihongo , [ɲihoŋɡo] ) is the principal language of the Japonic language family spoken by the Japanese people . It has around 123 million speakers, primarily in Japan , the only country where it is the national language , and within the Japanese diaspora worldwide. The Japonic family also includes
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