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Contents
Articles
Mad Scientists 1
List of mad scientists 1
Mad scientist 12
Manga 16
Science fiction 29
References
Article Sources and Contributors 43
Image Sources, Licenses and Contributors 45
Article Licenses
License 46
1
Mad Scientists
List of mad scientists

The following is a list of fictional mad scientists in cultural sources (literature, movies, comics, etc.). They are split
into pre- and post-1945, as the images of mad scientists changed and proliferated in the years following the atomic
bombings of Hiroshima and Nagasaki, and the increased role of scientists following World War II.
Before 1945
Literature
• Victor Frankenstein, creator of Frankenstein's monster, in the novel Frankenstein, or the Modern Prometheus by
Mary Shelley (1818).
• Nathaniel Hawthorne, in his short story "The Birthmark" (1843), shows a scientist named Aylmer who, while
perhaps not mad, is certainly overconfident, and whose meddling with nature brings about tragedy.
• The following year, Hawthorne wrote "Rappaccini's Daughter," in which medieval Paduan naturalist Giancomo
Rappaccini performs botanical and toxicological experiments on his own daughter.
• Nathaniel Hawthorne also wrote the story "Artist of the Beautiful", in which Owen Warland, a quirky
clock-maker, seeks to discover/create perpetual motion, and is thought mad by the townspeople.
• Robert Louis Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde (1886) portrays the essentially humane
experimenter driven to madness and suicide by the nature of his science.
• Several (but not all) of Jules Verne's novels feature a mad scientist. Some of these are humorous, who fail
everything they try; others are shown as rather serious and even dangerous characters. A partial list follows.
• The main characters of The Chase of the Golden Meteor (La Chasse au météore) (1908) are three mad
scientists: Dean Forsyth and Sidney Hudelson, rivalling astronomers, and the eccentric inventor Xirdal
Zephyrin.
• Thomas Roch in Facing the Flag (Face au drapeau) (1896) is a typical mad scientist in that he doesn't realize
his powers are used for evil purposes.
• Captain Nemo, the rich protagonist who builds a submarine appears in two novels Twenty Thousand Leagues
Under the Sea (1870) and The Mysterious Island (1874). However, he appears more as a vigilante, an explorer
and a super engineer, than a god-playing mad scientist. None of his inventions (not even the Nautilus - which
is much more a means to travel and discover the undersea world, than a battle machine) could ever be
questioned on any moral ground. Despite being a misanthrope (who still has faith in some good men and who
still cares for the underdog), he has no plan to dominate or destroy the world. Furthermore, his research and
experiments never involved any living being.
• Arguably, the main character of Mathias Sandorf (1885).
• Professor Lidenbrock from Journey to the Center of the Earth (1864).
• J. T. Matson (and other characters) in Barbicane and Co. (Sans dessus dessous) (1889) and also in From the
Earth to the Moon (1865) who enjoys making giant cannons.
• Off on a comet (orig. title Hector Servadac, 1877) has the astronomer Palmyrin Rosette as an important
character.
• In Search of the Castaways (1865) has Jacques Paganel, a geographer who becomes involved in the story by
accident: he is so forgetful that he's boarded the wrong ship. Nevertheless, he is a very famous scientist in the
book, has three lines of titles and three middle names.

• John Hatteras from The Adventures of Captain Hatteras (French: Les Aventures du capitaine Hatteras, 1864)
can be counted as one as well.
• Carpathian Castle (1892) has a mad scientist named "Orfanik".
• H. G. Wells' The Island of Dr. Moreau (1896) carried Frankensteinian experimentation a step further with its mad
scientist Dr. Moreau, contrasting it with an idyllic 'natural' South Sea island setting. Several film versions were
made (such as The Island of Lost Souls (1933)).
• The Harold MacGrath 1920 novel The Drums of Jeopardy had a Russian mad scientist named "Boris Karlov"
reported to be the source for the stage name adopted by actor Boris Karloff.
• Dr. Herbert West, a Frankenstein-like doctor obsessed with bringing the dead back to life, in H. P. Lovecraft's
novella "Herbert West, Reanimator" (1922).
• Griffin, from The Invisible Man (1897) by H.G. Wells. Griffin discovers the secret of invisibility, but the process
sends him into murderous insanity.
• Vladimir Ipat'evich Persikov, a specialist in reptiles, in The Fatal Eggs (1924) by Mikhail Bulgakov.
• Philip Philippovich Preobrazhensky who implants human testicles and pituitary gland into a stray dog named
Sharik, in Heart of a Dog (1925) by Mikhail Bulgakov.
• Ras Thavas, who performs grotesque human experiments in Edgar Rice Burroughs' The Master Mind of Mars
(1928) and Synthetic Men of Mars (1940).
• Phor Tak, the discoverer of invisibility in Edgar Rice Burroughs' 1930 science-fiction novel, A Fighting Man of
Mars.
• Eleanor Allison who at the age of 10 was the creator of the famous Ellie the little freak series of scary kiddy night
time books.
• Dr Rance Mandarin, a.k.a. Doctor Death, from the novels "12 Must Die", "The Gray Creatures" and "The
Shriveling Murders" which appeared in three issues of the pulp magazine Doctor Death in 1935.
• The 1917 short story "Re-Animator" by H.P. Lovecraft features Herbert West, a ambitious young scientist who
believes that he can bring the dead back to life.
Movies
• The Cabinet of Dr. Caligari (1919) is a silent film featuring the mad hypnotic doctor and his sleepwalking
assistant.
• Dr. Mabuse, most famous from the films made about him by Fritz Lang
• C. A. Rotwang in Fritz Lang's Metropolis (1927).
• Dr. Frankenstein in several movie versions.
• Dr. Jack Griffin, in the film The Invisible Man (1933), adapted from the Wells novel.
• Dr. Janos Rukh, in the film The Invisible Ray (1936). Dr. Rukh discovers a radioactive ray that cures blindness
but causes him to develop a murderous paranoid rage against other scientists, whom he accuses of stealing his
discovery.
• Dr. Thorkel, in the film Dr. Cyclops (1940). Dr. Thorkel shrinks opponents of his unorthodox experimentation
with radium.
• Armand Tesla=Nikola Tesla, Bela Lugosi plays Romanian scientist/vampire in The Return of the Vampire (1944)
After 1945
Novels
• Dr. Adam Burkhardt, in the Frank Peretti novel Monster, who mutates a chimpanzee to the point where it grows
into a bigfoot-like creature, after which it escapes the lab and gruesomely kills several people.
• Dr. Jacob Burroughs, Colonel, A.U.S. from Robert A. Heinlein's The Number of the Beast (1980) (Although
Heinlein used the term "Mad Scientist" to describe him, he does not exhibit many of the characteristics.)
• The unnamed narrator in Thomas Ligotti's short story "The Chymist".
• Damontir the Mad, in Dave Morris's gamebook Temple of Flame.
• Dr. Hugo Grief from the Alex Rider book Point Blanc.
• Various parodies in Terry Pratchett stories, including Hugo Lavish in Making Money and Igor the manservant.
• Opal Koboi in the Artemis Fowl series by Eoin Colfer
• Xavier Mace, a recurring adversary in a 1990s series of Tom Swift, Jr. books.
• The Mad Scientists' Club: a book series that portrayed seven "normal" boys, one an inventive genius, who go on
many crazy and wacky adventures.
• Dr. Ignacio Metz, who did unorthodox experiments with dolphin uplift in David Brin's Startide Rising.
• Mole, the genius inventor and hunter of Nazis in the Burke series of novels by Andrew Vachss.
• Characters from the James Bond series of novels:
• Dr. Julius No from Dr. No.
• Dr. Anton Murik in Licence Renewed.
• Dr. Roger Nordhagen, a plastic surgeon with something nasty in the basement, in Thomas Tessier's novel
Finishing Touches.
• Novai (a.k.a. Theodore Nova) and Blitz from the storyline The Lab.
• The Horrible Math Teacher in the GrailQuest gamebooks.
• John Roe O'Neill, in the Frank Herbert novel The White Plague.
• Dr. Fabian Rosten, in High Times.
• De Selby, an eccentric Irish philosopher and scientist in The Third Policeman and The Dalkey Archive by Flann
O'Brien.
• Vergil Ulam, in the Greg Bear novel Blood Music.
• Dr. Lazlo Zand, from the Robotech novels by Jack Mckinney.
• Crake from Oryx and Crake by Margaret Atwood.
• Doctor Impossible, from Soon I Will Be Invincible by Austin Grossman.
• The Doctor, from Ecstasia and Primavera by Francesca Lia Block.
• Lois Wilson, from Brainchild by Andrew Neiderman.
• Melvin Dobbs, from Resurrection Dreams by Richard Laymon.
• Jamie Angelo, from Beauty by Brian D'Amato.
• Dr. Victor Beaufort and Dr. Griffin, from The Jigsaw Woman by Kim Antieau.
• Dr. Wade Ormont, from L. Sprague de Camp's short story "Judgment Day".
• Sir Darren Penward, from John Brosnan's Carnosaur.
Movies
• Dr. Strangelove, the title character (1964)
• Dr. Benway in Naked Lunch (1991)
• Ernst Stavro Blofeld from James Bond, head of SPECTRE.
• Professor Ned Brainard The Absent-Minded Professor (1961)
• Dr. Emmett Brown in the Back to the Future trilogy
• Dr. Seth Brundle in David Cronenberg's remake of The Fly
• The Skeksis skekTek in The Dark Crystal [1982]
• Dr. Eldon Tyrell in Blade Runner (1982)
• Sebastian Caine, in Hollow Man (2000)
• Max Cohen, in Pi (1998)
• Sir August DeWynter, in The Avengers (1998)
• Kevin Dornwinkle, in Invisible Maniac (1990)
• Dr. Durand Durand, in Barbarella (1968)
• Dr. Evil, nemesis of Austin Powers
• Dr. Finkelstein in The Nightmare Before Christmas (1993)
• Dr. Otto Frank, in Monstrosity (1964)
• Dr. Victor Frankenstein (in the film versions, at least)
• Dr. Elaine Frederick, in Flesh Feast (1970)
• Dr. Frank N. Furter, in The Rocky Horror Picture Show (1975)
• Cosmo and Nation McKinley, in Shock Treatment (1981)
• Tania Frankenstein, in Lady Frankenstein (1971)
• Dr. Maria Frankenstein, in Jesse James Meets Frankenstein's Daughter (1966)
• Professor Foot in Help! (1965)
• The protagonists of Ghostbusters
• Dr. Charles Girard, in Terror Is a Man (1959)
• Dr. Gulk, in Supersonic Man (1979)
• Dr. Susan Harris, in Invasion of the Bee Girls (1973)
• Dr. Paul Holliston, in Embryo (1976)
• Professor Julius Kelp in The Nutty Professor (1963)
• Professor Sherman Klump from The Nutty Professor (1996 film) and Nutty Professor II: The Klumps
• Dr. Kobras, in Puma Man (1980)
• Baron von Kratzmar in Adele Hasn't Had Her Dinner Yet (1977)
• Krank, and the doctor who made him, in The City of Lost Children (1995)
• Doctor Kraspin, in The Humanoid (1979)
• Dr. Kurt Leopold, Zaat (1972)
• Dr. Emilio Lizardo, in The Adventures of Buckaroo Banzai Across the 8th Dimension (1984)
• Dr. Logan - Day of the Dead (nicknamed "Dr. Frankenstein")
• Dr. Lorca, in the film Mad Doctor of Blood Island (1968)
• Dr. Arliss Loveless, in Wild Wild West (1999)
• Professor Mason, in Death Dimension (1978)
• Dr. Mifune, in Terror of Mechagodzilla
• Dr. Edward Morbius, in Forbidden Planet (1956)
• Edward Nigma, aka The Riddler, in Batman Forever
• Jason Woodrue in "Batman & Robin" (1997)
• Dr. No, and various other characters from the James Bond series of films
• Professor Nolter, in The Mutations (1973)
• J. Frank Parnell, in Repo Man (1984)

• The Abominable Dr. Phibes (Vincent Price) in the series The Abominable Dr. Phibes
• Philo in UHF (While he is not exactly mad, he is absent-minded, and does work and live in a lab/workshop.)
• Dr. Hans Reinhardt, in The Black Hole (1979)
• Michael Sharrington, in Graveyard of Horror (1971)
• Dr. Tolian Soran from the Star Trek film Star Trek Generations
• Dr. Carl Stoner, in Ssssss (1973)
• Syndrome/Buddy Pine, in The Incredibles (2004)
• Dr. Jane Tiptree in Carnosaur (film) (1993)
• Dr. Sy N. Tist, from the Mad Scientist series
• Dr. Totenkopf, in Sky Captain and the World of Tomorrow (2004)
• Dr. Richard Benjamin Vannacutt from House on Haunted Hill (1999)
• Dr. Eric Vornoff (Bela Lugosi) in Bride of the Monster
• Dr. Calvin Weber in Blast from the Past (1997)
• Professor Wendland, in Superargo (1968)
• Dr. Gediman, in Alien Resurrection (1997)
• Dr. Herbert West, in Re-Animator (1985)
• Nathaniel Pickman Wingate in Kamillions (1989)
• Professor MacKrill, in Help! I'm a Fish (2001)
• Doctor Rush, the female scientist from Black Sheep (2007 film)
• Dr. Horrible, in Dr. Horrible's Sing-Along Blog (2008)
• Dr. Cockroach (Hugh Laurie), in "Monsters vs. Aliens", the 2009 DreamWorks animated film
Television series
• Dr. Necros , from the TV series Aaron Stone, A member of the organization 'Omega Defiance'. He is a mad
scientist who specializes in creating dangerous serums and toxins. His name is derived from a Greek term
meaning "death".
• Dr. Walter Bishop, from Fringe
• Dr. Sheldon Lee Cooper, from The Big Bang Theory has tendencies to be a real mad scientist. His ideas are
usually called "mad" or "insane" (e.g. build a death ray or breed a Griffin).
• Dr. Bunsen Honeydew from The Muppet Show
• Jha'Dur (AKA Deathwalker), from the Babylon 5 episode "Deathwalker"
• Professor Maggie Walsh, from the TV series Buffy the Vampire Slayer
• Dr. Crell Moset , from the TV series Star Trek Voyager
• Dr. Clayton Forrester, from Mystery Science Theater 3000, named after the hero scientist in the 1953 film The
War of the Worlds
• Dr. Laurence Erhardt, from Mystery Science Theater 3000. Appeared in the initial locally broadcast season, and in
the first national season along with Dr. Clayton Forrester.
• Pearl Forrester from Mystery Science Theater 3000. The mother of Clayton, she took up mad science and
resumed the experiments to get revenge on the Satellite of Love crew although she was unaccredited.
• Dr. Yes, and various other parodic characters in Get Smart
• Dr. Miguelito Loveless, in the 1960s series The Wild Wild West
• Dr. Momus Alexander Morgus from Morgus Presents!
• Johann Wilhelm Möbius in Dürrenmatt's satiric drama The Physicists (1962)
• Namtar, from Farscape
• Dr. Chaotica from the "Bride of Chaotica" episode in Star Trek: Voyager
• Dr. Paul Museveni from Andromeda
• Doctor Who, Davros, the Rani, Doctor Mehendri Solon, Taren Capel, Professor Zaroff and Lazarus, from Doctor
Who
• Degra, from Star Trek: Enterprise
• Dr. Arik Soong, from Star Trek: Enterprise
• Dr. Phlox (Mirror Universe version), from Star Trek: Enterprise
• Dr. Sparrow from Angel
• Professor Chagrijn from Bassie and Adriaan
• Dr. Julia Hoffman from Dark Shadows
• Dr. Ignatius Faust Fear II from The Mysterious Lab of Dr. Fear horror show from Enid Oklahoma
• Dr. TwoBrains from WordGirl
• Dr. Donald Baxter from Curse of The Blood of The Lizard of Doom who attempts to find a cure for the common
burn, but ends up turning people into lizard monsters. (2001)
• Elizabeth, from Wicked Science
• Most of the characters from Eureka
• Dr. Insano from "The Spoony Experiment"
• Topher Brink from the television series "Dollhouse"
Cartoon
• The Professor, from the cartoon series Felix the Cat
• The Evil Scientist from Looney Tunes
• Dr. Hess from the manga/anime Saber Marionette J
• Dr. Agasa from the manga/anime Detective Conan
• Doctor Arkeville, from the cartoon series (but not the comic or toyline) Transformers
• Bighead from The Ambiguously Gay Duo
• Dr. Blight, a female mad scientist specialising in genetic engineering and air pollution, from Captain Planet and
the Planeteers
• Dr. Animo from Ben 10
• The Brain, from Animaniacs and Pinky and the Brain
• Dr. Otto Scratchansniff from Animaniacs
• Dr. Reginald Bushroot and Elmo Sputterspark from Darkwing Duck
• Hector Con Carne and Major Dr. Ghastly, from Evil Con Carne
• rotcoD daM, from the cartoon series Sinbad the Sailor
• Dexter and Mandark, of Dexter's Laboratory
• Dr. Drakken (a.k.a. Drew Lipsky), DNAmy (a.k.a. Amy Hall), and Professor Dementor, from the TV series Kim
Possible
• Dantalion, also a Crimson Lord in Shakugan no Shana
• Dr. Eyepatch from The Super Milk-chan Show
• Professor Hubert Farnsworth and his nemesis Professor Wernstrom from the cartoon series Futurama
• Professor Fingers, in DoDo, The Kid from Outer Space (1965)
• Carl Foutley (aspiring), on As Told By Ginger
• Professor Frink from The Simpsons
• Dr. Putrid T. Gangreen from the cartoon series Attack of the Killer Tomatoes (1994)
• Dr. Gero, Dr. Myū and Dr. Wheelo from Dragonball Z
• Newton Gimmick in The Adventures of Teddy Ruxpin
• Rear Admiral Ginias Sahalin of Mobile Suit Gundam: The 08th MS Team
• Hugo A Go Go, from the cartoon series Batfink
• Professor Goatsbeard (Dutch original Joachim Sickbock), an anthropomorphic goat, from the Tom Puss/Oliver B.
Bumble cartoon series. A statue of the mad scientist can be seen in Rotterdam. [1]
• Professor Grotalent from the French comics/cartoon Spiff and Hercules.
• Washu Hakubi in the anime series Tenchi Muyo!
• Dr. Hell from Go Nagai's manga and anime Mazinger Z
• Doktor Frogg from The League of Super Evil
• Fritz Huhnmorder, from the action figure stop-motion television show, Robot Chicken
• Head Commander Gendo Ikari in Neon Genesis Evangelion
• Dr. Katsuhito Stingray from Bubblegum Crisis Tokyo 2040
• Dr. J, Professor G, Doktor S, Instructor H, and Master O from the anime Gundam Wing
• Dr. Jumba Jookiba, from the Lilo & Stitch cartoons and movies
• Dr. Kamikazi, Bjorn Bjornson and Brainy Yak, from Robotboy
• Dr. Muraki Kazutaka, whose interest in (and applications of) genetics, cloning, and anatomy in general stem from
decidedly less than harmless intentions. He's from the anime Yami no Matsuei
• Mayuri Kurotsuchi and Szayel Aporro Granz from Bleach. Kisuke Urahara is worth mention, as while he may not
be mad per se, he is a somewhat perverse scientist who creates bizarre inventions.
• Kururu from Keroro Gunsou
• Eiri Masami from Serial Experiments Lain
• Vlad Masters/Vlad Plasmius from Danny Phantom
• Professor Membrane from Invader Zim
• Dr. Viper from SWAT Kats: The Radical Squadron
• Dr. Mephisto from South Park
• Ichiro "Icchan" Mihara from Angelic Layer
• Mojo Jojo and Dick Hardly from The Powerpuff Girls
• Dr. Desty Nova from the anime–manga series Battle Angel Alita, who used Nanotechnology to try to overcome
the human Karma
• Professor Finbarr Calamitous, and Doctor Sydney Orville Moist and Jimmy Neutron from The Adventures of
Jimmy Neutron: Boy Genius
• Orochimaru, from the manga/anime Naruto. Note that while he is not actually a scientist, he does experiment with
justsu in a similar fashion.
• Mr. Paulson, from Teamo Supremo. However, the real mad scientist of the series was an occasional villain named
Dr. Droid, who constructed robot look-alikes of everyone because he believed robots to be superior.
• Professor von Proton from The Big Knights, described as "that discraced scientist from village Borodzo". Inventor
of the Protonosphere (a time travel machine), and Proton-Power a highly unstable method of power generation
fueled by "freely available porcine agricultural by-product".
• Simon Bar Sinister, from the Underdog cartoon (1964)
• Dr. Slump from Dr. Slump
• Dr. Mashirito from Dr. Slump
• Professor Squarkencluck, from the cartoon Dangermouse
• Baxter Stockman and occasionally Donatello and Leatherhead from the Teenage Mutant Ninja Turtles
• Kaolla Su from the manga/anime Love Hina
• Tarantulas, from the Beast Wars animated series
• Professor Tomoe from the manga/anime series Sailor Moon
• Shou Tucker, Zolf Kimblee, and others in Fullmetal Alchemist
• Dr. Nora Wakeman, from the TV series My Life as a Teenage Robot
• Dr. Weird from Aqua Teen Hunger Force
• Phineas J. Whoopee from Tennessee Tuxedo
• Wheeljack, an autobot from the Transformers

• Dr. Zin, from the Jonny Quest cartoon series
• Urpgor, from the cartoon series The Dreamstone
• Voltaire, Doctor B & Doctor K, and Dr. Zagart from the manga/anime Beyblade
• Tracy McBean, from the cartoon of the same name
• Dr. Benjamin Boris Zachary Karbunkle from Biker Mice from Mars
• Muffy Pepperidge from Totally Spies (episode 111)
• Brain Freezer from Johnny Test cartoon Series
• Doctor Thaddeus Venture and Jonas Venture Jr. (as well as the absent Jonas Venture Sr., seen in flashbacks, etc.)
from The Venture Bros.
• Doctor Colossus from The Simpsons
• "The Doctor" from the manga and OVA Hellsing. His name is unknown and he is simply referred to as "DOC".
• Dr. Anton Sevarius from Gargoyles
• Dr. Harleen Quinzel (aka Harley Quinn), a mad psychiatrist turned villain from Batman: The Animated Series
• Doctor Hogback from the manga/anime series One Piece
• Sheldon J. Plankton from the cartoon series SpongeBob SquarePants
• Dr Franken Stein, an insane weapons meister & teacher who is deliberate cross of Mary Shelly's
Frankenstein/Monster, from the manga/anime series Soul Eater
• The Angry Scientist from Sheep in the Big City
• Dr. Chipotle Jr. and Sr., from El Tigre (TV series)
• Dr. Heinz Doofenshmirtz from Phineas and Ferb
• Azmuth from Ben 10, who would rather have his creation, the Omnitrix, self destruct and rip apart the universe
than have it exploited by an enemy.
• Dr. Max Enstein from Frank Enstein
Comics
• Professor Shelley and the Necro-Nazis, from John Michael McCarthy's Cadavera
• Doctor Doom, from Marvel Comics, arch-enemy of the Fantastic Four
• Mister Sinister, from Marvel comics
• The Red Ghost, enemy of the Fantastic Four, from Marvel Comics.
• Lex Luthor, from DC Comics, arch-enemy of Superman
• Doctor Sivana from DC Comics
• Norman Osborn (The Green Goblin), Otto Octavius (Doctor Octopus), and Curt Connors (The Lizard) in
Spider-Man, went mad and became evil after an experiment mutated or altered them
• Doctor Jonas Harrow, an enemy of Spider-Man
• Egghead and Dr. Henry Pym from Marvel comics
• The Mandarin from Iron Man
• Riff, Dr. Catherine Crabtree, and Dr. Irving Schlock, from Sluggy Freelance.
• Dr. August Hopper a.k.a. The Locust, and Forge (comics) from the X-Men comics
• Dr. Cedric Rawlings from the Captain America comics
• Dr. Light, enemy of the Teen Titans
• Baron Karza from the Micronauts comic book (Marvel)
• Gyro Gearloose from the Scrooge McDuck universe
• Dr. Weekday and Dr. Saruta from the Tezuka manga Phoenix series
• Mad Scientist in Monster in My Pocket #39. In the comicbook, he is clearly Dr. Jekyll and Mr. Hyde, though in
the first issue, drawn by Ernie Colon he seems to be a transitional version of the two, and looking more like he
came from the eighteenth century than the nineteenth. Both of these were corrected by Gil Kane the following
issue. In it and subsequent issues, written by Dwayne McDuffie, he would frequently be force-fed his potion as a
significant plot complication.
• Professor Cuthbert Calculus (Professeur Tryphon Tournesol) from The Adventures of Tintin
• Professor Bacterio, from Mortadelo y Filemón
• Prof. Septimus in Blake and Mortimer's "The Yellow Mark"
• Professor Miloch Georgevitch in Blake and Mortimer's "The Diabolical Trap"
• The Count of Champignac and Zorglub from Spirou et Fantasio
• Baron Klaus Wulfenbach, Agatha Heterodyne, and other Sparks, from Phil and Kaja Foglio's Girl Genius comics
• Dr. Helen Narbon, Helen Beta Narbon, Lupin "Wolf" Madblood, and others in the webcomic Narbonic
• Dr. Vanessa Leather, Monster-Maker, in Elizabeth Watasin's Charm School
• Casey and Andy from the webcomic Casey and Andy
• Tedd Verres and Dr. Germahn, from the webcomic El Goonish Shive
• Dr. Otto Bonn, from the webcomic The Polymer City Chronicles
• Dr. Virgil Haas, and other victims of Science Related Memetic Disorder, from the webcomic A Miracle of
Science. The lead character, Agent Benjamin Prester of the Vorstellen Police, is a recovered mad scientist who
works investigating and preventing mad-science related crimes.
• Nick Wellington and Professor Otto Wisebottom, from the webcomic General Protection Fault
• Gav Van Darin, Danny Hua, King Luca, and Suzy Gee, from the webcomic Nukees
• Dr. Von Richter, the chief villain of the Argentine comic book, Cybersix, and its various adaptations
• Bernie, from the comic strip Doonesbury
• T.O. Morrow, enemy of the Justice League.
• Frederick Willheim creator of cyborg gorilla Cy-Gor, a Spawn villain.
• Kevyn Andreyasn, from the webcomic Schlock Mercenary
• Franklin (Franjinha), from Monica's Gang, a popular Brazilian series.
• Nearly the entire cast of Mad About U.
• Hugo Strange
• Dr. Jonathan Crane (Scarecrow)
• Pamela Isley (Poison Ivy)
• Victor Fries (Mr. Freeze)
• Kirk Langstrom (Man-Bat)
• Doctor Emile Dorian
• Doctor Milo
• Professor Barabas, from the comic books series Spike and Suzy
• Wheeljack, from Transformers
• Barry Ween from The Adventures of Barry Ween Boy Genius
• Erwin "Pee Wee" Talon, from Fred Perry's Gold Digger
• Doktor Sleepless
• Zodon from PS238 by Aaron Williams
• Doctor Finitevus, from Archie Comics' Sonic the Hedgehog (comics) , an archenemy of Knuckles the Echidna
Video games
• Rodyle from Tales of Symphonia
• Izuka from Fire Emblem: Path of Radiance
• Gas-O from Bust A Groove
• Doctor Albert W. Wily, from the video game series Mega Man
• Gate, a Reploid Scientist from Mega Man X6.
• Doctor Weil, a Neo Arcadian in Mega Man Zero series
• Doctor Hans Ubermann, from the Indiana Jones and the Fate of Atlantis adventure game (1992)
• Doctor Neo Cortex, alongside his colleagues Doctor N. Gin, Doctor Nitrus Brio and Doctor Nefarious Tropy from
the Crash Bandicoot game series.
• Professor Curien and Goldman, from The House Of The Dead series
• Doctor Synthesis, from Gahan Wilson's The Ultimate Haunted House
• Dr. Caulder, from Advance Wars: Days of Ruin
• Doctor Fred Edison, from adventure games Maniac Mansion and Day of the Tentacle
• Professor Gerald Robotnik, Doctor Eggman's grandfather
• Doctor Ivo "Eggman" Robotnik, from the Sonic the Hedgehog video game series
• Dr. Nefarious from Ratchet & Clank: Up Your Arsenal
• Doctor Brain, from the educative video games Island of Doctor Brain, Castle of Doctor Brain, The Lost Mind of
Doctor Brain and The Time Warp of Doctor Brain
• Doctor Proton, from Duke Nukem 1
• Doctor Gregor Hoffman from Crusader: No Remorse
• Doctor Malcolm Betruger, from Doom 3
• Doctor William Birkin, from Resident Evil 2
• Doctor Killjoy, owner and main physician of 'Carnate Institution for the Alienated', whose treatment methods
were drastic and lethal, including lobotomy, dismembernment and electro-shock therapy. Appears in The
Suffering
• Doctor Muto, titular character of Dr. Muto
• Professor Burnital, Dr. Muto's arch-nemesis
• Doctor Baldhead/Faust, from the Guilty Gear series, an insane medical doctor
• Doctor Bomb, from platform game Bravoman
• Doctor Wallace Breen, Black Mesa Administrator turned puppet dictator of Earth, Half-Life 2.
• Doctor Sludge Vohaul from the Space Quest series.
• Doctor Schabbs and Otto Giftmacher from Wolfenstein 3D.
• Doctor Edward W. Johansson from XIII
• Andross, from game series Star Fox
• Doctor Erasmus Sartorius, from Zork Nemesis
• Professor E. Gadd, from the Mario Games.
• Doctor Ironstein, from the Flight of the Amazon Queen adventure game (1995)
• Doctor Ignatio Mobius, from the Command & Conquer series.
• Guildenstern, a Genma Scientist from the Onimusha series
• Doctor Lugae from Final Fantasy IV
• Cid del Norte Marguez from Final Fantasy VI.
• Professor Hojo from Final Fantasy VII.
• Dr. Cidolfus Demen Bunansa from Final Fantasy XII.
• Vexen from Kingdom Hearts: Chain of Memories.
• Doctor Knarf, from the Sony PlayStation 3D platform game, Jersey Devil.
• Doctor Boskonovitch, from Tekken
• Doctor Jacob Crow, creator of the Timesplitters from Timesplitters: Future Perfect
• Bishop Mandible from Loom
• Henry Stauf from The 7th Guest
• Doctor Willard from Tomb Raider 3
• Doctor Cranium from Quest for Glory IV: Shadows of Darkness
• Doctor Pretorius / Dr. Mobius (the same person) from Quest for Glory V: Dragon Fire
• Garlen from the Klonoa series
• Doctor (George Wilhelm) Krieger from the Far Cry series
• Doctor Crygor and his granddaughter Penny from the WarioWare series of games
• Baron K. Roolenstein from Donkey Kong Country 3: Dixie Kong's Double Trouble!
• Doctor Exavolt from Metal Arms: Glitch in the System
• Doctor Riptide from In Search of Dr. Riptide
• Cranky Kong from Donkey Kong 64
• Professor Elvin Atombender from Impossible Mission
• Doctor Caligosto Loboto from Psychonauts
• Doctor Vu from Sim City 4
• Doctor Kiln from Clayfighter 63 1/3
• Dr. Bad-Boon from Super Monkey Ball 2
• Doctor Beruga from Terranigma
• In Bioshock, Dr Tennenbaum, Dr Suchong, and Dr Steinman.
• Doctor Drago Petrovich Madnar in Metal Gear 2: Solid Snake
• Doctor Thrax in Command & Conquer: Generals Zero Hour
• The Medic from Team Fortress 2; although there is no proof of this, his heavy Germanic accent is a frequent
characteristic of the stereotypical mad scientist.
• Professor Monkey-For-A-Head in Earthworm Jim is a mad scientist who throws breakers at the protragonist
during 'Level 5'
• Fawful, the villain in the Mario games Mario and Luigi: Superstar Saga and Mario and Luigi: Bowser's Inside
Story.
• Dr. Madd from Army Men video games
Music
• Doctor Steel
• The Mad Sinetist
• Dr. Octagon
• Bartholomäus Scarabäus Peingebreck, a character of the concept album by Samsas Traum Tineoidea oder: Die
Folgen einer Nacht - Eine Gothicoper in Blut-Moll
Toys
• Dr. X, from Action Man
• Dr. Ein-O, from Smart Boxes. He is directly based on Albert Einstein.
• Dr. Mindbender, from the cartoon, comic, and toyline G.I. Joe
• Dr. Sy N Tist, from Mad Scientist by Mattel
• Mutran, from BIONICLE
• Dr. Inferno and Dr. D. Zaster from LEGO Agents
Audio drama
• Dr.Adventure, host of Adventure Radio
• Dr. Marlin Mazoola, from the adventures of Jack Flanders
• Professor Nebulous, the head of KENT in Nebulous
• Dr. Floyd J. Floyd Jr., from the The Radio Adventures of Dr. Floyd
Opera
• Soprano 1 in Facing Goya
• Tenor in Facing Goya
References
[1] http:/ / www. cirque. nl/ sculptur/ all/ Monu3. html
Mad scientist
A mad scientist is a stock character of popular fiction,
specifically science fiction. The mad scientist may be
villainous or antagonistic, benign or neutral, and
whether insane, eccentric, or simply bumbling, mad
scientists often work with fictional technology in order
to forward their schemes, if they even have a coherent
scheme. Alternatively, they fail to see the evil that is
implied will ensue from the hubris of “playing God”.
Not all mad scientists are evil or villains. Some may
have benevolent or good spirited intentions, even if
their actions are dangerous or questionable, which can
make them accidental villains. In the same relation,
some are protagonists (or at least positive forces), such
as Dexter in the animated series Dexter's Laboratory or
Dr. Emmett "Doc" Brown from the Back to the Future
Male, aging, crooked teeth, messy hair, lab coat, spectacles/goggles,
movies. Occasionally, there are self parodies of mad dramatic posing — one popular stereotype of mad scientist.
scientists making fun of the stereotype.
Relations to evil genius

Though the archetypes often overlap, a mad scientist need not be an evil genius. Some mad scientists - and there are
lots of them - are simply scientists who have become obsessively involved with their studies and so have begun to
develop eccentricities beyond normal standards and tolerances; evil geniuses, on the other hand, are geniuses that use
their gift for clearly expressed consciously evil purposes. For example, while some scientists who are mad, would
test the bounds of science to create an army of zombies, might do it to see if – or prove that – they could, as in a
proof of method, or out of boredom, to impress people, to help clean up their house, or many other such reasons. The
Walt Disney character Gyro Gearloose may have been a mad (but kindly) scientist, but he was certainly not an evil
genius. More to the point, an evil genius would construct an army according to a preconceived purpose, such as
taking over the world – in addition to being evil, such characters tend to have large-scale ambition (see
Megalomania in fiction). A mad scientist may be a naïve pawn of an evil genius, the evil genius often promising the
Mad scientist 13
scientist the funds and resources to conduct their research unaware of the evil purposes for which their work will be
used. Mad scientists also, whilst definitely being intelligent, if not necessarily brilliant, usually fail to think things
through to their conclusion, while an evil genius is usually a clever planner and would have a diabolical use for the
army of zombies as well as a plan to avoid being killed by them. A quick way to tell the difference is that a mad
scientist thinks "can I do this" whilst an evil genius thinks "what can I use this for?"
History
Precursors
Since ancient times, popular imagination has circulated on archetypal figures who wielded esoteric knowledge.
Shamans, witches and witch doctors were held in reverence and fear of their rumored abilities to conjure beasts and
create demons. They shared many of the same perceived characteristics such as eccentric behavior, living as hermits,
and the ability to create life.
Perhaps the closest figure in Western mythology to the modern mad scientist was Daedalus, creator of the labyrinth,
who was then imprisoned by King Minos. To escape, he invented two pairs of wings made from feathers and
beeswax, one for himself and the other for his son Icarus. While Daedalus himself managed to fly to safety, Icarus
flew too close to the sun, which melted the wax of his wings, casting him down into the sea below.
In actual history, Archimedes shares some of the elements of the mad scientist, but was closer to the more benign
archetype of the absent-minded professor.
A more whimsical prototype of the mad scientist can be found in Aristophanes' comedy The Clouds. The play
depicts Socrates, a contemporary of Aristophanes, as tinkering with odd devices and performing implausible
experiments to determine the nature of the clouds and sky, and presents his philosophical method as a means for
deceiving others and escaping blame, closer to the later descriptions of his opponents, the Sophists, than to those
usually ascribed to him. While this is at variance with the depictions by Plato and Xenophon, two of Socrates'
students, it is plausible that Aristophanes' parody of Socrates is more accurate than their panegyrics. One of Plato's
students, Aristotle, is known to have also been an experimentalist, and may have taken the concept up from his
teacher's teacher. A similar parody of insane and pointless experimentation may be found in the Academy of Lagado
in Gulliver's Travels (1726)
The protoscience of alchemy long had a resemblance to mad science with its lofty goals and bizarre experiments. It
is known certain alchemists behaved strangely, sometimes as a result of handling dangerous substances, such as
mercury poisoning in the case of Sir Isaac Newton. The famous alchemist Paracelsus claimed to be able to create a
homunculus, an artificial human. Alchemy steadily declined with the advent of modern science during the
Enlightenment.
Scientists and inventors of the modern era have also contributed to the development of common tropes surrounding
the mad scientist. Nikola Tesla in his later years conceptualized a so-called "death ray" (a directed energy weapon)
and was sensationalized in the media, notably the New York Times and the New York Sun, as a prototypical mad
scientist for it.
Films and fiction

Since the 19th century, fictitious depictions of science have vacillated between notions of science as the salvation of
society or its doom. Consequently, depictions of scientists in fiction ranged between the virtuous and the depraved,
the sober and the insane. Until the 20th century, optimism about progress was the most common attitude towards
science (with notable exceptions as Herbert G. Wells), but latent anxieties about disturbing "the secrets of nature"
would surface following the increasing role of science in wartime affairs, as well as increased scrutiny of vivisection
and the development of the animal rights movement.
Mad scientist 14
The prototypical fictional mad scientist was Victor Frankenstein, creator of his eponymous monster, who made his
first appearance in 1818, in the novel Frankenstein, or the Modern Prometheus by Mary Shelley. Though
Frankenstein is a sympathetic character, the critical element of conducting forbidden experiments that cross
"boundaries that ought not to be crossed", heedless of the consequences, is present in Shelley's novel. Frankenstein
was trained as both alchemist and modern scientist which makes him the bridge between two eras of an evolving
archetype. The book is the precursor of a new genre, science fiction, though as an example of Gothic horror it is
connected with other antecedents as well.
Another archetypal Mad Scientist is Faust, or Dr. Faustus. The Faust legend is a widely recognized and referenced
example of selling one's soul to the devil. In almost all cases, Faust is selling his soul for knowledge or supernatural
power.
Fritz Lang's 1927 movie Metropolis brought the archetypical mad scientist to the screen in the form of Rotwang, the
evil genius whose machines gave life to the dystopian city of the title. Rotwang's laboratory influenced many
subsequent movie sets with its electrical arcs, bubbling apparatus, and bizarrely complicated arrays of dials and
controls. Portrayed by actor Rudolf Klein-Rogge, Rotwang himself is the prototypically conflicted mad scientist;
though he is master of almost mystical scientific power, he remains slave to his own desires for power and revenge.
Rotwang's appearance was also influential - the character's shock of flyaway hair, wild-eyed demeanor, and his
quasi-fascist laboratory garb have all been adopted as shorthand for the mad scientist "look". Even his mechanical
right hand has become a mark of twisted scientific power, echoed notably in Stanley Kubrick's Dr. Strangelove and
in the novel The Three Stigmata of Palmer Eldritch (1965) by Philip K. Dick.
Nevertheless, the essentially benign and progressive impression of science in the public mind continued unchecked,
exemplified by the optimistic "Century of Progress" exhibition in Chicago, 1933, and the "World of Tomorrow" at
the New York World's Fair of 1939. However, after the first World War, public attitudes began to shift, if only
subtly, when chemical warfare and the airplane were the terror weapons of the day. As an example, of all science
fiction before 1914 which dealt with the end of the world, two-thirds were about naturalistic endings (such as
collision with an asteroid), and the other third was devoted to endings caused by humans (about half were accidental,
half purposeful). After 1914, the idea of any human actually killing the remainder of humanity became a more
imaginable fantasy (even if it was still impossible), and the ratio switched to two-thirds of all end-of-the-world
scenarios being the product of human maliciousness or error. Though still drowned out by feelings of optimism, the
seeds of anxiety had been thoroughly sown.
The most common tool of mad scientists in this era was electricity. It was viewed widely as a quasi-mystical force
with chaotic and unpredictable properties by an ignorant public.
A recent survey of 1,000 horror films distributed in the UK between the 1930s and 1980s reveals mad scientists or
their creations have been the villains of 30 percent of the films; scientific research has produced 39 percent of the
threats; and, by contrast, scientists have been the heroes of a mere 11 percent. (Christopher Frayling, New Scientist,
24 September 2005)
After 1945
Mad scientists were most conspicuous in popular culture after World War II. The sadistic medical experiments of the
Nazis, especially those of Josef Mengele, and the invention of the atomic bomb gave rise in this period to genuine
fears that science and technology had gone out of control. The scientific and technological build up during the Cold
War, with its increasing threats of unparalleled destruction, did not lessen the impression. Mad scientists frequently
figure in science fiction and motion pictures from the period. Kubrick's Dr. Strangelove or: How I Learned to Stop
Worrying and Love the Bomb (1963), in which Peter Sellers plays the titular Dr. Strangelove, is perhaps the ultimate
expression of this fear of the power of science, or the misuse of this power. In the 1950s there was a great deal of
enthusiasm for scientific progress, perhaps typified in films such as Disney's Our Friend the Atom, in which a
scientist holds a piece of radioactive Uranium and discusses the positive benefits radioactivity will bring, without
Mad scientist 15
due consideration to the potential downsides.

In more recent years, the mad scientist as a lone investigator of the forbidden unknown has tended to be replaced by
mad corporate executives who plan to profit from defying the laws of nature and humanity regardless of who suffers;
these people hire a salaried scientific staff to pursue their twisted dreams. This shift is typified by the revised history
of Superman's archenemy, Lex Luthor: originally conceived in the 1930s as a typically solitary mad scientist, a
major retcon of the character's origins in 1986 made Lex Luthor the head of a megacorporation who also plays a
leading role in his R & D department.
The techniques of mad science also changed after Hiroshima. Electricity was replaced by radiation as the new tool to
create, enlarge, or deform life (e.g., Godzilla). As audiences became more savvy, quantum mechanics, genetic
engineering, and artificial intelligence have taken the spotlight (e.g., Blade Runner). Some more recent depictions
have had the mad scientist focused upon sacrificing humanity for their creation, with sacrifices ranging from a few
people to the entire world population.
In the 2000s, a number of works have featured the trappings of mad science as familiar, even mundane elements, and
shifted to toying with the implications of a setting where mad scientists may live and thrive. The webcomic Narbonic
ostensibly chronicles the daily grind of an evil laboratory in a world where henchmen have unionized and the New
Journal of Malology competes with Modern Madiagnosis. Madwoman/small business owner Helen Narbon plays
counter to type by being a plump, cheerful twenty-something blonde, obsessed with the color pink and hideous
biological experiments involving gerbils. Comic book turned webcomic Girl Genius takes a combination of mad
science and steampunk to a logical extreme: a Europe reduced to scattered city-states, divided by the clockwork and
biological abominations unleashed by its "Spark" overlords. Other commercial examples are Dr. Horrible's
Sing-Along Blog by Joss Whedon, where the main character has a vocal coach to help him develop a maniacal laugh,
and the novel Soon I Will Be Invincible by Austin Grossman.
See also
• Absent-minded professor
• Creativity techniques
• Boffin
• Crank (person)
• List of mad scientists
• Megalomaniac
• Eccentricity
Notes
• Garboden, Nick (2007). Mad Scientist or Angry Lab Tech: How to Spot Insanity. Portland: Doctored Papers.
ISBN 1-56363-660-3.
• Haynes, Roslynn Doris (1994). From Faust to Strangelove: Representations of the Scientist in Western
Literature. Baltimore: Johns Hopkins University Press. ISBN 0-8018-4801-6.
• Christopher Frayling – Mad, Bad and Dangerous?: The Scientist and the Cinema (Reaktion Books, 2005) ISBN
1-86189-255-1
• Junge, Torsten; Doerthe Ohlhoff (2004). Wahnsinnig genial: Der Mad Scientist Reader. Aschaffenburg: Alibri.
ISBN 3-932710-79-7.
• Norton, Trevor (2010). Smoking Ears and Screaming Teeth. (A witty celebration of the great eccentrics ...).
Century. ISBN 978-1-84605-569-0
• Schneider, Reto U. (2008). The Mad Science Book. 100 Amazing Experiments from the History of Science.
London: Quercus. ISBN 978-1-84724-494-9
Mad scientist 16
• Tudor, Andrew (1989). Monsters and Mad Scientists: A Cultural History of the Horror Movie. Oxford:
Blackwell. ISBN 0-631-15279-2.
• Weart, Spencer R. (1988). Nuclear Fear: A History of Images. Cambridge, Mass.: Harvard University Press.
External links
• Analyzing the culture motif
• Gary Hoppenstand, “Dinosaur Doctors and Jurassic Geniuses: The Changing Image of the Scientist in the Lost
World Adventure” [1]
• The Scarecrow's Brain – images of the scientist in film, Christopher Frayling [2]
• Breaking Down the Stereotypes of Science by Recruiting Young Scientists [3]
• The Mad Scientist Database with links and Looks [4]
• Mad Science Experiments [5]
References
[1] http:/ / pcasacas. org/ SPC/ spcissues/ 22. 1/ hoppenstand. html
[2] http:/ / www. royalsoc. ac. uk/ event. asp?month=2& id=2891
[3] http:/ / www. plosbiology. org/ plosonline/ ?request=get-document& doi=10. 1371/ journal. pbio. 0020279
[4] http:/ / www. themadscientist. de/
[5] http:/ / www. freewebs. com/ ruschneider/ index. htm
Manga
Manga (kanji: 漫画; hiragana: まんが; katakana: マンガ; )
(English: /ˈmɑːŋɡə/ or English pronunciation: /ˈmæŋɡə/) consist of comics
and print cartoons (sometimes also called komikku コミック), in the
Japanese language and conforming to the style developed in Japan in
the late 19th century.[1] In their modern form, manga date from shortly
after World War II,[2] but they have a long, complex pre-history in
[3]
earlier Japanese art.
In Japan people of all ages read manga. The genre includes a broad
range of subjects: action-adventure, romance, sports and games,
historical drama, comedy, science fiction and fantasy, mystery, horror,
sexuality, and business/commerce, among others.[4] Since the 1950s,
manga have steadily become a major part of the Japanese publishing
industry,[5] representing a 406 billion yen market in Japan in 2007
(approximately $3.6 billion). Manga have also become increasingly
popular worldwide.[6] In 2008, the U.S. and Canadian manga market
was $175 million. Manga are typically printed in black-and-white,[7]
although some full-color manga exist (e.g. Colorful). In Japan, manga The kanji for "manga" from Seasonal Passersby
(Shiki no Yukikai), 1798, by Santō Kyōden and
are usually serialized in telephone book-size manga magazines, often
Kitao Shigemasa.
containing many stories, each presented in a single episode to be
continued in the next issue. If the series is successful, collected
chapters may be republished in paperback books called tankōbon.[8] A manga artist (mangaka in Japanese) typically
works with a few assistants in a small studio and is associated with a creative editor from a commercial publishing
company.[2] If a manga series is popular enough, it may be animated after or even during its run,[9] although
Manga 17
sometimes manga are drawn centering on previously existing live-action or animated films[10] (e.g. Star Wars).
"Manga" as a term used outside Japan refers specifically to comics originally published in Japan.[11] However,
manga-influenced comics, among original works, exist in other parts of the world, particularly in Taiwan
("manhua"), South Korea ("manhwa"),[12] and the People's Republic of China, notably Hong Kong ("manhua").[13]
In France, "la nouvelle manga" has developed as a form of bande dessinée (literally drawn strip) drawn in styles
influenced by Japanese manga. In the United States, people refer to manga-like comics as Amerimanga, world
manga, or original English-language manga (OEL manga).
Etymology
The Japanese word manga, literally translated, means "whimsical pictures". The word first came into common usage
in the late 18th century with the publication of such works as Santō Kyōden's picturebook Shiji no yukikai (1798),
and in the early 19th century with such works as Aikawa Minwa's Manga hyakujo (1814) and the celebrated Hokusai
Manga books (1814–1878) containing assorted drawings from the sketchbooks of the famous ukiyo-e artist
Hokusai.[14] Rakuten Kitazawa (1876–1955) first used the word "manga" in the modern sense.[15]
History and characteristics

Historians and writers on manga history have described two broad and complementary processes shaping modern
manga. Their views differ in the relative importance they attribute to the role of cultural and historical events
following World War II versus the role of pre-War, Meiji, and pre-Meiji Japanese culture and art.
One view emphasizes events occurring during and after the U.S. Occupation of Japan (1945–1952), and stresses that
manga strongly reflect U.S. cultural influences, including U.S. comics (brought to Japan by the GIs) and images and
themes from U.S. television, film, and cartoons (especially Disney).[16] Alternately, other writers such as Frederik L.
Schodt, Kinko Ito, and Adam L. Kern stress continuity of Japanese cultural and aesthetic traditions as central to the
history of manga.[17]
Modern manga originated in the Occupation (1945–1952) and post-Occupation years (1952–early 1960s), while a
previously militaristic and ultra-nationalist Japan rebuilt its political and economic infrastructure. An explosion of
artistic creativity occurred in this period,[18] involving manga artists such as Osamu Tezuka (Astro Boy) and
Machiko Hasegawa (Sazae-san).
Manga 18
Astro Boy quickly became (and remains) immensely popular in Japan

and elsewhere,[19] and the anime adaptation of Sazae-san continues to
run as of 2009, regularly drawing more viewers than any other anime
on Japanese television. Tezuka and Hasegawa both made stylistic
innovations. In Tezuka's "cinematographic" technique, the panels are
like a motion picture that reveals details of action bordering on slow
motion as well as rapid zooms from distance to close-up shots. This
kind of visual dynamism was widely adopted by later manga artists.[20]
Hasegawa's focus on daily life and on women's experience also came
to characterize later shōjo manga.[21] Between 1950 and 1969, an
increasingly large readership for manga emerged in Japan with the
solidification of its two main marketing genres, shōnen manga aimed
at boys and shōjo manga aimed at girls.[22]
In 1969 a group of female manga artists (later called the Year 24

Group, also known as Magnificent 24s) made their shōjo manga debut
("year 24" comes from the Japanese name for 1949, the birth-year of
many of these artists).[23] The group included Hagio Moto, Riyoko
A kami-shibai story teller from Sazae-san by
Ikeda, Yumiko Oshima, Keiko Takemiya, and Ryoko Yamagishi, and
Machiko Hasegawa. Sazae appears with her hair they marked the first major entry of women artists into manga.[8]
in a bun. Thereafter, primarily women artists manga would draw shōjo for a
readership of girls and young women.[24] In the following decades
(1975–present), shōjo manga continued to develop stylistically while simultaneously evolving different but
overlapping subgenres.[25] Major subgenres include romance, superheroines, and "Ladies Comics" (in Japanese,
redisu レディース, redikomi レディコミ, and josei 女性).[26]
Modern shōjo manga romance features love as a major theme set into emotionally intense narratives of
self-realization.[27] With the superheroines, shōjo manga saw releases such as Naoko Takeuchi's Pretty Soldier
Sailor Moon, which became internationally popular in both manga and anime formats.[28] Groups (or sentais) of girls
working together have also been popular within this genre.[29]
Manga for male readers sub-divides according to the age of its intended readership: boys up to 18 years old (shōnen
manga) and young men 18- to 30-years old (seinen manga);[30] as well as by content, including action-adventure
often involving male heroes, slapstick humor, themes of honor, and sometimes explicit sexuality.[31] The Japanese
use different kanji for two closely allied meanings of "seinen"—青年 for "youth, young man" and 成年 for "adult,
majority"—the second referring to sexually overt manga aimed at grown men and also called seijin ("adult" 成人)
manga.[32] Shōnen, seinen, and seijin manga share many features in common.
Boys and young men became some of the earliest readers of manga after World War II. From the 1950s on, shōnen
manga focused on topics thought to interest the archetypal boy, including subjects like robots, space-travel, and
heroic action-adventure.[33] Popular themes include science fiction, technology, sports, and supernatural settings.
Manga with solitary costumed superheroes like Superman, Batman, and Spider-Man generally did not become as
popular.[34]
The role of girls and women in manga produced for male readers has evolved considerably over time to include
those featuring single pretty girls (bishōjo)[35] such as Belldandy from Oh My Goddess!, stories where such girls and
women surround the hero, as in Negima and Hanaukyo Maid Team, or groups of heavily armed female warriors
(sentō bishōjo)[36]
With the relaxation of censorship in Japan after the early 1990s, a wide variety of explicitly-drawn sexual themes
appeared in manga intended for male readers, and correspondingly occur in English translations.[37] These depictions
Manga 19
range from mild partial nudity through implied and explicit sexual intercourse through bondage and sadomasochism
(SM), zoophilia (bestiality), incest, and rape.[38]
The gekiga style of drawing—emotionally dark, often starkly realistic, sometimes very violent—focuses on the
day-in, day-out grim realities of life, often drawn in gritty and unpretty fashions.[39] Gekiga such as Sampei Shirato's
1959–1962 Chronicles of a Ninja's Military Accomplishments (Ninja Bugeichō) arose in the late 1950s and 1960s
partly from left-wing student and working-class political activism[40] and partly from the aesthetic dissatisfaction of
young manga artists like Yoshihiro Tatsumi with existing manga.[41]
Publications
In Japan, manga constituted an annual 406 billion yen (approximately $3.6 billion USD) publication-industry by
2007.[42] Recently, the manga industry has expanded worldwide with distribution companies license and reprint
manga into their native languages.
After a series has run for a while, publishers often collect the stories together and print them in dedicated book-sized
volumes, called tankōbon. These are the equivalent of U.S. trade paperbacks or graphic novels. These volumes use
higher-quality paper, and are useful to those who want to "catch up" with a series so they can follow it in the
magazines or if they find the cost of the weeklies or monthlies to be prohibitive. Recently, "deluxe" versions have
also been printed as readers have gotten older and the need for something special grew. Old manga have also been
reprinted using somewhat lesser quality paper and sold for 100 yen (about $1 U.S. dollar) each to compete with the
used book market.
Marketeers primarily classify manga by the age and gender of the target readership.[43] In particular, books and
magazines sold to boys (shōnen) and girls (shōjo) have distinctive cover art and are placed on different shelves in
most bookstores. Due to cross-readership, consumer response is not limited by demographics. For example, male
readers subscribing to a series intended for girls and so on.
Japan also has manga cafés, or manga kissa (kissa is an abbreviation of kissaten). At a manga kissa, people drink
coffee and read manga, and sometimes stay there overnight.
There has been an increase in the amount of publications of original webmanga. It is internationally drawn by
enthusiasts of all levels of experience, and is intended for online viewing. It can be ordered in graphic novel form if
available in print.
The Kyoto International Manga Museum maintains a very large website listing manga published in Japanese.[44]
Manga 20
Magazines
Manga magazines usually have many series running concurrently with
approximately 20–40 pages allocated to each series per issue. Other magazines
such as the anime fandom magazine Newtype featured single chapters within
their monthly periodicals. Other magazines like Nakayoshi feature many stories
written by many different artists, these magazines, or "anthology magazines", as
they are also known (colloquially "phone books"), are usually printed on
low-quality newsprint and can be anywhere from 200 to more than 850 pages
long. Manga magazines also contain one-shot comics and various four-panel
yonkoma (equivalent to comic strips). Manga series can run for many years if
they are successful. Manga artists sometimes start out with a few "one-shot"
manga projects just to try to get their name out. If these are successful and
receive good reviews, they are continued. Magazines often have a short life.[45]
Eshinbun Nipponchi; credited as the

History
first manga magazine ever made.
Kanagaki Robun and Kawanabe Kyosai created the first manga magazine in
1874: Eshinbun Nipponchi. The magazine was heavily influenced by Japan Punch, founded in 1862 by Charles
Wirgman, a British cartoonist. Eshinbun Nipponchi had a very simple style of drawings and did not become popular
with many people. Eshinbun Nipponchi ended after three issues. The magazine Kisho Shimbun in 1875 was inspired
by Eshinbun Nipponchi, this was followed by Marumaru Chinbun in 1877, and then Garakuta Chinpo in 1879.[46]
Shōnen Sekai was the first shōnen magazine created in 1895 by Iwaya Sazanami, a famous writer of Japanese
children's literature back then. Shōnen Sekai had a strong focus on the First Sino-Japanese War.[47]
In 1905 the manga-magazine publishing boom started with the Russo-Japanese War,[48] Tokyo Pakku was created
and became a huge hit.[49] After Tokyo Pakku in 1905, a female version of Shōnen Sekai was created and named
Shōjo Sekai, considered the first shōjo magazine.[50] Shōnen Pakku was made and is considered the first kodomo
magazine. The kodomo demographic was in an early stage of development of Meiji period. Shōnen Pakku was
influenced from foreign children's magazines such as Puck which an employee of Jitsugyō no Nihon (publisher of
the magazine) saw and decided to Shōnen Pakku. In 1924, Kodomo Pakku was launched as another kodomo
magazine after Shōnen Pakku.[49] In the boom, Poten was published in 1908 which comes from the french "potin".
All the pages were full color influenced from Tokyo Pakku and Osaka Pakku. It is unknown if there was any other
issues than the first.[48] Kodomo Pakku was launched May 1924 by Tokyosha and featured high-quality art of many
members of the manga society like Takei Takeo, Takehisa Yumeji and Aso Yutaka. On some of the manga it used
speech balloons for representation, other manga from the previous eras did not use speech balloons and were
silent.[49]
Published from May 1935 to January 1941, Manga no Kuni coincided with the period of the Second Sino-Japanese
War. Manga no Kuni featured information on becoming a mangaka and on other comics industries around the world.
Manga no Kuni handed its title to Sashie Manga Kenkyū in August 1940.[51]
Dōjinshi
Dōjinshi, produced by small amateur publishers outside of the mainstream commercial market, resemble in their
publishing small-press independently published comic books in the United States. Comiket, the largest comic book
convention in the world with over 510,000 gathering over three days, is devoted to dōjinshi. While they are many
times original stories, many are parodies of or include characters from popular manga and anime series. Some
dōjinshi continue with a series' story or write an entirely new one using its characters, much like fan fiction. In 2007,
dōjinshi sold for 27.73 billion yen (245 million USD).[42]
Manga 21
International markets
As of 2007 the influence of manga on international animation had grown considerably over two decades.[52]
("Influence" refers to effects on the comics markets outside of Japan and to aesthetic effects on comics artists
internationally.)
Traditionally, manga stories flow from top to bottom and from right to left.
Some publishers of translated manga keep this format, but other publishers
flip the pages horizontally, changing the reading direction to left to right, so
as not to confuse foreign readers or traditional comics-consumers. This
practice is known as "flipping".[53] For the most part, the criticisms suggest
that flipping goes against the original intentions of the creator (for example, if
a person wears a shirt that reads "MAY" on it, and gets flipped, then the word
is altered to "YAM"). Flipping may also cause oddities with familiar
asymmetrical objects or layouts, such as a car being depicted with gas pedal
on the left and the brake on the right, or a shirt with the buttons on the wrong
side.
The reading direction in a traditional

United States
manga
Manga made their way only gradually into U.S. markets, first in association
with anime and then independently.[54] Some U.S. fans became aware of manga in the 1970s and early 1980s.[55]
However, anime was initially more accessible than manga to U.S. fans,[56] many of whom were college-age young
people who found it easier to obtain, subtitle, and exhibit video tapes of anime than translate, reproduce, and
distribute tankōbon-style manga books.[57] One of the first manga translated into English and marketed in the U.S.
was Keiji Nakazawa's Barefoot Gen, an autobiographical story of the atomic bombing of Hiroshima issued by
Leonard Rifas and Educomics (1980–1982).[58] More manga were translated between the mid-1980s and 1990s,
including Golgo 13 in 1986, Lone Wolf and Cub from First Comics in 1987, and Kamui, Area 88, and Mai the
Psychic Girl, also in 1987 and all from Viz Media-Eclipse Comics.[59] Others soon followed, including Akira from
Marvel Comics-Epic Comics and Appleseed from Eclipse Comics in 1988, and later Iczer-1 (Antarctic Press, 1994)
and Ippongi Bang's F-111 Bandit (Antarctic Press, 1995).
In the 1980s to the mid-1990s, Japanese animation, like Akira, Dragon Ball, Neon Genesis Evangelion, and
Pokémon, made a bigger impact on the fan experience and in the market than manga.[60] Matters changed when
translator-entrepreneur Toren Smith founded Studio Proteus in 1986. Smith and Studio Proteus acted as an agent and
translator of many Japanese manga, including Masamune Shirow's Appleseed and Kōsuke Fujishima's Oh My
Goddess!, for Dark Horse and Eros Comix, eliminating the need for these publishers to seek their own contacts in
Japan.[61] Simultaneously, the Japanese publisher Shogakukan opened a U.S. market initiative with their U.S.
subsidiary Viz, enabling Viz to draw directly on Shogakukan's catalogue and translation skills.[53]
Manga 22
The U.S. manga market took an upturn with mid-1990s anime and
manga versions of Masamune Shirow's Ghost in the Shell (translated
by Frederik L. Schodt and Toren Smith) becoming very popular among
fans. Another success of the mid-1990s was Sailor Moon.[62] By
1995–1998, the Sailor Moon manga had been exported to over 23
countries, including China, Brazil, Mexico, Australia, most of Europe
and North America.[63] In 1997, Mixx Entertainment began publishing
Sailor Moon, along with CLAMP's Magic Knight Rayearth, Hitoshi
A young boy reading Black Cat in a Barnes & Iwaaki's Parasyte and Tsutomu Takahashi's Ice Blade in the monthly
Noble bookstore manga magazine MixxZine. Two years later, MixxZine was renamed to
Tokyopop before discontinuing in 2000. Mixx Entertainment, later
renamed Tokyopop, also published manga in trade paperbacks and, like Viz, began aggressive marketing of manga
to both young male and young female demographics.[64]
In the following years, manga became increasingly popular, and new publishers entered the field while the
established publishers greatly expanded their catalogues.[65] As of 2008, the U.S. and Canadian manga market
generated $175 million in annual sales.[66] Simultaneously, mainstream U.S. media began to discuss manga, with
articles in The New York Times, Time magazine, The Wall Street Journal, and Wired magazine.[67]
Europe
Manga has influenced European cartooning in a way somewhat different than the United States experience.
Broadcast anime in Italy and France opened the European market to manga during the 1970s.[68] French art has
borrowed from Japan since the 19th century (Japonisme),[69] and has its own highly developed tradition of bande
dessinée cartooning.[70] In France, imported manga has easily been assimilated into high art traditions. For example,
volumes 6 and 7 of Yu Aida's Gunslinger Girl center on a cyborg girl, a former ballet dancer named Petruchka. The
Asuka edition of volume 7 contains an essay about the ballet Petruchka by Russian composer Igor Stravinsky and
first performed in Paris in 1911.[71] However, Francophone readership of manga is not limited to an artistic elite.
Instead, beginning in the mid-1990s,[72] manga has proven very popular to a wide readership, accounting for about
one-third of comics sales in France since 2004.[73] According to the Japan External Trade Organization, sales of
manga reached $212.6 million within France and Germany alone in 2006.[68] European publishers marketing manga
translated into French include Glénat, Asuka, Casterman, Kana, and Pika Édition, among others.
European publishers also translate manga into German, Italian, Dutch, and other languages. Manga publishers based
in the United Kingdom include Gollancz and Titan Books. Manga publishers from the United States have a strong
marketing presence in the United Kingdom: for example, the Tanoshimi line from Random House.
Localized manga
A number of artists in the United States have drawn comics and cartoons influenced by manga. As an early example,
Vernon Grant drew manga-influenced comics while living in Japan in the late 1960s and early 1970s.[74] Others
include Frank Miller's mid-1980s Ronin, Adam Warren and Toren Smith's 1988 The Dirty Pair,[75] Ben Dunn's 1987
Ninja High School, Stan Sakai's 1984 Usagi Yojimbo, and Manga Shi 2000 from Crusade Comics (1997).
By the 21st century several U.S. manga publishers had begun to produce work by U.S. artists under the broad
marketing label of manga.[76] In 2002, I.C. Entertainment, formerly Studio Ironcat and now out of business,
launched a series of manga by U.S. artists called Amerimanga.[77] In 2004 eigoMANGA launched Rumble Pak and
Sakura Pakk anthology series. Seven Seas Entertainment followed suit with World Manga.[78] Simultaneously,
TokyoPop introduced original English-language manga (OEL manga) later renamed Global Manga.[79] TokyoPop is
currently the largest U.S. publisher of original English language manga.[80]
Manga 23
Francophone artists have also developed their own versions of manga, like Frédéric Boilet's la nouvelle manga.
Boilet has worked in France and in Japan, sometimes collaborating with Japanese artists.[81]
Awards
The Japanese manga industry grants a large number of awards, mostly sponsored by publishers, with the winning
prize usually including publication of the winning stories in magazines released by the sponsoring publisher.
Examples of these awards include:
• the Akatsuka Award for humorous manga
• the Dengeki Comic Grand Prix for one-shot manga
• the Kodansha Manga Award (multiple genre awards)
• the Seiun Award for best science fiction comic of the year
• the Shogakukan Manga Award (multiple genres)
• the Tezuka Award for best new serial manga
• the Tezuka Osamu Cultural Prize (multiple genres)
The Japanese Ministry of Foreign Affairs has awarded the International Manga Award annually since May 2007.[82]
See also
• Anime
• Emakimono
• Etoki
• Japanese popular culture
• Lianhuanhua
• List of films based on manga
• List of licensed manga in English
• List of manga artists
• List of manga distributors
• List of manga magazines
• Manga iconography
• Oekaki
• Omake
• Original English-language manga
• Q-version
• Scanlation (fan-scanned and -translated manga)
References
• Allison, Anne (2000). "Sailor Moon: Japanese superheroes for global girls". in Craig, Timothy J.. Japan Pop!
Inside the World of Japanese Popular Culture. Armonk, New York: M.E. Sharpe. ISBN 978-0765605610.
• Arnold, Adam (2000). "Full Circle: The Unofficial History of MixxZine" [83]. Retrieved December 19, 2007.
• Bacon, Michelle (April 14, 2005). "Tangerine Dreams: Guide to Shoujo Manga and Anime" [84]. Retrieved April
1, 2008.
• Berger, Klaus (1992). Japonisme in Western Painting from Whistler to Matisse. Cambridge: Cambridge
University Press. ISBN 0521373212.
• Boilet, Frédéric (2001). Yukiko's Spinach. Castalla-Alicante, Spain: Ponent Mon. ISBN 8493309346.
• Boilet, Frédéric; Takahama, Kan (2004). Mariko Parade. Castalla-Alicante, Spain: Ponent Mon.
ISBN 84-933409-1-X.
Manga 24
• Bosker, Bianca (August 31, 2007). "Manga Mania" [85]. The Wall Street Journal. Retrieved April 1, 2008.
• Bouquillard, Jocelyn; Marquet, Christophe (June 1, 2007). Hokusai: First Manga Master. New York: Abrams.
ISBN 0810993414.
• Brenner, Robin E. (2007). Understanding Manga and Anime. Westport, Connecticut: Libraries
Unlimited/Greenwood. ISBN 978-1591583325.
• Clements, Jonathan; McCarthy, Helen (2006). The Anime Encyclopedia: A Guide to Japanese Animation Since
1917, Revised and Expanded Edition. Berkeley, California: Stone Bridge Press. ISBN 1933330104.
• Crandol, Mike (January 14, 2002). "The Dirty Pair: Run from the Future" [86]. Anime News Network. Retrieved
March 4, 2008.
• Cube (December 18, 2007). "2007年のオタク市場規模は1866億円―メディアクリエイトが白書" [87] (in
Japanese). Inside for All Games. Retrieved December 18, 2007.
• Dark Horse Comics (February 6, 2004). "Dark Horse buys Studio Proteus" [88]. Press release.
• Drazen, Patrick (2003). Anime Explosion! The What? Why? & Wow! of Japanese Animation. Berkeley,
California: Stone Bridge. ISBN 978-1880656723.
• Farago, Andrew (September 30, 2007). "Interview: Jason Thompson" [89]. The Comics Journal. Retrieved March
4, 2008.
• Fishbein, Jennifer (December 26, 2007). "Europe's Manga Mania" [90]. BusinessWeek. Retrieved December 29,
2007.
• Gardner, William O. (November 2003). "Attack of the Phallic Girls" [91]. Science Fiction Studies (88). Retrieved
April 5, 2008.
• Glazer, Sarah (September 18, 2005). "Manga for Girls" [92]. The New York Times. Retrieved March 4, 2008.
• Gravett, Paul (2004). Manga: Sixty Years of Japanese Comics. New York: Harper Design. ISBN 1856693910.
• Gravett, Paul (October 15, 2006). "Gekiga: The Flipside of Manga" [93]. Retrieved March 4, 2008.
• Griffiths, Owen (September 22, 2007). "Militarizing Japan: Patriotism, Profit, and Children's Print Media,
1894–1925" [94]. Japan Focus. Retrieved December 16, 2008.
• Isao, Shimizu (2001). "Red Comic Books: The Origins of Modern Japanese Manga". in Lent, John A.. Illustrating
Asia: Comics, Humor Magazines, and Picture Books. Honolulu, Hawaii: University of Hawai'i Press.
ISBN 978-0824824716.
• Ito, Kinko (2004). "Growing up Japanese reading manga". International Journal of Comic Art (6): 392–401.
• Ito, Kinko (2005). "A history of manga in the context of Japanese culture and society" [95]. The Journal of
Popular Culture 38 (3): 456–475. Retrieved April 5, 2008.
• Johnston-O'Neill, Tom (August 3, 2007). "Finding the International in Comic Con International" [96]. The San
Diego Participant Observer. Retrieved April 5, 2008.
• Katzenstein, Peter J.; Shiraishi, Takashi (1997). Network Power: Japan in Asia. Ithaca, New York: Cornell
University Press. ISBN 978-0801483738.
• Kern, Adam (2006). Manga from the Floating World: Comicbook Culture and the Kibyōshi of Edo Japan.
Cambridge: Harvard University Press. ISBN 978-0674022669.
• Kern, Adam (2007). "Symposium: Kibyoshi: The World's First Comicbook?". International Journal of Comic Art
(9): 1–486.
• Kinsella, Sharon (2000). Adult Manga: Culture and Power in Contemporary Japanese Society. Honolulu, Hawaii:
University of Hawai'i Press. ISBN 978-0824823184.
• Kittelson, Mary Lynn (1998). The Soul of Popular Culture: Looking at Contemporary Heroes, Myths, and
Monsters. Chicago: Open Court. ISBN 978-0812693638.
• Lee, William (2000). "From Sazae-san to Crayon Shin-Chan". in Craig, Timothy J.. Japan Pop!: Inside the World
of Japanese Popular Culture. Armonk, New York: M.E. Sharpe. ISBN ISBN 978-0765605610.
• Lent, John A. (2001). Illustrating Asia: Comics, Humor Magazines, and Picture Books. Honolulu, Hawaii:
University of Hawaii Press. ISBN 0824824717.
Manga 25
• Leonard, Sean (September 12, 2004). "Progress Against the Law: Fan Distribution, Copyright, and the Explosive
Growth of Japanese Animation" [97]. Retrieved December 19, 2007.
• Lone, Stewart (2007). Daily Lives of Civilians in Wartime Asia: From the Taiping Rebellion to the Vietnam War
[98]
. Westport, Connecticut: Greenwood Publishing Group. ISBN 0313336849.
• Mahousu (January 2005). "Les editeurs des mangas" [99]. self-published. Retrieved December 19, 2007.
• Massé, Rodolphe (2006). "La musique dans Gunslinger Girl". Gunslinger Girl. 7. Paris: Asuka Éditions.
pp. 178–179.
• Masters, Coco (August 10, 2006). "America is Drawn to Manga". Time Magazine.
• Ministry of Foreign Affairs of Japan (June 29, 2007). "First International MANGA Award" [100]. Press release.
• Napier, Susan J. (2000). Anime: From Akira to Princess Mononoke. New York: Palgrave. ISBN 0312238630.
• Nunez, Irma (September 24, 2006). "Alternative Comics Heroes: Tracing the Genealogy of Gekiga" [101]. The
Japan Times. Retrieved December 19, 2007.
• Ōgi, Fusami (2004). "Female subjectivity and shōjo (girls) manga (Japanese comics): shōjo in Ladies' Comics and
Young Ladies' Comics". The Journal of Popular Culture 36 (4): 780–803.
• Patten, Fred (2004). Watching Anime, Reading Manga: 25 Years of Essays and Reviews. Berkeley, California:
Stone Bridge Press. ISBN 978-1880656921.
• Perper, Timothy; Cornog, Martha (2002). "Eroticism for the masses: Japanese manga comics and their
assimilation into the U.S.". Sexuality & Culture 6 (1): 3–126.
• Perper, Timothy; Cornog, Martha (2003). "Sex, love, and women in Japanese comics". in Francoeur, Robert T.;
Noonan, Raymond J.. The Comprehensive International Encyclopedia of Sexuality. New York: Continuum.
ISBN 978-0826414885.
• Pink, Daniel H. (October 22, 2007). "Japan, Ink: Inside the Manga Industrial Complex" [102]. Wired 15 (11).
Retrieved December 19, 2007.
• Poitras, Gilles (2001). Anime Essentials: Every Thing a Fan Needs to Know. Berkeley, California: Stone Bridge.
ISBN 978-1880656532.
• Reid, Calvin (March 28, 2006). "HarperCollins, Tokyopop Ink Manga Deal" [103]. Publishers Weekly. Retrieved
March 4, 2008.
• Reid, Calvin (February 6, 2009). "2008 Graphic Novel Sales Up 5%; Manga Off 17%" [104]. Publishers Weekly.
Retrieved September 7, 2009.
• Riciputi, Marco (October 25, 2007). "Komikazen: European comics go independent" [105]. Cafebabel.com.
Retrieved March 4, 2008.
• Rifas, Leonard (2004). "Globalizing Comic Books from Below: How Manga Came to America". International
Journal of Comic Art 6 (2): 138–171.
• Sanchez, Frank (1997–2003). "Hist 102: History of Manga" [106]. AnimeInfo. Archived from the original [107] on
February 5, 2008. Retrieved September 11, 2007.
• Schodt, Frederik L. (1986). Manga! Manga! The World of Japanese Comics. Tokyo: Kodansha.
ISBN 978-0870117527.
• Schodt, Frederik L. (1996). Dreamland Japan: Writings on Modern Manga. Berkeley, California: Stone Bridge
Press. ISBN 978-1880656235.
• Schodt, Frederik L. (2007). The Astro Boy Essays: Osamu Tezuka, Mighty Atom, and the Manga/Anime
Revolution. Berkeley, California: Stone Bridge Press. ISBN 978-1933330549.
• Shimizu, Isao (June 1985) (in Japanese). 日本漫画の事典 : 全国のマンガファンに贈る (Nihon Manga no
Jiten - Dictionary of Japanese Manga). Sun lexica. ISBN 4385155860.
• Stewart, Bhob (October 1984). "Screaming Metal". The Comics Journal (94).
• Tai, Elizabeth (September 23, 2007). "Manga outside Japan" [108]. Star Online. Retrieved December 19, 2007.
• Tchiei, Go (1998). "Characteristics of Japanese Manga" [109]. Retrieved April 5, 2008.
• Manga: The Complete Guide. New York: Ballantine Books. 2007. ISBN 978-0345485908.
Manga 26
• Thorn, Matt (July-September 2001). "Shôjo Manga—Something for the Girls" [110]. The Japan Quarterly 48 (3).
Retrieved April 5, 2008.
• Toku, Masami (Spring 2006). "Shojo Manga: Girl Power!" [111]. Chico Statements (California State University,
Chico). ISBN 1886226105. Retrieved April 5, 2008.
• Vollmar, Rob (March 1, 2007). "Frederic Boilet and the Nouvelle Manga revolution" [112]. World Literature
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• Webb, Martin (May 28, 2006). "Manga by any other name is..." [113]. The Japan Times. Retrieved April 5, 2008.
• Wong, Wendy Siuyi (2002). Hong Kong Comics: A History of Manhua. New York: Princeton Architectural Press.
ISBN 978-1568982694.
• Wong, Wendy Siuyi (2006). "Globalizing manga: From Japan to Hong Kong and beyond". Mechademia: an
Annual Forum for Anime, Manga, and the Fan Arts: pp. 23–45.
• Wong, Wendy (September 2007). "The Presence of Manga in Europe and North America" [114]. Media Digest.
• "About Manga Museum: Current situation of manga culture" [115]. Kyoto Manga Museum. Retrieved September
6, 2009.
• "Correction: World Manga" [116]. Anime News Network. May 10, 2006. Retrieved December 19, 2007.
• "I.C. promotes AmeriManga" [117]. Anime News Network. November 11, 2002. Retrieved March 4, 2008.
• "Interview with Tokyopop's Mike Kiley" [118]. ICv2. September 7, 2007. Retrieved December 19, 2007.
• Japan: Profile of a Nation, Revised Edition. Tokyo: Kodansha International. 1999. ISBN 4770023847.
• "Japan's Foreign Minister Creates Foreign Manga Award" [119]. Anime News Network. May 22, 2007. Retrieved
October 5, 2009.
• "manga" [120]. Merriam-Webster Online Dictionary. Retrieved September 6, 2009.
• "Manga-mania in France" [121]. Anime News Network. February 4, 2004. Retrieved December 19, 2007.
• "'Manga no Kuni': A manga magazine from the Second Sino-Japanese War period" [122]. Kyoto International
Manga Museum. Retrieved December 21, 2008.
• "'Poten': a manga magazine from Kyoto" [123]. Kyoto International Manga Museum. Retrieved December 21,
2008.
• "'Shonen Pakku'; Japan's first children's manga magazine" [124]. Kyoto International Manga Museum. Retrieved
December 21, 2008.
• "The first Japanese manga magazine: Eshinbun Nipponchi" [125]. Kyoto International Manga Museum. Retrieved
December 21, 2008.
• "Tokyopop To Move Away from OEL and World Manga Labels" [126]. Anime News Network. May 5, 2006.
Further reading
• "Japanese Manga Market Drops Below 500 Billion Yen" [127]. ComiPress. March 10, 2007.
• "Un poil de culture - Une introduction à l'animation japonaise" [128] (in French). July 11, 2007.
External links
Manga [129] at the Open Directory Project
References
[1] Lent 2001, pp. 3–4, Tchiei 1998, Gravett 2004, p. 8
[2] Kinsella 2000
[3] Kern 2006, Ito 2005, Schodt 1986
[4] Gravett 2004, p. 8
[5] Kinsella 2000, Schodt 1996
Manga 27
[6] Wong 2006, Patten 2004

[7] Katzenstein & Shiraishi 1997
[8] Gravett 2004, p. 8, Schodt 1986
[9] Kittelson 1998
[10] Johnston-O'Neill 2007
[11] Merriam-Webster 2009
[12] Webb 2006
[13] Wong 2002
[14] Bouquillard & Marquet 2007
[15] Shimizu 1985, p. 53–54, 102–103
[16] Kinsella 2000, Schodt 1986
[17] Schodt 1986, Ito 2004, Kern 2006, Kern 2007
[18] Schodt 1986, Schodt 1996, Schodt 2007, Gravett 2004
[19] Kodansha 1999, pp. 692–715, Schodt 2007
[20] Schodt 1986
[21] Gravett 2004, p. 8, Lee 2000, Sanchez 1997–2003
[22] Schodt 1986, Toku 2006
[23] Gravett 2004, pp. 78–80, Lent 2001, pp. 9–10
[24] Schodt 1986, Toku 2006, Thorn 2001
[25] Ōgi 2004
[26] Gravett 2004, p. 8, Schodt 1996
[27] Drazen 2003
[28] Allison 2000, pp. 259–278, Schodt 1996, p. 92
[29] Poitras 2001
[30] Thompson 2007, pp. xxiii–xxiv
[31] Brenner 2007, pp. 31–34
[32] Schodt 1996, p. 95, Perper & Cornog 2002
[33] Schodt 1986, pp. 68–87, Gravett 2004, p. 52–73
[34] Schodt 1986, pp. 68–87
[35] Perper & Cornog 2002, pp. 60–63
[36] Gardner 2003
[37] Perper & Cornog 2002
[38] Perper & Cornog 2003, pp. 663–671
[39] Schodt 1986, p. 68–73, Gravett 2006
[40] Schodt 1986, p. 68–73, Gravett 2004, pp. 38–42, Isao 2001
[41] Isao 2001, pp. 147–149, Nunez 2006
[42] Cube 2007
[43] Schodt 1996
[44] Manga Museum 2009
[45] Schodt 1996, pp. 101
[46] Eshinbun Nipponchi
[47] Griffiths 2007
[48] Poten
[49] Shonen Pakku
[50] Lone 2007, p. 75
[51] Manga no Kuni
[52] Pink 2007, Wong 2007
[53] Farago 2007
[54] Patten 2004
[55] In 1987, "...Japanese comics were more legendary than accessible to American readers", Patten 2004, p. 259
[56] Napier 2000, pp. 239–256, Clements & McCarthy 2006, pp. 475–476
[57] Patten 2004, Schodt 1996, pp. 305–340, Leonard 2004
[58] Schodt 1996, p. 309, Rifas 2004, Rifas adds that the original EduComics titles were Gen of Hiroshima and I SAW IT [sic].
[59] Patten 2004, pp. 37, 259–260, Thompson 2007, p. xv
[60] Leonard 2004, Patten 2004, pp. 52–73, Farago 2007
[61] Schodt 1996, pp. 318–321, Dark Horse Comics 2004
[62] Patten 2004, pp. 50, 110, 124, 128, 135, Arnold 2000
[63] Schodt 1996, p. 95
[64] Arnold 2000, Farago 2007, Bacon 2005
Manga 28
[65] Schodt 1996, pp. 308–319

[66] Reid 2009
[67] Glazer 2005, Masters 2006, Bosker 2007, Pink 2007
[68] Fishbein 2007
[69] Berger 1992
[70] Vollmar 2007
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[73] Mahousu 2005, ANN 2004, Riciputi 2007
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[75] Crandol 2002
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[113] http:/ / search. japantimes. co. jp/ cgi-bin/ fl20060528x1. html
[114] http:/ / www. rthk. org. hk/ mediadigest/ 20070913_76_121564. html
[115] http:/ / www. kyotomm. com/ HP/ international/ english/ about_genjo. html
[116] http:/ / www. animenewsnetwork. com/ news/ 2006-05-10/ correction-world-manga
[117] http:/ / www. animenewsnetwork. com/ news/ 2002-11-27/ i. c-promotes-amerimanga
[118] http:/ / www. icv2. com/ articles/ home/ 11249. html
[119] http:/ / www. animenewsnetwork. com/ news/ 2007-05-22/ international-manga-award
[120] http:/ / www. merriam-webster. com/ dictionary/ manga
[121] http:/ / www. animenewsnetwork. com/ news/ 2004-02-04/ manga-mania-in-france
Manga 29
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IS_DB=G0000002GALLERY& IS_TYPE=csv& IS_STYLE=eng& SUM_KIND=CsvSummary& SUM_NUMBER=10& IS_SCH=CSV&
META_KIND=NOFRAME& IS_KIND=CsvDetail& IS_NUMBER=1& SUM_TYPE=normal& IS_START=4&
IS_KEY_A1=%22GALLERY%22& IS_TAG_A1=Cul11& IS_ADDSCH_CNT=1& VIEW_FLG=0
[126] http:/ / www. animenewsnetwork. com/ news/ 2006-05-05/ tokyopop-to-move-away-from-oel-and-world-manga-labels
[127] http:/ / comipress. com/ news/ 2007/ 03/ 10/ 1622
[128] http:/ / www. metalchroniques. fr/ guppy/ articles. php?lng=fr& pg=437
[129] http:/ / www. dmoz. org/ Arts/ Comics/ Manga/
Science fiction
Science fiction is a genre of fiction. It differs from fantasy in that, within the context of the story, its imaginary
elements are largely possible within scientifically established or scientifically postulated laws of nature (though some
elements in a story might still be pure imaginative speculation). Exploring the consequences of such differences is
the traditional purpose of science fiction, making it a "literature of ideas".[1] Science fiction is largely based on
writing rationally about alternative possibilities.[2] The settings for science fiction are often contrary to known
reality, but the majority of science fiction relies on a considerable degree of suspension of disbelief provided by
potential scientific explanations to various fictional elements.
These may include:
• A setting in the future, in alternative timelines, or in a historical past that contradicts known facts of history or the
archaeological record
• A setting in outer space, on other worlds, or involving aliens[3]
• Stories that involve technology or scientific principles that contradict known laws of nature[4]
• Stories that involve discovery or application of new scientific principles, such as time travel or psionics, or new
technology, such as nanotechnology, faster-than-light travel or robots, or of new and different political or social
systems (e.g., a dystopia, or a situation where organized society has collapsed)[5]
Definitions
Science fiction is difficult to define, as it includes a wide range of subgenres and themes. Author and editor Damon
Knight summed up the difficulty by stating that "science fiction is what we point to when we say it",[6] a definition
echoed by author Mark C. Glassy, who argues that the definition of science fiction is like the definition of
pornography: you don't know what it is, but you know it when you see it.[7] Vladimir Nabokov argued that if we
were rigorous with our definitions, Shakespeare's play The Tempest would have to be termed science fiction.[8]
According to science fiction writer Robert A. Heinlein, "a handy short definition of almost all science fiction might
read: realistic speculation about possible future events, based solidly on adequate knowledge of the real world, past
and present, and on a thorough understanding of the nature and significance of the scientific method."[9] Rod
Serling's definition is "fantasy is the impossible made probable. Science Fiction is the improbable made possible."[10]
Science fiction 30
Lester del Rey wrote, "Even the devoted aficionado– or fan- has a hard time trying to explain what science fiction
is", and that the reason for there not being a "full satisfactory definition" is that "there are no easily delineated limits
to science fiction."[11]
Forrest J Ackerman used the term "sci-fi" at UCLA in 1954.[12] As science fiction entered popular culture, writers
and fans active in the field came to associate the term with low-budget, low-tech "B-movies" and with low-quality
pulp science fiction.[13] [14] [15] By the 1970s, critics within the field such as Terry Carr and Damon Knight were
using "sci-fi" to distinguish hack-work from serious science fiction,[16] and around 1978, Susan Wood and others
introduced the pronunciation "skiffy". Peter Nicholls writes that "SF" (or "sf") is "the preferred abbreviation within
the community of sf writers and readers".[17] David Langford's monthly fanzine Ansible includes a regular section
"As Others See Us" which offers numerous examples of "sci-fi" being used in a pejorative sense by people outside
the genre.[18]
History
As a means of understanding the world through speculation and storytelling, science fiction has antecedents back to
mythology, though precursors to science fiction as literature can be seen in Lucian's True History in the 2nd
century,[19] [20] [21] [22] [23] some of the Arabian Nights tales,[24] [25] The Tale of the Bamboo Cutter in the 10th
century,[25] Ibn al-Nafis' Theologus Autodidactus in the 13th century,[26] and Jules Verne's A Journey to the Centre
of the Earth and Twenty Thousand Leagues Under the Sea in the 19th century. Following the Age of Reason and the
development of modern science itself, Jonathan Swift's Gulliver's Travels[27] was one of the first true science fiction
works, together with Voltaire's Micromégas and Kepler's Somnium. This latter work is considered by Carl Sagan[28]
and Isaac Asimov to be the first science fiction story. It depicts a journey to the Moon and how the Earth's motion is
seen from there. Another example is Ludvig Holberg's novel Nicolai Klimii iter subterraneum, 1741. (Translated to
Danish by Hans Hagerup in 1742 as Niels Klims underjordiske Rejse.) (Eng. Niels Klim's Underground Travels.)
Following the 18th century development of the novel as a literary form, in the early 19th century, Mary Shelley's
books Frankenstein and The Last Man helped define the form of the science fiction novel;[29] later Edgar Allan Poe
wrote a story about a flight to the moon.[30] More examples appeared throughout the 19th century.
Then with the dawn of new technologies such as electricity, the telegraph, and
new forms of powered transportation, writers like Jules Verne and H. G.
Wells created a body of work that became popular across broad cross-sections
of society[31] Wells' The War of the Worlds describes an invasion of late
Victorian England by Martians using tripod fighting machines equipped with
advanced weaponry. It is a seminal depiction of an alien invasion of Earth.
In the late 19th century, the term "scientific romance" was used in Britain to
describe much of this fiction. This produced additional offshoots, such as the
1884 novella Flatland: A Romance of Many Dimensions by Edwin Abbott
Abbott. The term would continue to be used into the early 20th century for
writers such as Olaf Stapledon.
H. G. Wells.
Science fiction 31
In the early 20th century, pulp magazines helped develop a new generation of
mainly American SF writers, influenced by Hugo Gernsback, the founder of
Amazing Stories magazine.[32] In the late 1930s, John W. Campbell became
editor of Astounding Science Fiction, and a critical mass of new writers
emerged in New York City in a group called the Futurians, including Isaac
Asimov, Damon Knight, Donald A. Wollheim, Frederik Pohl, James Blish,
Judith Merril, and others.[33] Other important writers during this period
included E.E. (Doc) Smith, Robert A. Heinlein, Arthur C. Clarke, Olaf
Stapledon, A. E. van Vogt and Stanisław Lem. Campbell's tenure at
Astounding is considered to be the beginning of the Golden Age of science
fiction, characterized by hard SF stories celebrating scientific achievement
and progress.[32] This lasted until postwar technological advances, new
magazines like Galaxy under Pohl as editor, and a new generation of writers
began writing stories outside the Campbell mode. Jules Verne.
In the 1950s, the Beat generation included speculative writers like William S.
Burroughs. In the 1960s and early 1970s, writers like Frank Herbert, Samuel R. Delany, Roger Zelazny, and Harlan
Ellison explored new trends, ideas, and writing styles, while a group of writers, mainly in Britain, became known as
the New Wave.[27] In the 1970s, writers like Larry Niven and Poul Anderson began to redefine hard SF.[34] Ursula
K. Le Guin and others pioneered soft science fiction.[35]
In the 1980s, cyberpunk authors like William Gibson turned away from the traditional optimism and support for
progress of traditional science fiction.[36] Star Wars helped spark a new interest in space opera,[37] focusing more on
story and character than on scientific accuracy. C. J. Cherryh's detailed explorations of alien life and complex
scientific challenges influenced a generation of writers.[38] Emerging themes in the 1990s included environmental
issues, the implications of the global Internet and the expanding information universe, questions about biotechnology
and nanotechnology, as well as a post-Cold War interest in post-scarcity societies; Neal Stephenson's The Diamond
Age comprehensively explores these themes. Lois McMaster Bujold's Vorkosigan novels brought the
character-driven story back into prominence.[39] The television series Star Trek: The Next Generation (1987) began a
torrent of new SF shows, including three further Star Trek spin-off shows and Babylon 5.[40] [41] Concern about the
rapid pace of technological change crystallized around the concept of the technological singularity, popularized by
Vernor Vinge's novel Marooned in Realtime and then taken up by other authors.
Innovation
While SF has provided criticism of developing and future technologies, it also produces innovation and new
technology. The discussion of this topic has occurred more in literary and sociological than in scientific forums.
Cinema and media theorist Vivian Sobchack examines the dialogue between science fiction film and the
technological imagination. Technology does impact how artists portray their fictionalized subjects, but the fictional
world gives back to science by broadening imagination. While more prevalent in the beginning years of science
fiction with writers like Arthur C. Clarke, new authors still find ways to make the currently impossible technologies
seem so close to being realized.[42]
Science fiction 32
Subgenres
Authors and filmmakers draw on a wide spectrum of ideas, but marketing departments and literary critics tend to
separate such literary and cinematic works into different categories, or "genres", and subgenres.[43] These are not
simple pigeonholes; works can be overlapped into two or more commonly-defined genres, while others are beyond
the generic boundaries, either outside or between categories, and the categories and genres used by mass markets and
literary criticism differ considerably.
Hard SF
Hard science fiction, or "hard SF", is characterized by rigorous attention to accurate detail in quantitative sciences,
especially physics, astrophysics, and chemistry, or on accurately depicting worlds that more advanced technology
may make possible. Many accurate predictions of the future come from the hard science fiction subgenre, but
numerous inaccurate predictions have emerged as well. Some hard SF authors have distinguished themselves as
working scientists, including Gregory Benford and Geoffrey A. Landis,[44] [45] while mathematician authors include
Rudy Rucker and Vernor Vinge. Other noteworthy hard SF authors include Hal Clement, Greg Bear, Larry Niven,
Robert J. Sawyer, Stephen Baxter, Alastair Reynolds, and Greg Egan.
Soft and social SF

The description "soft" science fiction may describe works based on social
sciences such as psychology, economics, political science, sociology, and
anthropology. Noteworthy writers in this category include Ursula K. Le Guin
and Philip K. Dick.[32] [46] The term can describe stories focused primarily on
character and emotion; SFWA Grand Master Ray Bradbury is an
acknowledged master of this art.[47] The Soviet Union produced a quantity of
social science fiction, including works by the Strugatsky brothers, Kir
Bulychov and Ivan Yefremov.[48] [49] Some writers blur the boundary
between hard and soft science fiction.
Related to Social SF and Soft SF are the speculative fiction branches of

utopian or dystopian stories; George Orwell's Nineteen Eighty-Four, Aldous
Huxley's Brave New World and Margaret Atwood's The Handmaid's Tale, are
examples. Satirical novels with fantastic settings such as Gulliver's Travels by
Jonathan Swift may be considered speculative fiction.
The Left Hand of Darkness, by Ursula K.

Le Guin
Science fiction 33
Cyberpunk
The Cyberpunk genre emerged in the early 1980s; it's the name combining
"cybernetics" and "punk",[50] and was first coined by author Bruce Bethke in
his 1980 short story "Cyberpunk".[51] The time frame is usually near-future
and the settings are often dystopian (characterized by misery). Common
themes in cyberpunk include advances in information technology and
especially the Internet (visually abstracted as cyberspace), artificial
intelligence and prosthetics and post-democratic societal control where
corporations have more influence than governments. Nihilism,
post-modernism, and film noir techniques are common elements, and the
protagonists may be disaffected or reluctant anti-heroes. Noteworthy authors
in this genre are William Gibson, Bruce Sterling, Neal Stephenson, and Pat
Cadigan. James O'Ehley has called the 1982 film Blade Runner a definitive
example of the cyberpunk visual style.[52]
Time travel
Neuromancer, by William Gibson (Ace,
Time travel stories have antecedents in the 18th and 19th centuries. The first
1984)
major time travel novel was Mark Twain's A Connecticut Yankee in King
Arthur's Court. The most famous is H. G. Wells's 1895 novel The Time
Machine, which uses a vehicle that allows an operator to travel purposefully and selectively, while Twain's time
traveler is struck by lightning. The term "time machine", coined by Wells, is now universally used to refer to such a
vehicle. Stories of this type are complicated by logical problems such as the grandfather paradox.[53] Time travel is a
popular subject in modern science fiction, in print, movies, and television.
Alternate history
Alternate (or alternative) history stories are based on the premise that historical events might have turned out
differently. These stories may use time travel to change the past, or may simply set a story in a universe with a
different history from our own. Classics in the genre include Bring the Jubilee by Ward Moore, in which the South
wins the American Civil War, and The Man in the High Castle by Philip K. Dick, in which Germany and Japan win
World War II. The Sidewise Award acknowledges the best works in this subgenre; the name is taken from Murray
Leinster's early story Sidewise in Time. Harry Turtledove is one of the most prominent authors in the subgenre and is
often called the "master of alternate history".[54] [55]
Military SF
Military science fiction is set in the context of conflict between national, interplanetary, or interstellar armed forces;
the primary viewpoint characters are usually soldiers. Stories include detail about military technology, procedure,
ritual, and history; military stories may use parallels with historical conflicts. Heinlein's Starship Troopers is an early
example, along with the Dorsai novels of Gordon Dickson. Joe Haldeman's The Forever War is a critique of the
genre, a Vietnam-era response to the World War II–style stories of earlier authors.[56] Prominent military SF authors
include John Ringo, David Drake, David Weber, and S. M. Stirling. Baen Books is known for cultivating military
science fiction authors.[57]
Science fiction 34
Superhuman
Superhuman stories deal with the emergence of humans who have abilities beyond the norm. This can stem either
from natural causes such as in Olaf Stapledon's novel Odd John, and Theodore Sturgeon's More Than Human, or be
the result of intentional augmentation such as in A.E. van Vogt's novel Slan. These stories usually focus on the
alienation that these beings feel as well as society's reaction to them. These stories have played a role in the real life
discussion of human enhancement.
Apocalyptic
Apocalyptic fiction is concerned with the end of civilization through war (On The Beach), pandemic (The Last Man),
astronomic impact (When Worlds Collide), ecological disaster (The Wind From Nowhere), or mankind's
self-destruction (Oryx and Crake), or some other general disaster or with a world or civilization after such a disaster.
Typical of the genre are George R. Stewart's novel Earth Abides and Pat Frank's novel Alas, Babylon. Apocalyptic
fiction generally concerns the disaster itself and the direct aftermath, while post-apocalyptic can deal with anything
from the near aftermath (as in Cormac McCarthy's The Road) to 375 years in the future (as in By The Waters of
Babylon) to hundreds or thousands of years in the future, as in Russell Hoban's novel Riddley Walker.
Space opera
Space opera is adventure science fiction set in outer space or on distant planets, where the emphasis is on action
rather than either science or characterization. The conflict is heroic, and typically on a large scale. Space opera is
sometimes used pejoratively, to describe improbable plots, absurd science, and cardboard characters. But it is also
used nostalgically, and modern space opera may be an attempt to recapture the sense of wonder of the golden age of
science fiction. The pioneer of this subgenre is generally recognized to be Edward E. (Doc) Smith, with his Skylark
and Lensman series. Alastair Reynolds' Revelation Space series, Peter F. Hamilton The Dreaming Void, The Night's
Dawn and Pandora's Star series, and the immensely popular Star Wars trilogies are newer examples of this genre.
Space Western
Space Western could be considered a sub-genre of Space Opera that transposes themes of the American Western
books and film to a backdrop of futuristic space frontiers. These stories typically involve "frontier" colony worlds
(colonies that have only recently been terraformed and/or settled) serving as stand-ins for the backdrop of
lawlessness and economic expansion that were predominant in the American west. Examples include Firefly and the
accompanying movie Serenity by Joss Whedon, as well as the animes Cowboy Bebop and Outlaw Star. The Star
Wars character Han Solo is often considered elemental to this genre.
Other sub-genres
• Feminist science fiction poses questions about social issues such as how society constructs gender roles, the role
reproduction plays in defining gender and the unequal political and personal power of men and women. Some of
the most notable feminist science fiction works have illustrated these themes using utopias to explore a society in
which gender differences or gender power imbalances do not exist, or dystopias to explore worlds in which
gender inequalities are intensified, thus asserting a need for feminist work to continue.[58]
• New Wave is a term applied to science fiction writing characterized by a high degree of experimentation, both in
form and in content, and a highbrow and self-consciously "literary" or artistic sensibility.
• Steampunk is set in an era or world where steam power is still widely used—usually the 19th century, and often
set in Victorian era England—but with prominent elements of either science fiction or fantasy, such as fictional
technological inventions like those found in the works of H. G. Wells and Jules Verne, or real technological
developments like the computer occurring at an earlier date. Popular examples include The Difference Engine by
William Gibson and Bruce Sterling, as well as the Girl Genius series by Phil and Katya Foglio.
Science fiction 35
• Comic science fiction is a sub-genre that exploits the genre's conventions for comic effect.
Related genres
Speculative fiction, fantasy, and horror

The broader category of speculative fiction[59] includes science fiction, fantasy, alternate histories (which may have
no particular scientific or futuristic component), and even literary stories that contain fantastic elements, such as the
work of Jorge Luis Borges or John Barth. For some editors, magic realism is considered to be within the broad
definition of speculative fiction.[60]
Fantasy
Fantasy is closely associated with science fiction, and many writers have worked in both genres, while writers such
as Anne McCaffrey and Marion Zimmer Bradley have written works that appear to blur the boundary between the
two related genres.[61] The authors' professional organization is called the Science Fiction and Fantasy Writers of
America (SFWA).[62] SF conventions routinely have programming on fantasy topics,[63] [64] [65] and fantasy authors
such as J. K. Rowling have won the highest honor within the science fiction field, the Hugo Award.[66] Some works
show how difficult it is to draw clear boundaries between subgenres; however authors and readers often make a
distinction between fantasy and SF. In general, science fiction is the literature of things that might someday be
possible, and fantasy is the literature of things that are inherently impossible.[10] Magic and mythology are popular
themes in fantasy.[67] Some narratives are described as being essentially science fiction but "with fantasy elements".
The term "science fantasy" is sometimes used to describe such material.[68]
Horror fiction
Horror fiction is the literature of the unnatural and supernatural, with
the aim of unsettling or frightening the reader, sometimes with graphic
violence. Historically it has also been known as weird fiction.
Although horror is not per se a branch of science fiction, many works
of horror literature incorporates science fictional elements. One of the
defining classical works of horror, Mary Shelley's novel Frankenstein,
is the first fully-realized work of science fiction, where the
manufacture of the monster is given a rigorous science-fictional
grounding. The works of Edgar Allan Poe also helped define both the
science fiction and the horror genres.[69] Today horror is one of the
most popular categories of films.[70] Horror is often mistakenly
categorized as science fiction at the point of distribution by libraries,
video rental outlets, etc. For example, the Sci fi Channel (distributed
via cable and satellite television in the United States) currently devotes
a majority of its air time to horror films with very few science fiction
titles.
Frankenstein (1931) film poster.
Mystery fiction
Works in which science and technology are a dominant theme, but based on current reality, may be considered
mainstream fiction. Much of the thriller genre would be included, such as the novels of Tom Clancy or Michael
Crichton, or the James Bond films.[71] Modernist works from writers like Kurt Vonnegut, Philip K. Dick, and
Science fiction 36
Stanisław Lem have focused on speculative or existential perspectives on contemporary reality and are on the
borderline between SF and the mainstream.[72] According to Robert J. Sawyer, "Science fiction and mystery have a
great deal in common. Both prize the intellectual process of puzzle solving, and both require stories to be plausible
and hinge on the way things really do work."[73] Isaac Asimov, Walter Mosley, and other writers incorporate
mystery elements in their science fiction, and vice versa.
Superhero fiction
Superhero fiction is a genre characterized by beings with much higher than usual capability and prowess, generally
with a desire or need to help the citizens of their chosen country or world by using his or her powers to defeat natural
or superpowered threats. Many superhero fiction characters involve themselves (either intentionally or accidentally)
with science fiction and fact, including advanced technologies, alien worlds, time travel, and interdimensional travel;
but the standards of scientific plausibility are lower than with actual science fiction. Authors of this genre include
Stan Lee (co-creator of Spider-Man, the Fantastic Four, the X-Men, and the Hulk); Marv Wolfman, the creator of
Blade for Marvel Comics, and The New Teen Titans for DC Comics; Dean Wesley Smith (Smallville, Spider-Man,
and X-Men novels) and Superman writers Roger Stern and Elliot S! Maggin.
Fandom and community

Science fiction fandom is the "community of the literature of ideas... the culture in which new ideas emerge and
grow before being released into society at large".[74] Members of this community, "fans", are in contact with each
other at conventions or clubs, through print or online fanzines, or on the Internet using web sites, mailing lists, and
other resources.
SF fandom emerged from the letters column in Amazing Stories magazine. Soon fans began writing letters to each
other, and then grouping their comments together in informal publications that became known as fanzines.[75] Once
they were in regular contact, fans wanted to meet each other, and they organized local clubs. In the 1930s, the first
science fiction conventions gathered fans from a wider area.[76] Conventions, clubs, and fanzines were the dominant
form of fan activity, or "fanac", for decades, until the Internet facilitated communication among a much larger
population of interested people.
Awards
Among the most respected awards for science fiction are the Hugo Award, presented by the World Science Fiction
Society at Worldcon, and the Nebula Award, presented by SFWA and voted on by the community of authors. One
notable award for science fiction films is the Saturn Award. It is presented annually by The Academy of Science
Fiction, Fantasy, and Horror Films.
There are national awards, like Canada's Aurora Award, regional awards, like the Endeavour Award presented at
Orycon for works from the Pacific Northwest, special interest or subgenre awards like the Chesley Award for art or
the World Fantasy Award for fantasy. Magazines may organize reader polls, notably the Locus Award.
Science fiction 37
Conventions, clubs, and organizations

Conventions (in fandom, shortened as "cons"),
are held in cities around the world, catering to a
local, regional, national, or international
membership. General-interest conventions cover
all aspects of science fiction, while others focus
on a particular interest like media fandom,
filking, etc. Most are organized by volunteers in
non-profit groups, though most media-oriented
events are organized by commercial promoters.
The convention's activities are called the
"program", which may include panel Pamela Dean reading at Minicon
discussions, readings, autograph sessions,

costume masquerades, and other events. Activities that occur throughout the convention are not part of the program;
these commonly include a dealer's room, art show, and hospitality lounge (or "con suites").[77]
Conventions may host award ceremonies; Worldcons present the Hugo Awards each year. SF societies, referred to as
"clubs" except in formal contexts, form a year-round base of activities for science fiction fans. They may be
associated with an ongoing science fiction convention, or have regular club meetings, or both. Most groups meet in
libraries, schools and universities, community centers, pubs or restaurants, or the homes of individual members.
Long-established groups like the New England Science Fiction Association and the Los Angeles Science Fantasy
Society have clubhouses for meetings and storage of convention supplies and research materials.[78] The Science
Fiction and Fantasy Writers of America (SFWA) was founded by Damon Knight in 1965 as a non-profit
organization to serve the community of professional science fiction authors[62] , 24 years after his essay "Unite or
Fie!" had led to the organization of the National Fantasy Fan Federation. Fandom has helped incubate related groups,
including media fandom,[79] the Society for Creative Anachronism,[80] gaming,[81] filking, and furry fandom.[82]
Fanzines and online fandom

The first science fiction fanzine, The Comet, was published in 1930.[83] Fanzine printing methods have changed over
the decades, from the hectograph, the mimeograph, and the ditto machine, to modern photocopying. Distribution
volumes rarely justify the cost of commercial printing. Modern fanzines are printed on computer printers or at local
copy shops, or they may only be sent as email. The best known fanzine (or "'zine") today is Ansible, edited by David
Langford, winner of numerous Hugo awards. Other fanzines to win awards in recent years include File 770, Mimosa,
and Plokta.[84] Artists working for fanzines have risen to prominence in the field, including Brad W. Foster, Teddy
Harvia, and Joe Mayhew; the Hugos include a category for Best Fan Artists.[84] The earliest organized fandom
online was the SF Lovers [85] community, originally a mailing list in the late 1970s with a text archive file that was
updated regularly.[86] In the 1980s, Usenet groups greatly expanded the circle of fans online. In the 1990s, the
development of the World-Wide Web exploded the community of online fandom by orders of magnitude, with
thousands and then literally millions of web sites devoted to science fiction and related genres for all media.[78] Most
such sites are small, ephemeral, and/or very narrowly focused, though sites like SF Site offer a broad range of
references and reviews about science fiction.
Science fiction 38
Fan fiction
Fan fiction, known to aficionados as "fanfic", is non-commercial fiction created by fans in the setting of an
established book, film, or television series.[87] This modern meaning of the term should not be confused with the
traditional (pre-1970s) meaning of "fan fiction" within the community of fandom, where the term meant original or
parody fiction written by fans and published in fanzines, often with members of fandom as characters therein ("faan
fiction"). Examples of this would include the Goon stories by Walt Willis. In the last few years, sites have appeared
such as Orion's Arm and Galaxiki, which encourage collaborative development of science fiction universes. In some
cases, the copyright owners of the books, films, or television series have instructed their lawyers to issue "cease and
desist" letters to fans.
Science fiction studies

The study of science fiction, or science fiction studies, is the critical assessment, interpretation, and discussion of
science fiction literature, film, new media, fandom, and fan fiction. Science fiction scholars take science fiction as an
object of study in order to better understand it and its relationship to science, technology, politics, and
culture-at-large. Science fiction studies has a long history dating back to the turn of the twentieth century, but it was
not until later that science fiction studies solidified as a discipline with the publication of the academic journals
Extrapolation (1959), Foundation - The International Review of Science Fiction (1972), and Science Fiction Studies
(1973), and the establishment of the oldest organizations devoted to the study of science fiction, the Science Fiction
Research Association and the Science Fiction Foundation, in 1970. The field has grown considerably since the 1970s
with the establishment of more journals, organizations, and conferences with ties to the science fiction scholarship
community, and science fiction degree-granting programs such as those offered by the University of Liverpool and
Kansas University.
The National Science Foundation has conducted surveys of "Public Attitudes and Public Understanding" of "Science
Fiction and Pseudoscience".[88] They write that "Interest in science fiction may affect the way people think about or
relate to science....one study found a strong relationship between preference for science fiction novels and support
for the space program...The same study also found that students who read science fiction are much more likely than
other students to believe that contacting extraterrestrial civilizations is both possible and desirable (Bainbridge
1982).[89]
Science fiction world-wide

Although perhaps most developed as a genre and community in the US and UK, science fiction is a worldwide
phenomenon. Organisations devoted to promoting SF in particular countries and in non-English languages are
common, as are country- or language-specific genre awards.
Europe
Science fiction 39
Germany and Austria: Current well-known SF authors from

Germany are five-time Kurd-Laßwitz-Award winner Andreas
Eschbach, whose books The Carpet Makers and Eine Billion Dollar
are big successes, and Frank Schätzing, who in his book The Swarm
mixes elements of the science thriller with SF elements to an
apocalyptic scenario. The most prominent German-speaking author,
according to Die Zeit, is Austrian Herbert W. Franke.
A well known science fiction book series in German is Perry Rhodan,

which started in 1961. Having sold over one billion copies (in pulp Soviet stamp, part of a 1967 series depicting
science fiction images.
format), it claims to be the most successful science fiction book series
ever written worldwide.[90]
Oceania
Australia: David G. Hartwell noted that while there is perhaps "nothing essentially Australian about Australian
science-fiction", many Australian science-fiction (and fantasy and horror) writers are in fact international English
language writers, and their work is commonly published worldwide. This is further explainable by the fact that the
Australian inner market is small (with Australian population being around 21 million), and sales abroad are crucial to
most Australian writers.[91] [92]
See also
• List of science fiction themes
• List of science fiction authors
• List of science fiction novels
• List of science fiction films
• Skiffy
• Transhumanism (a school of thought profoundly inspired by SF)
Notes and references
References
• Barron, Neil, ed. Anatomy of Wonder: A Critical Guide to Science Fiction (5th ed.). (Libraries Unlimited, 2004)
ISBN 1-59158-171-0.
• Clute, John Science Fiction: The Illustrated Encyclopedia. London: Dorling Kindersley, 1995. ISBN
0-7513-0202-3.
• Clute, John and Peter Nicholls, eds., The Encyclopedia of Science Fiction. St Albans, Herts, UK: Granada
Publishing, 1979. ISBN 0-586-05380-8.
• Clute, John and Peter Nicholls, eds., The Encyclopedia of Science Fiction. New York: St Martin's Press, 1995.
ISBN 0-312-13486-X.
• Disch, Thomas M. The Dreams Our Stuff Is Made Of. Touchstone, 1998. ISBN 9780684824055
• Reginald, Robert. Science Fiction and Fantasy Literature, 1975–1991. Detroit, MI/Washington, DC/London:
Gale Research, 1992. ISBN 0-8103-1825-3.
• Weldes, Jutta, ed. To Seek Out New Worlds: Exploring Links between Science Fiction and World Politics.
Palgrave Macmillan, 2003. ISBN 0-312-29557-X.
• Westfahl, Gary, ed. The Greenwood Encyclopedia of Science Fiction and Fantasy: Themes, Works, and Wonders
(three volumes). Greenwood Press, 2005.
Science fiction 40
• Wolfe, Gary K. Critical Terms for Science Fiction and Fantasy: A Glossary and Guide to Scholarship.
Greenwood Press, 1986. ISBN 0-313-22981-3.
External links
• Science Fiction (Bookshelf) [93] at Project Gutenberg
• SF Hub [94] - resources for science-fiction research, created by the University of Liverpool Library
• Science fiction fanzines (current and historical) online [95]
• Science Fiction and Fantasy Writers of America [96] - their "Suggested Reading" page
• Science Fiction Museum & Hall of Fame [97]
• Science Fiction Research Association [98]
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Albmont, Alientraveller, Allenwhite, Andries, Anville, Apostrophe, Asenine, B jonas, BJT1004, Bacteria, BcRIPster, BinaryOperator, Bisected8, Boco XLVII, Boredalot, Bryan Derksen,
Canonblack, Carmelitta, Carmouche, Cat's Tuxedo, Chris the speller, ClymAngus, Coreycubed, Cowardly Lion, D6, DRTllbrg, Dale Arnett, David.alex.lamb, Dddstone, DennisDaniels,
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Fuzzbox, Fuzzydyse, Gatsby, General Banzai, Goiobre, Golemarch, Gonzalo84, Gooch41, Goustien, Gpivo1, GreyWyvern, Groggy Dice, Gruber, Henry Merrivale, Hibana, HighEnergyProtons,
Histrion, Htaccess, Hydrargyrum, Icairns, IfTrueElseFalse, JEMASCOLA, JIP, JWSchmidt, Jac16888, Jan.Kamenicek, JasonBillie, Jc37, Jcbutler, Jeffq, Jkeen4, Joeblakesley, Jonnybgoode44,
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Ladycrim, Lec CRP1, Liftarn, LilHelpa, Lochaber, LordHoborgXVII, Man from the Ministry, Mariomassone, MarkKB, Masamage, Matthew Platts, Maver1ck, MechaEmperor, MegX, Mellery,
Menright63, Merovingian, Metropolitan90, Michael Hardy, Michal Nebyla, MightyAtom, Mika1h, Mikael GRizzly, Mikaine, Mikemoto, Mild Bill Hiccup, Mini-Geek, Mitsukai, Murataku,
Murgh, NawlinWiki, NeoChaosX, Neozoen, Netkinetic, Nightscream, Nintendo Maximus, Nover220, Oerjan, Otto4711, Paul A, Perfectblue97, PeruAlonso, Peter Ballard, Pieoncar, Pikawil,
Polobird, Poppy999, Powerlord, ProveIt, Purple Rose, Raoulharris, Rattis1, Raven42, Rblockslc, Reedy, Rhindle The Red, Richardus, Roger McCoy, Rune.welsh, Russoc4, SSJKamui, Sandstein,
Satin2007, Schol-R-LEA, Scorpionman, Scottandrewhutchins, Sffcorgi, Shabook, ShelfSkewed, Sheridan, Sonett72, Stefanomione, Steve Farrell, Stilanas, Sugar Bear, Syd Henderson,
TAnthony, Tavilis, Technomad, Ted Wilkes, Teflon Don, Thanos6, The Chef, The Wookieepedian, Thenodrin, Thuresson, Tigerstripes, Tim!, Vanhagar3000, VederJuda, Video tape, Vivio
Testarossa, Vremya, WaltCip, Wedineinheck, Wickethewok, WizzieBlue, Wwwwolf, YoungFreud, ZFGokuSSJ1, Zempfester, 363 anonymous edits
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Adimond, After Midnight, Akuyume, AlainV, Alansohn, Amber388, Andreas Kaganov, Animedude360, Anonywiki, Antaeus Feldspar, Antandrus, Antilived, Anville, Arjun G. Menon, Arvindn,
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Colonies Chris, Common Man, Coolotter88, Corrupt one, Coughinink, Countakeshi, Ctrl build, CyberSkull, D6, DabMachine, DaddyWarlock, Daen, Dale Arnett, Danarmak, Davejenk1ns,
David.alex.lamb, DavidCary, Dcoetzee, Delirium, Dennette, Deor, Derek Ross, Dexter Nextnumber, DigitalEnthusiast, Dino, Diz, Dojarca, DopefishJustin, Dpol, DragonflySixtyseven, EVula,
EWS23, Eastlaw, EisenKnoechel, Electricaltape, Eloquence, Elvis, Emperor, Epbr123, Ergative rlt, Ericd, Evercat, Evil saltine, Excirial, Fabiob, Fastfission, Fearless Son, Ferkelparade,
Fivehead101, Frecklefoot, Fredcondo, Fubar Obfusco, Fui in terra aliena, Furrykef, Fuzzform, GMcGath, Gadfium, Gero, Gogo Dodo, Goiobre, GracieLizzie, Granpuff, Gtrmp, Gurch, Hairy
Dude, Henry Flower, Heron, Histrion, Hottentot, Hurricane111, Hydrargyrum, IP Address, Iam, IdLoveOne, Ihcoyc, Indianabrick, Infrogmation, Ivan Pozdeev, Ivanvector, J.J., JHFTC, JRR
Trollkien, Jack Cain, Jaeger5432, Jahsonic, Jamiem, Jcbutler, Jclarke, JedipusRex, Jeffq, Jengirl1988, Jmsmylie, John, Johnnyfog, Jonnybgoode44, Jpers36, Jquarry, Julia Rossi, Juliancolton,
Jyril, JzG, Kaijan, Karl Dickman, Karol Langner, Kchishol1970, Keraunos, KillerChihuahua, Kizor, KnightRider, Knotwork, Koavf, Koyaanis Qatsi, Kubanczyk, Lachatdelarue, Lamro, Leanne,
Lefty, Lenin and McCarthy, Levin, Lexw, Lord Opeth, Loremaster, Mac Davis, Marcok, Marj Tiefert, MarkAtwood, Marycontrary, Matt Crypto, Menchi, Mervyn, Mfagan, Michael Hardy,
Michael Snow, Midnightcomm, Milomind, Mirv, MitchellTF, Modemac, Montrealais, Moriarty, Mpk, Mukkakukaku, NWeber, Natalie Erin, Ne3dles, Nemo, Netkinetic, Neutrality, Nightsky,
Nikai, Nikolaredactor, Numbo3, Octane, Of, Oliver Pereira, Ombudswiki, Omegatron, Ortonmc, Outriggr, PDH, Pablosecca, Pakaran, Para82, PatGallacher, Paul A, Pentasyllabic, Philip Cross,
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Image Sources, Licenses and Contributors 45
Image Sources, Licenses and Contributors

Image:Mad scientist.svg Source: http://en.wikipedia.org/w/index.php?title=File:Mad_scientist.svg License: unknown Contributors: Antilived, El Filóloco, Gdetrez, Liftarn, Marcok,
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User:TheOtherJesse
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List of mad scientists

book, has three lines of titles and three middle names.

• J. Frank Parnell, in Repo Man (1984)

• Wheeljack, an autobot from the Transformers

Relations to evil genius

Films and fiction

due consideration to the potential downsides.

History and characteristics

Astro Boy quickly became (and remains) immensely popular in Japan

In 1969 a group of female manga artists (later called the Year 24

Eshinbun Nipponchi; credited as the

The reading direction in a traditional

[6] Wong 2006, Patten 2004

[65] Schodt 1996, pp. 308–319

Soft and social SF

Related to Social SF and Soft SF are the speculative fiction branches of

The Left Hand of Darkness, by Ursula K.

Speculative fiction, fantasy, and horror

Fandom and community

Conventions, clubs, and organizations

discussions, readings, autograph sessions,

Fanzines and online fandom

Science fiction studies

Science fiction world-wide

Germany and Austria: Current well-known SF authors from

A well known science fiction book series in German is Perry Rhodan,

Notes and references

Article Sources and Contributors

Zzuuzz, Александър, 1711 anonymous edits

Image Sources, Licenses and Contributors

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