“See teh Translator’s Notes”: the Rise and fall of paratext in Argentine Manga Publishing
The history of manga publishing in Argentina, particularly through the lens of publisher Ivrea, reveals a fascinating evolution in the use of paratext – those elements surrounding the core text that shape its reception. Initially employed as a key differentiator, paratextual features in Ivrea’s manga editions experienced a rise, a period of prominence, and a subsequent decline, only to see a recent resurgence driven by shifting market dynamics.
In the early days of Argentine manga publication, Ivrea faced stiff competition from cheaper imports, primarily from Spain and Mexico. To carve out a niche, founders Oberto and Ruiz adopted a “glocalization” strategy, emphasizing local relevance alongside the imported Japanese content. A crucial component of this strategy was a robust use of paratext. This wasn’t simply about adding fluff; it was a intentional attempt to create added value that competitors couldn’t easily replicate. Central to this was the work of translator Gomez Sanz, whose “clarifications for the translation” sections went beyond simple linguistic explanation, offering cultural context and effectively “foreignizing” the manga for argentine readers. Furthermore, Ivrea borrowed the format of readers’ mail sections from their own periodical Lazer, fostering a sense of community and providing a printed space for Argentina’s growing otaku culture. These features weren’t merely additions; they were integral to Ivrea’s brand and appeal.
However, as Ivrea solidified its market dominance, the need for these distinctive paratexts diminished. The company’s publications became more lavish,focusing on production quality rather than supplemental content. Simultaneously, the practice of manga translation itself became more professionalized. Professional translators generally favored a cleaner, less intrusive approach, eschewing the extensive notes that had previously characterized Ivrea’s editions.
A further shift occurred with the changing landscape of manga retail. The move from newsstands to bookstores, coupled with the rise of both legal and illegal digital manga, prompted publishers to adopt the conventions of traditional book publishing. This meant prioritizing formats and paratexts associated with collectible, higher-value editions – eschewing features like advertisements and reader letters that were common in periodical publications.
Interestingly, recent trends suggest a renewed interest in paratext. Publishers, facing increased competition both domestically and internationally, are once again seeking ways to distinguish their manga. This has manifested in the inclusion of prestige-inducing elements borrowed from literary publishing, such as forewords by academic experts and interviews with creators, mirroring practices seen in English-language editions from publishers like Fantagraphics. Thus,the paratextual elements that once defined Ivrea’s early strategy are experiencing a second life,adapted to a new publishing habitat and serving a similar purpose: to add value and stand out in a crowded market. The story of paratext in Argentine manga is therefore a reflection of the broader challenges and adaptations inherent in the global circulation of comics and the complex mediation required to bring Japanese manga to a peripheral publishing world.