Manga are comics or graphic novels created in Japan or by creators in the Japanese language, conforming to a style developed in Japan in the late 19th century. They have a complex pre-history in earlier Japanese art; the term manga in Japan is a word used to refer to cartooning. "Manga" as a term used outside Japan refers to comics published in Japan. In Japan, people of all ages read manga; the medium includes works in a broad range of genres: action, adventure and commerce, detective, historical, mystery, science fiction and fantasy, erotica and games, suspense, among others. Many manga are translated into other languages. Since the 1950s, manga has become a major part of the Japanese publishing industry. By 1995, the manga market in Japan was valued at ¥586.4 billion, with annual sales of 1.9 billion manga books and manga magazines in Japan. Manga have gained a significant worldwide audience. In 2008, in the U. S. and Canada, the manga market was valued at $175 million. Manga represent 38% of the French comics market, equivalent to ten times that of the United States.
In France, the manga market was valued at about €460 million in 2005. In Europe and the Middle East, the market was valued at $250 million in 2012. Manga stories are printed in black-and-white, although some full-color manga exist. In Japan, manga are serialized in large manga magazines containing many stories, each presented in a single episode to be continued in the next issue. Collected chapters are republished in tankōbon volumes but not paperback books. A manga artist works with a few assistants in a small studio and is associated with a creative editor from a commercial publishing company. If a manga series is popular enough, it may be animated during its run. Sometimes manga are drawn centering on existing live-action or animated films. Manga-influenced comics, among original works, exist in other parts of the world in Algeria, Hong Kong and South Korea; the word "manga" comes from the Japanese word 漫画, composed of the two kanji 漫 meaning "whimsical or impromptu" and 画 meaning "pictures".
The same term is the root of the Korean word for the Chinese word. 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, in the early 19th century with such works as Aikawa Minwa's Manga hyakujo and the celebrated Hokusai Manga books containing assorted drawings from the sketchbooks of the famous ukiyo-e artist Hokusai. Rakuten Kitazawa first used the word "manga" in the modern sense. In Japanese, "manga" refers to all kinds of cartooning and animation. Among English speakers, "manga" has the stricter meaning of "Japanese comics", in parallel to the usage of "anime" in and outside Japan; the term "ani-manga" is used to describe comics produced from animation cels. The history of manga is said to originate from scrolls dating back to the 12th century, it is believed they represent the basis for the right-to-left reading style. During the Edo period, Toba Ehon embedded the concept of manga; the word itself first came into common usage in 1798, with the publication of works such as Santō Kyōden's picturebook Shiji no yukikai, in the early 19th century with such works as Aikawa Minwa's Manga hyakujo and the Hokusai Manga books.
Adam L. Kern has suggested that kibyoshi, picture books from the late 18th century, may have been the world's first comic books; these graphical narratives share with modern manga humorous and romantic themes. Some works were mass-produced as serials using woodblock printing. Writers on manga history have described two complementary processes shaping modern manga. One view represented by other writers such as Frederik L. Schodt, Kinko Ito, Adam L. Kern, stress continuity of Japanese cultural and aesthetic traditions, including pre-war and pre-Meiji culture and art; the other view, emphasizes events occurring during and after the Allied occupation of Japan, stresses U. S. cultural influences, including U. S. comics and images and themes from U. S. television and cartoons. Regardless of its source, an explosion of artistic creativity occurred in the post-war period, involving manga artists such as Osamu Tezuka and Machiko Hasegawa. Astro Boy became immensely popular in Japan and elsewhere, the anime adaptation of Sazae-san drawing more viewers than any other anime on Japanese television in 2011.
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 adopted by manga artists. Hasegawa's focus on daily life and on women's experience came to characterize shōjo manga. Between 1950 and 1969, an 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. In 1969 a group of female manga artists made their shōjo manga debut ("year 24" comes from the Japanese name for the year 1949, the
Anime is hand-drawn and computer animation originating from or associated with Japan. The word anime is the Japanese term for animation. Outside Japan, anime refers to animation from Japan or as a Japanese-disseminated animation style characterized by colorful graphics, vibrant characters and fantastical themes; the culturally abstract approach to the word's meaning may open up the possibility of anime produced in countries other than Japan. For simplicity, many Westerners view anime as a Japanese animation product; some scholars suggest defining anime as or quintessentially Japanese may be related to a new form of Orientalism. The earliest commercial Japanese animation dates to 1917, Japanese anime production has since continued to increase steadily; the characteristic anime art style emerged in the 1960s with the works of Osamu Tezuka and spread internationally in the late twentieth century, developing a large domestic and international audience. Anime is distributed theatrically, by way of television broadcasts, directly to home media, over the Internet.
It is classified into numerous genres targeting diverse broad and niche audiences. Anime is a diverse art form with distinctive production methods and techniques that have been adapted over time in response to emergent technologies, it consists of an ideal story-telling mechanism, combining graphic art, characterization and other forms of imaginative and individualistic techniques. The production of anime focuses less on the animation of movement and more on the realism of settings as well as the use of camera effects, including panning and angle shots. Being hand-drawn, anime is separated from reality by a crucial gap of fiction that provides an ideal path for escapism that audiences can immerse themselves into with relative ease. Diverse art styles are used and character proportions and features can be quite varied, including characteristically large emotive or realistically sized eyes; the anime industry consists of over 430 production studios, including major names like Studio Ghibli and Toei Animation.
Despite comprising only a fraction of Japan's domestic film market, anime makes up a majority of Japanese DVD sales. It has seen international success after the rise of English-dubbed programming; this rise in international popularity has resulted in non-Japanese productions using the anime art style. Whether these works are anime-influenced animation or proper anime is a subject for debate amongst fans. Japanese anime accounts for 60% of the world's animated cartoon television shows, as of 2016. Anime is an art form animation, that includes all genres found in cinema, but it can be mistakenly classified as a genre. In Japanese, the term anime is used as a blanket term to refer to all forms of animation from around the world. In English, anime is more restrictively used to denote a "Japanese-style animated film or television entertainment" or as "a style of animation created in Japan"; the etymology of the word anime is disputed. The English term "animation" is written in Japanese katakana as アニメーション and is アニメ in its shortened form.
The pronunciation of anime in Japanese differs from pronunciations in other languages such as Standard English, which has different vowels and stress with regards to Japanese, where each mora carries equal stress. As with a few other Japanese words such as saké, Pokémon, Kobo Abé, English-language texts sometimes spell anime as animé, with an acute accent over the final e, to cue the reader to pronounce the letter, not to leave it silent as Standard English orthography may suggest; some sources claim that anime derives from the French term for animation dessin animé, but others believe this to be a myth derived from the French popularity of the medium in the late 1970s and 1980s. In English, anime—when used as a common noun—normally functions as a mass noun. Prior to the widespread use of anime, the term Japanimation was prevalent throughout the 1970s and 1980s. In the mid-1980s, the term anime began to supplant Japanimation. In general, the latter term now only appears in period works where it is used to distinguish and identify Japanese animation.
The word anime has been criticised, e.g. in 1987, when Hayao Miyazaki stated that he despised the truncated word anime because to him it represented the desolation of the Japanese animation industry. He equated the desolation with animators lacking motivation and with mass-produced, overly expressionistic products relying upon a fixed iconography of facial expressions and protracted and exaggerated action scenes but lacking depth and sophistication in that they do not attempt to convey emotion or thought; the first format of anime was theatrical viewing which began with commercial productions in 1917. The animated flips were crude and required played musical components before adding sound and vocal components to the production. On July 14, 1958, Nippon Television aired Mogura no Abanchūru, both the first televised and first color anime to debut, it wasn't until the 1960s when the first televised series were broadcast and it has remained a popular medium since. Works released in a direct to video format are called "original video animation" or "original animation video".
The emergence of the Internet has led some animators to distribute works online in a format called "original net anime". The home distribution of anime releases were
Penguin Random House
Penguin Random House is an American multinational conglomerate publishing company formed in 2013 from the merger of Random House and Penguin Group. As of 2013, Penguin Random House employed about 10,000 people globally and published 15,000 titles annually under its 250 divisions and imprints; these titles include nonfiction for adults and children in both print and digital. Penguin Random House comprises Penguin and Random House in the U. S. U. K. Canada, New Zealand and India. Penguin Random House was formed on July 1, 2013, upon the completion of a £2.4 billion merger between Bertelsmann and Pearson to merge their respective trade publishing companies, Random House and Penguin Group. Bertelsmann and Pearson, the parent companies, owning 53% and 47%, respectively; the creation of the company has been referred to as the publishing industry's response to the increasing dominance of Amazon.com in the book market. Markus Dohle was named CEO of the new company which had more than 10,000 employees around the world with 250 imprints and publishing houses and a publishing list of over 15,000 new titles a year.
PRH relaunched Book Country, Penguin's online unit, in July 2013. In September 2014, Random House Studio signed a first look production deal with Universal Pictures, under which Random House would be the producer of films based on Penguin Random House books; the Universal subsidiary Focus Features will collaborate with Random House Films. Having spearheaded the creation process of Puffin Rock animation, Richard Haines is heading PRH Children's TV development strategy with the assistance of licensing, TV development executive Emily Campan. Haines would report to Francesca Dow. In November 2015, Pearson announced that it will be rebranding and focusing on its education division, it was predicted. Pearson CEO John Fallon estimated that the company would wait until at least 2017. In July 2017, Pearson agreed to sell a 22% stake in the business to Bertelsmann, thereby retaining a 25% holding. In June 2014 Penguin Random House unveiled a new logo designed by Michael Beirut of Pentagram; the logo is a simple serif font with the words Penguin Random House bookended by orange.
For the 250 or so imprints this design would display their traditional logo image to the left of the Penguin Random House words. The logo was introduced in an animated video showcasing various imprints. DK was founded in London in 1974 and is a reference publisher focusing on non-fiction for adults and children. Alpha, publishes Complete Idiot's Guides Prima Games, publishes video game strategy guides Rough Guides, publishes travel guidesAs of 2015 DK has official publishing relationships with Angry Birds, Lego and Star Wars. Crown Publishing was founded in 1933 as the Outlet Book Company, a remainder house, is now a publisher of fiction and narrative non-fiction. Amphoto Books, publishes photography books Broadway Books, founded in 1996 as part of Bantam Doubleday Dell and is now the paperback imprint of Crown Clarkson Potter, produces cookbooks, illustrated gift books, journals Crown Archetype, hardcover publisher of pop-culture titles Crown Business, publishes business-related content Crown Forum, publishes political discourse Harmony Books, publishes self-help titles Hogarth Press, partnership between Crown in the U.
S. and Windus in the U. K. Convergent, Image Catholic Books, Waterbrook & Multnomah publish Christian non-fiction and fiction titles Pam Krauss Books, founded in 1915 and publishes culinary and lifestyle related titles Rodale Books Ten Speed Press, joined Crown in 2009 as a West Coast publisher of nonfiction and gift titles Tim Duggan Books, founded in 2014 Watson-Guptill, publishes illustrated art books as part of Ten Speed Press Alfred A. Knopf, publisher of hardcover fiction and nonfiction, founded in 1915 by Alfred A. Knopf, Blanche KnopfTitles under Alfred A. Knopf have won 58 Pulitzers as well as Nobel and National Book Awards. Doubleday, publisher of commercial and serious nonfiction founded in 1897 Pantheon, founded in 1942 by Kurt Wolff Schocken, publisher of Judaica, became a part of Random House in 1945 Vintage Books, trade paperback publisher founded by Alfred A. Knopf in 1954 Anchor Books, publisher of history, women's studies and fiction Vintage Español, Spanish-language publisher in the United States, founded in 1994 by Alfred A. Knopf Black Lizard known as Vintage Crime, publisher of crime fiction, acquired by Random House in 1990 Nan A. Talese, literary imprint formed in 1990 to house authors published by editor Nan A. Talese Everyman's Library, a series of reprinted classic literature published in hardback Avery, publisher of nonfiction and lifestyle books founded in 1974 Berkley Publishing Group/New American Library, contain several imprints including Jove, Ace, Roc and Caliber DAW, publisher of science fiction and fantasy Dutton, small boutique fiction and non-fiction publisher of about 40 books per year Putnam, publisher founded in 1838 Pamela Dorman Books/Viking, established in 2010 as a boutique publisher of VP Pamela Dorman Penguin, established in the 1930s as a publisher of mass market paperbacks.
P. Putnam's Sons.
Kishō Taniyama is a Japanese voice actor and lyricist affiliated with Ken Production. He is the vocalist and lyricist of the Japanese rock band Granrodeo under his stage name Kishow, he is the official Japanese dubbing voice for Fred Jones in the Scooby-Doo franchise. Official agency profile at Ken Production Kishō Taniyama at Anime News Network's encyclopedia
Outside of Japan, hentai is anime and manga pornography. In the Japanese language, however, "hentai" is not a genre of media but any type of perverse or bizarre sexual desire or act. For example, outside of Japan a work depicting lesbian sex might be described as "yuri hentai", but in Japan it would just be described as "yuri"; the word is short for a perverse sexual desire. The original meaning of hentai in the Japanese language is metamorphosis; the implication of perversion or paraphilia was derived from there. Both meanings can be distinguished in context easily. Hentai is a kanji compound of 変 and 態, it means "perversion" or "abnormality" when used as an adjective. It is the shortened form of the phrase hentai seiyoku which means "sexual perversion"; the character hen is catch-all for queerness as a peculiarity—it does not carry an explicit sexual reference. While the term has expanded in use to cover a range of publications including homosexual publications, it remains a heterosexual term, as terms indicating homosexuality entered Japan as foreign words.
Japanese pornographic works are simply tagged as 18-kin, meaning "prohibited to those not yet 18 years old", seijin manga. Less official terms in use include ero anime, ero manga, the English initialism AV. Usage of the term hentai does not define a genre in Japan. Hentai is defined differently in English; the Oxford Dictionary Online defines hentai as "a subgenre of the Japanese genres of manga and anime, characterized by overtly sexualized characters and sexually explicit images and plots." The origin of the word in English is unknown, but AnimeNation's John Oppliger points to the early 1990s, when a Dirty Pair erotic doujinshi titled H-Bomb was released, when many websites sold access to images culled from Japanese erotic visual novels and games. The earliest English use of the term traces back to the rec.arts.anime boards. A 1995 glossary on the rec.arts.anime boards contained reference to the Japanese usage and the evolving definition of hentai as "pervert" or "perverted sex". The Anime Movie Guide, published in 1997, defines "ecchi" as the initial sound of hentai.
A year it was defined as a genre in Good Vibrations Guide to Sex. At the beginning of 2000, "hentai" was listed as the 41st most popular search term of the internet, while "anime" ranked 99th; the attribution has been applied retroactively to works such as Urotsukidōji, La Blue Girl, Cool Devices. Urotsukidōji had been described with terms such as "Japornimation", "erotic grotesque", prior to being identified as hentai; the history of the word "hentai" has its origins in psychology. By the middle of the Meiji era, the term appeared in publications to describe unusual or abnormal traits, including paranormal abilities and psychological disorders. A translation of German sexologist Richard von Krafft-Ebing's text Psychopathia Sexualis originated the concept of "hentai seiyoku", as a "perverse or abnormal sexual desire". Though it was popularized outside psychology, as in the case of Mori Ōgai's 1909 novel Vita Sexualis. Continued interest in "hentai seiyoku", resulted in numerous journals and publications on sexual advice which circulated in the public, served to establish the sexual connotation of'hentai' as perverse.
Any perverse or abnormal act could be hentai, such as committing shinjū. It was Nakamura Kokyo's journal Abnormal Psychology which started the popular sexology boom in Japan which would see the rise of other popular journals like Sexuality and Human Nature, Sex Research and Sex. Tanaka Kogai wrote articles for Abnormal Psychology, but it would be Tanaka's own journal Modern Sexuality which would become one of the most popular sources of information about erotic and neurotic expression. Modern Sexuality was created to promote fetishism, S&M, necrophilia as a facet of modern life; the ero-guro movement and depiction of perverse and erotic undertones were a response to interest in hentai seiyoku. Following the end of World War II, Japan took a new interest in public sexuality. Mark McLelland puts forth the observation that the term "hentai" found itself shortened to "H" and that the English pronunciation was "etchi", referring to lewdness and which did not carry the stronger connotation of abnormality or perversion.
By the 1950s, the "hentai seiyoku" publications became their own genre and included fetish and homosexual topics. By the 1960s, the homosexual content was dropped in favor of subjects like sadomasochism and stories of lesbianism targeted to male readers; the late 1960s brought a sexual revolution which expanded and solidified the normalizing the terms identity in Japan that continues to exist today through publications such as Bessatsu Takarajima's Hentai-san ga iku series. With the usage of hentai as any erotic depiction, the history of these depictions is split into their media. Japanese artwork and comics serve as the first example of hentai material, coming to represent the iconic style after the publication of Azuma Hideo's Cybele in 1979. Japanese animation had its first hentai, in both definitions, with the 1984 release of Wonderkid's Lolita Anime, overlooking the erotic and sexual depictions in 1969's One Thousand and One Arabian Nights and the bare-breasted Cleopatra in 1970's Cleopatra film.
Although the genre is old, the romance novel or romantic novel discussed in this article is the mass-market version. Novels of this type of genre fiction place their primary focus on the relationship and romantic love between two people, must have an "emotionally satisfying and optimistic ending." There are many subgenres of the romance novel, including fantasy, historical romance, paranormal fiction, science fiction. Romance novels are read by women; the term romance is applied to a type of novel defined by Walter Scott as "a fictitious narrative in prose or verse. Other precursors can be found in the literary fiction of the 18th and 19th centuries, including Samuel Richardson's sentimental novel Pamela, or Virtue Rewarded and the novels of Jane Austen. Austen inspired Georgette Heyer, the British author of historical romance set around the time Austen lived, as well as detective fiction. Heyer's first romance novel, The Black Moth, was set in 1751; the British company Mills and Boon began releasing escapist fiction for women in the 1930s.
Their books were sold in North America by Harlequin Enterprises Ltd, which began direct marketing to readers and allowing mass-market merchandisers to carry the books. According to the Romance Writers of America, the main plot of a mass-market romance novel must revolve about the two people as they develop romantic love for each other and work to build a relationship. Both the conflict and the climax of the novel should be directly related to that core theme of developing a romantic relationship, although the novel can contain subplots that do not relate to the main characters' romantic love. Furthermore, a romance novel must have an "emotionally satisfying and optimistic ending." Others, including Leslie Gelbman, a president of Berkley Books, define the genre more stating only that a romance must make the "romantic relationship between the hero and the heroine... the core of the book." In general, romance novels reward characters who are good people and penalize those who are evil, a couple who fights for and believes in their relationship will be rewarded with unconditional love.
Bestselling author Nora Roberts sums up the genre, saying: "The books are about the celebration of falling in love and emotion and commitment, all of those things we want." Women's fiction is not directly a subcategory of the romance novel genre, because in women's fiction the heroine's relationship with her family or friends may be as important as her relationship with the hero. Some romance novel authors and readers believe the genre has additional restrictions, from plot considerations, to avoiding themes. Other disagreements have centered on the firm requirement for a happy ending. While the majority of romance novels meet the stricter criteria, there are many books considered to be romance novels that deviate from these rules. Therefore, the general definition, as embraced by the RWA and publishers, includes only the focus on a developing romantic relationship and an optimistic ending. Escapism is important. There are no specific restrictions on what can not be included in a romance novel.
Controversial subjects are addressed in romance novels, including topics such as date rape, domestic violence and disability. The combination of time frame and plot elements does, help a novel to fit into one of several romance subgenres. Despite the numerous possibilities this framework allows, many people in the mainstream press claim that "all seem to read alike." Stereotypes of the romance genre abound. For instance, some believe that all romance novels are similar to those of Danielle Steel, featuring rich, glamorous people traveling to exotic locations. Many romance readers disagree that Steel writes romance at all, considering her novels more mainstream fiction. Mass-market romance novels are sometimes referred to as "smut" or female pornography, are the most popular form of modern erotica for women. While some romance novels do contain more erotic acts, in other romance novels the characters do no more than kiss chastely; the romance genre runs the spectrum between these two extremes. Because women buy 90% of all romance novels, most romance novels are told from a woman's viewpoint, in either first or third person.
Although most romance novels are about heterosexual pairings there are romance novels that deal with same-sex relationships, some participants in the book industry characterize books dealing with same-sex relationships as F/F, M/M. While this article is about the mass-market form of love romance novels, the genre of works of extended prose fiction dealing with romantic love existed in classical Greece; the titles of over twenty such ancient Greek romance novels are known, but most of them have only survived in an incomplete, fragmentary form. Only five ancient Greek romance novels have survived to the present day in a state of near-completion: Chareas and Callirhoe and Clitophon, Daphnis and Chloe, The Ephesian Tale, The Ethiopian Tale. Precursors of the modern popular love-romance can be found in the sentimental novel Pamela, or Virtue
Kenichi Suzumura is a Japanese voice actor and singer, the founder and representative of the INTENTION, a voice acting company he founded in March 2012. He was raised in Osaka Prefecture, he voiced Morley in Macross 7, Hikaru Hitachiin in Ouran High School Host Club, Masato Hijirikawa in Uta no Prince-sama, Atsushi Murasakibara in Kuroko's Basketball, Momotaro Mikoshiba in Free!, Shinn Asuka in Mobile Suit Gundam SEED Destiny, Leo Stenbuck in Zone of the Enders: The 2nd Runner, Sōgo Okita in Gin Tama, Rogue Cheney in Fairy Tail, Lavi in D. Gray-man, Ryutaros in Kamen Rider Den-O, he is called Suzu and Muraken by Soichiro Hoshi and his fans and Suzuken by other voice actors and fans. He is part of the group Nazo no Shin Unit Starmen with Junichi Suwabe, Daisuke Kishio, Hiroki Takahashi, Hiroyuki Yoshino, Makoto Yasumura, Kosuke Toriumi, he is married to fellow voice actress Maaya Sakamoto. 1994Macross 7 – Morley1996Mizuiro Jidai – Shibasaki-kun1997Revolutionary Girl Utena – Schoolboy1998His and Her Circumstances – Cousin B Nazca – Kyoji Miura/Bilka Bakusō Kyōdai Let's & Go!!
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Gray-man – Lavi Tokko – Ranmaru Shindou Looking Up At The Half-Moon – Yuichi Ezaki2007Hero Tales – Taitō Saint Beast: Kouin Jojishi Tenshi Tan – Fuge no Maya Zombie-Loan – Chika Akatsuki Bokurano – Hatagai Major – Hayato Yaginuma Wangan Midnight – Keiichiro Aizawa2008Amatsuki – Ginshu Sgt. Frog – TV Soul Eater – Kilik Lunge Birdy the Mighty: Decode – Satyajit Shyamalan Bus Gamer – Toki Mishiba2009Slap Up Party: Arad Senki – Kapenshisu Umineko no Naku Koro ni – George Ushiromiya The Beast Player Erin – Ial Fresh Pretty Cure – Soular2010Iron Man – Sho Maid Sama! – Tora Igarashi Star Driver – Tsukihiko Bou/Stick Star Naruto Shippūden – Choumei, Utakata Battle Spirits: Brave – The Darkness Zazie2011A Dark Rabbit Has Seven Lives – Hasga Entolio Uta no Prince-sama Maji LOVE 1000%, Masato Hijirikawa - ST★RISH Heaven's Memo Pad – Renji Hirasaka Tamayura - Hitotose – Sakaya Maji de Watashi ni Koi Shinasai!! – Takuya Morooka Dream Eater Merry – Ryōta Iijima You're Being Summoned, Azazel – Himoi2012Aquarion Evol – Cayenne Suzushiro Accel World – Ash Roller Ixion Saga DT – Gustave Kuroko's Basketball – Atsushi Murasakibara Koi to Senkyo to Chocolate – Yakumo Mōri Code:Breaker – Toki/Code:04 Sakamichi no Apollon – Muroi Shirokuma Café – Businessman Zetman – Hayami Daily Lives of High School Boys – Yoshitake Muv-Luv Alternative: Total Eclipse – Lord Natsuiro Kiseki – Kasai-sensei Fairy Tail – Rogue Cheney Magi: The Labyrinth of Magic – Kōbun Ka2013Uta no Prince-sama Maji LOVE 2000%, Masato Hijirikawa - ST★RISH Star Blazers 2199 – Daisuke Shima Ore no Kanojo to Osananajimi ga Shuraba Sugiru – Takuya Sakagami Gaist Crusher – Cypher Kyousogiga – Myōe Coppelion – Haruto Kurosawa Senyu – Foifoi Bakumatsu Gijinden Roman – Magoichi Suzuki Brothers Conflict – Tsubaki Asahina Magi: The Kingdom of Magic – Kōbun Ka2014Wake Up, Girls!
– Tasuku Hayasaka Gundam Build Fighters Try – Wilfrid Kijima Captain Earth – Amara Soul Eater Not! – Kilik Lunge I Can't Understand What My Husband Is Saying – Hajime Tsunashi Laughing Under the Clouds – Abe no Hirari Free! Eternal Summer – Momotarou Mikoshiba Magical Warfare – Kazumi Ida Pokemon XY: Mega Evolution – Daigo Tsuwabuki/Steven Stone "Fairy Tail: 2014" – Rogue Cheney, Future Rogue Cheney2015Uta no Prince-sama Maji LOVE Revolutions, Masato Hijirikawa - ST★RISH Seraph of the End – Crowley Eusford Seraph of the End: Battle in Nagoya – Crowley Eusford Gintama° – Okita Sougo Kuroko's Basketball Season 3 – Atsushi Murasakibara I Can't Understand What My Husband Is Saying Season 2 – Hajime Tsunashi Rokka: Braves of the Six Flowers – Hans Humpty Prison School – Shingo Wakamoto Mr. Osomatsu – Iyami Concrete Revolutio: Chōjin Gensō - Raito Shiba Diamond No Ace - Matsuhara Nao2016Schwarzesmarken - Theodor Eberbach Ajin: Demi-Human — Sokabe Mysterious Joker 3rd Season - Fake Joker (Ep