/ic/ - Artwork/Critique

>>6643785
>USA's culture of individualism demands a culture that values strength, resilience, and masculinity.
This might possibly explain why early US localizations were all focused on how 'cool and adult' manga was compared to the US's comics industry. Adult both in content, but also aesthetic.
For example, MANGA, which might be the first deliberately collected publishing of manga for the Anglosphere, has authors like Hiroshi Hirata who is one of the most extreme and cynical mangaka I've ever stumbled across. But no Tezuka, Ishinomori, Matsumoto, etc.
Similarly are early publications like Concerned Theater Japan, that focused on alt-manga and what was coming out of the underground in Japan at the time. Series like Akame or The Stopclock.
Later you have really early localizations of series by companies like Eclipse for series like Appleseed, or Kamui, but little to nothing from Kurumada or Toriyama.
If anything you could say they have the opposite problem to manga publishing today in that they avoided popular series and focused entirely on digging up whatever was 'different'.

Early OVAs and anime that were localized follow similar patterns early on.
It wasn't until the 90s that you saw a widening of the styles. But by that time in the US the focus had shifted to grabbing modern shojo and shonen. Dragon Ball and Sailor Moon and Pokemon over Galaxy Express 999.