Could manga serialization magazines like Shonen Jump work here in the US?

Oh, yeah, DHP was very successful. According to comics.org, DHP ran from July 1986 to Septeraber 2000 for 162 issues -- definitely not something that burned out. There are also 3 "Best Of" compilation volumes, the first two of which are worth their weight in gold and the third of which ain't bad either. The first "Best of" volume was the first thing I bought from DH after picking up Aliens vs. Predator, and I've been a fan of the company ever since.

I don't know the exact reasons why the title was started or why it was cancelled. I'm going to guess that they started doing the title as both a try-out book for new talent and because they couldn't afford to push into the direct market with a new comic book the way DC and Marvel could whenever they wanted to introduce something. Most of the DC and Marvel anthology books were try-out books, too (a purpose that's largely served now by the Johnny DC and Marvel Adventures lines, it seems). When they finally canceled the comic, I think it was probably because of a corabination of changes in their business model, including (but not limited to) being able to afford new talent on full comic books instead of 8-page anthology stories, raiding smaller companies (or Image) for talent, the ability to look at published work from the webcomics contingent (a non-trivial chunk of DH's current catalog), and probably declining sales because DHP wasn't offering anything that other smaller presses and DH itself wasn't already offering in larger chunks.

As has been mentioned in the past, anthology comics have been a tough sell in the direct market for some time, but more because the good-stuff-to-crap ratio was generally very low rather than to any inherent hostility to anthologies. DHP was very much the exception that proved the rule -- DC's Showcase, Marvel Comics Presents/Marvel Fanfare, and even a later DH anthology (Dark Horse Comics, I think) all fared far worse in the market.

EDIT: I take part of that last bit back on thinking about it, because Marvel Comics Presents did very well in the market and ran for quite some time. It just sucked a lot more than it was cool and was part of the reason why a generation of comic fans associate anthologies with inferior product.
 
I will love to see a OEL Manga Magazine in the U.S, it can work, but it will also will be hard since I'm seeing a lot of manga readers don't like OEL mangas. Most of the Manga reader tells me "If it didn't came out in japan, I won't read it".

Sad though, there's some good OEL mangas. Like "rabQ". I love that manga.
 
I think the problem with a Marvel or DC Jump that collected the core titles necessary to following the goings-on in the respective mainstream superhero universes is that the readers would only go for it if it were significantly cheaper than collecting the individual issues, and there's no real incentive for Marvel or DC to do that. And if it weren't any cheaper, readers would balk at being "forced" to buy the comics they don't want in order to get the comics they do. It would be a lose/lose.

I think Ed Liu has a good point about American comics being a slightly different proposition from manga in that the emphasis is on the single issue as the collector's item, whereas in Japan the single issue (as collected in an anthology like Shonen Jump) is considered disposable; if you want to collect the series, you wait for the tank (the rough equivalent to what we in the U.S. call trade paperbacks).

And I think that the appeal of collecting the tanks is enhanced by the fact that in most cases, you have the prospect of eventually having the complete series to display on your bookshelf, because no matter how long-running a manga might be, it WILL eventually end when the creator's interest and/or lifespan run out. Whereas mainstream American superhero comics are not tied to their creators, but designed as perpetually ongoing series that seldom really definitively "end" but are only ever "canceled."

So you've got a situation where in both the U.S. and Japan the creative, storytelling side of comics has grown up around the business model and vice versa, to the point where they've become difficult to extricate from one another. In Japan, you buy the anthology if you just want to read some comics on your train ride to work or school, and if you find something in there that you really like and want to collect, then you buy the tanks. In the U.S., you buy single issues both to read and maintain for your collection, and the TPBs are there to help you catch up on anything you might have missed.

The other issue is that a DC Jump or a Marvel Jump would be an anthology of, ultimately, very similar titles. Part of the fun of an anthology is that it's a grab bag: you might buy it for one or two flagship titles, but once you've got it in your hanRAB, it lets you check out lots of different stuff that you might not have done otherwise.

There are definitely American titles that I think would be a better fit for an SJ-style anthology than the mainstream superhero stuff; self-contained, creator-driven stuff like Sandman, Bone, Fables, Hard Time, Y: The Last Man, Ex Machina, etc. I'm sure there are many more (including more current ones than, say, Sandman) that I just don't know about because I'm not as in touch with the American comic scene as I used to be. I'd love to see stuff like that collected in a weekly or monthly anthology that I could pick up now and again to check out what's new and what I might want to consider collecting when the TPB comes out.
 
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