For the use of people who want to take a look into the recent history of manga, either as a whole or for one specific series via a text search. I put these lists together to enable myself to be rid of the way I used to hunt down manga sales, since looking up light novel sales data using those pages took maybe a tenth the time.
These aren’t my data; it’s all via the myanimelist news team, which has been consistently tracking the number since late 2008.
Also, an obligatory warning: as with LNs, it always pays to double check figures and be aware of surrounding circumstances; no sales figures truly happen in a vacuum. The most obvious examples are stuff like a series coming out in the last day of a tracking week and splitting sales that otherwise would have charted into 2 smaller, “invisible” chunks. Manga chart thresholds are high enough that a series can perform perfectly fine and not chart for years.
2008: https://animetics.net/2014/02/15/weekly-manga-sales-charts-for-2008-september-december/
2009: https://animetics.net/2014/02/15/weekly-manga-sales-charts-for-2009/
2010: https://animetics.net/2014/02/15/weekly-manga-sales-charts-for-2010/
2011: https://animetics.net/2014/02/15/weekly-manga-sales-charts-for-2011/
2012: https://animetics.net/2014/02/15/weekly-manga-sales-charts-for-2012/
2013: https://animetics.net/2014/02/15/weekly-manga-sales-charts-for-2013/
2014: https://animetics.net/2014/05/14/weekly-manga-sales-charts-for-2014/
2015: https://animetics.net/2015/05/07/weekly-manga-sales-charts-for-2015/
2016: https://animetics.net/2017/01/07/weekly-manga-sales-charts-for-2016/
Animetics 
I came across this wonderful and candid translated discussion between Kentaro Takekuma, a veteran manga editor and author, and Ken Akamatsu of Love Hina/Negima fame. The five part-er went in depth about the business and history of manga, which I thought fit right in with Animetics. Definitely worth a read:
http://2chan.us/wordpress/2011/04/18/discussion-translation-kentaro-takekuma-x-ken-akamatsu-part-2
Sorry I haven’t replied to this sooner. I’ve been busy with work and then Ohayocon and hadn’t had a chance to start reading it until tonight. It’s super-duper interesting and I love it – this is a Lincoln-Douglas tier jaw session. Obviously interesting stuff about their worries on the digital transition, but also very candid stuff from Akamatsu on how he personally feels about drawing and especially about the counterproductive nature of having too much fun (the “entertainment fee” stuff in part 4).
And a couple of other thoughts:
-A typical range of artist page rates? Score! One could definitely use them to put limits on how valuable different artists could be and develop some idea of value to their mag/company. I have always, always wanted to ape Bill Simmons’ trade value column, and now I might actually to be able to with that.
-I should really check in on how J-comi is doing in terms of selection and whatnot. It’d be nice to not have to hunt for Kei Toume’s old OoPs, though idk if he’s included in it.
-20,000 copies (old) and 5000 copies (new) as Shogakan’s red line for how few copies of a series they’d be willing to print for a new author.
-Japan’s rights situation always strikes me as creator-centered to a bit of a fault. Needing to individually contact the author whenever a pirate is arrested seems extremely tedious and counterproductive to effectively policing stuff. Least it’s better than what doujin creators have to deal with (being functionally powerless).
-Takekuma’s story about Shogakukan, Monkey Manga 2.0 and the 10 years of no publication (then how they reprinted after he talked about going to other publishers) was hilarious.
-Neat point about how magazines need inexperienced artists to train editors – can’t correct someone who’s selling 100k because any “fix” might kill their bottom line. I don’t agree that magazine isn’t developing new artists, though their biggest hits are getting longer.
-The stuff about mangaka changing their own editors and “crushing rookies” is neat because I’m semi-convinced that played a factor in why Arakawa and Ohtaka cut bait with Square Enix. I suspect if mangaka had a union that’s definitely something that would be a sticking point in CBA negotiations. I would also imagine that the Third Aerial Girls Squad author from Shirobako might leave the publisher once that series is done.
-Takekuma’s stuff about Takao Saito, and one-tool artists with elite skills in one area but not “complete package” guys who were too proud to collaborate in part 5. That whole bit is super-neat, and they make a point of contrasting that with the American style where single titles can have larger art staffs. Akamatsu makes the counterpoint earlier, about how having a large group increases costs and deprives manga of its ability to fail, a core strength of the medium.
-Takekuma on 2channel is totally believable and it’s also neat to think him being behind posts there.
-“You could also release titles by famous authors on an advertising model, then add a newcomer’s manga on at the end of the volume. That way, there’s the possibility that a reader will continue to read the newcomer’s manga after the big-name title.” (Akamatsu from part 3) This sounds like a legitimately great idea, best thing in the piece. Everybody who publishes volumes should try this (I know sci-fi publishers and SW:EU did this a lot in the nineties, too).
When will you post the weekly manga sales charts for 2016?
I guess I should since people look at it, but the main motivation in compiling them in the first place is my own data-based writing. I haven’t done any of that in quite some time. Been busy, and also lost a lot of faith this year about the ability of information/science/etc. to influence people’s opinions in any meaningful way.
Still might piece em together once the final Oricon rankings pop out in two weeks or so, since it’s never been hard to do.
Don’t stop your amazing work ☺!!