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Manga (in kanji 漫画; hiraganoi まんが; katakana マンガ) is the japanese word for printed animated films and comics (komikku コミック).[%-1-2] manga is very popular in the land of the rising sun[3-4][5], and in recent two decades has become popular in the world. In the united states, manga sales exceeded $200 million in 2008 and have been growing steadily since 2002. Manga has changed the face of the comics industry in america: in fact, 50 percent (46%) of us sales of graphic novels are manga.[7]
Manga is usually drawn in black and white. And cover topics ranging from adventure, romance and horror to sports, science fiction and explicit sexuality.[2][8][9][10] readers include people of all ages, from teenagers to young ladies and boys, adult men and women, and drawing styles vary widely, from intricate and complex page layouts to simple line drawings. In japan, manga is usually published first in magazines and then in paperbacks called tankōbon, and if they are popular enough, they are animated.[11]
Artists outside of japan have adopted many manga techniques .[12][13] manga-influenced comics include not only the work of american artists,[14] but also korean manhwa[15] and chinese manhua[16][17], and "new manga" by frédéric boilet and concrete collaborators .[18] since may 2007, the ministry of foreign affairs of japan has been celebrating excellence in non-japanese manga with an annual international manga award.[19]
1 definitions of manga genres in the land of the rising sun and the united states 2 times and innovations, continuity and change3 contemporary manga 3.1 shojo manga3.2 shojo manga and female porn stories from 1975 to the present3.3 stylistic evolution of female and female manga3.4 shounen , seinen and seijin manga3.5 gekiga3.6 yaoi
4.1 female warriors
Definitions of manga genres in the land of the rising sun and the usa
In japan, manga is classified in such a way that its cultural and marketing value and value are not fundamentally unchanged after a trans-pacific voyage. First of all, in japan, manga is classified by the ca or demographic of the magazine where the manga originally appeared. These demographics include shonen, shojo, seinen, and similar manga magazines targeted at boys, girls, young women, and men of another generation. However, for non-japanese not familiar with japanese manga magazines and reading manga in translated graphic novel format, the japanese system is of little use.
This one has not escaped the attention of publishers. Manga marketing to an english-speaking audience such as the us. The major manga publisher viz media[22] ignores, and even denies, the japanese criteria for shojo manga when they define the genre as "shojo (sho'jo) no. 1. Manga that appeals to female and male readers alike. 2. Exciting stories with realistic characters and the thrill of exotic locations. 3. The connection of the soul and mind through real human relationships. Appropriate definition" printed on the back cover of the entire viz shōjo manga is clearly motivated by the manga's marketing decisions made for an english-speaking audience, rather than a commitment to preserving the original japanese meanings. In this kind of marketing transnationalism (see below), meanings are adapted to urban settings.
Similarly, american librarians and reviewers who will classify manga for american readers often label manga in a rudimentary way: by its content . , Not due to log origin. Action-adventure with male characters, farcical humor, themes of honor and sometimes explicit sexuality is called a shonen manga written and read for future men and men. On the contrary, tearful melodramas dedicated to the work and love of high school girls, but also the adventures of young ladies and girls, are most often called shojo manga. Another us classification system is based on the age of the target audience: boys under the age of eighteen (shounen manga) and students from eighteen to 30 years old (seinen manga). In the land of the rising sun, seinen manga is sold to many young boys for whom the kanji 青年 means "young man", roughly "guy"), while seijin manga is sold to adult males (from the kanji 成人, meaning "adult"). And are often overtly sexual in nature.[25][26] readers in america are more likely to call such explicitly sexual manga manga hentai (変態 or へんたい).[27] but despite such terminological subtleties, and although they differ in many ways, shonen, seinen, seijin, and shojo manga have much in common with each other and with the previous history of japanese art.
tradition and innovation, continuity and change
Aren't manga just copies and imitations of american comics? It's easy - the answer is "no". However, isn't manga a new invention? The answer is more complicated: positive and negative sides, as people will explain next.
Manga after world war ii is certainly modern in design, production and popularization in japan and in translation, all over the world. World.[28][29] but even in this situation, the very word "manga" dates back to the end of the 18th century[30] and was used by the great japanese artist of the 18th and 19th centuries, katsushika hokusai, for some of his drawings and sketches.[31] thus, the history of manga combines its power to take advantage of scientific advances rooted in the long history of japanese cultural and aesthetic traditions.
We start with the present. Japanese and non-japanese scholars have been interested in trans-pacific transnationalism between japan and america. For takayumi tatsumi, transnationalism (or globalization) refers to the flow of cultural and subcultural material from one nation to another and how artistic, aesthetic and intellectual traditions influence one another across national boundaries. An example of cultural transnationalism is the use of star wars films in the us, their transformation into manga by japanese artists, and the marketing of star wars manga in the us. Another example is the transfer of us hip-hop culture to japan.[34] wong also sees a significant role for transnationalism in the recent history of manga. And urban). In the years after the war, schodt sees a particularly pivotal situation in kamishibai, a form of street theater where itinerant artists showcased films in a light box while telling a story to an audience on the street. Kinko ito is coming into pre-war manga art, but credits her story in part to the post-world war ii consumer enthusiasm for her rich imagery and storytelling. She describes how this tradition has steadily spawned new genres and markets, for example for manga for girls (shōjo) in the late 1960s and for women's stories in the 1980s (in japanese, also called radisu レディース, redikomi レ ヂ ィ ー コ ミ and josei 女 性 じ ょ せ い manga; see below).[36]
These historical processes are not new. From 1862 to 1887, the british charles wirgman published the japanese edition of punch magazine, whose humorous cartoons (ponchi-e) were widely admired and imitated until the very beginning of the bygone century, when rakuten kitazawa edited the illustrated humorous and satirical magazine tokyo puck. Katayori mitsugu, a manga pioneer and scholar born in 1921, remembers how the word "manga" changed throughoutthroughoutoverover duringduringduringduringduringduringduringduringduringduringduringduringduring throughoutduringduringduringduringduringduringduringduringduringduringduring decades, first referring to the work of hokusai, then to the ponchi-e cartoons, and only as a result, to the current manga. Similarly, richard torrance sees similarities between modern manga and the popular novel in osaka between the 1890s and 1940s, and argues that the development of widespread literacy in meiji and post-meiji japan helped create an audience for stories told in words and pictures. / >These roots go deeper than the end of the 19th century. Adam kern has suggested that kibyoshi, the picture books of the late 1700s, may have been the first comics in the world. These graphic narratives, containing images, dialogue, and text, share humorous, satirical, and romantic themes with quality manga. Although kern does not believe that kibyoshi were a direct precursor to manga, for kern the existence of kibyoshi nevertheless indicates the willingness of the japanese to mix words and patterns in a popular storytelling medium. The first recorded use of the term "manga" to mean "bizarre or improvised pictures" comes from the kibyoshi tradition in 1798, which is now commercially available a couple of decades before the better-known usage of katsushika hokusai. Schodt emphasizes the continuity of aesthetic style and vision between ukiyo-e and shunga prints from the edo period and current manga [2] (all 3 meet will eisner's criteria for consistent art). [42] schodt points to the existence in the 1200s of illustrated picture scrolls, such as the toba-e scrolls, which told stories in sequential pictures with humor and wit. Brigitte koyama-richard analyzed these historical connections in detail with many illustrations. Ahead of the us occupation of japan.In the opinion provided, japanese art aimed at the final image or "pictocentrism" is further derived from japan's long history of interaction with chinese graphic art. On the other hand, word-centric or "logocentric" art, like the novel, was stimulated by the social and economic needs of the meiji and pre-war japanese nationalism in a population united by a common written language. Both merge in what inoue considers a symbiosis in the manga. Occupied japan or from walt disney and other us comic book masters. Instead, the history of manga includes continuity and breaks between japan's aesthetic and cultural past as it interacted with meiji innovation and transnationalism, after the meiji and then world war ii.
Modern manga
Modern manga sets in during the years of the occupation (1945-1952) and then the occupation (1952-early 1960s), when the formerly militaristic and ultra-nationalist japan was rebuilding its political and economic infrastructure. Although america's occupation policy of censorship explicitly prohibited art and literature that glorified war and japanese militarism,[2] this system of operation did not prevent the publication of other forms of material, including manga. In addition, the japanese constitution of 1947 (article 21) prohibited all forms of censorship.[45] one result has been an explosion of artistic creation at the present time. These are mighty atom osamu tezuka (astro boy usa; started in 1951) and sazae-san machiko hasegawa (started in 1946). .[46] tezuka never explained why astroboy had such a highly developed social consciousness, or what kind of robot programming could make him so deeply affiliative. Both seem innate to the astro boy and represent japanese sociality and community-oriented masculinity, very different from the emperor-worship and militaristic obedience imposed in the previous period of japanese imperialism. Astro boy quickly became (and remains) the most popular in japan and similar countries as a symbol and hero of an ideal peace in the world and the end of the war, which is also reflected in the article. 9 of the japanese constitution. Similar questions are encountered in the current security requirements of the light and the tezuka metropolis. A young artist who made her heroine a substitute for millions of japanese men and especially the beautiful half of humanity, left homeless due to the war. Sazae-san has a difficult and difficult life, but like astro boy, she is outrageously sociable and closely connected with personal immediate and distant relatives. The playground is also a very strong character, in stark contrast to the officially sanctioned neo-confucian principles of female meekness and obedience to "good wife, wise mother" (ryōsai kenbo, りょうさいけんぼ; 良妻賢母) taught by previous military men. Mode.[47][48][49] sazae-san faces the universe with a buoyant stamina[8][50], which hayao kawai calls "a hardy woman".[51] in a given half century, sazae-san sold more than 62 million copies.[52]While tezuka and hasegawa drew heavily on japanese illustration and animation traditions, they were stylistic innovators, among other things. Namely, tezuka's "cinematic" technique is very famous. Natsu onoda [53] suggests that tezuka used cinematic techniques regularly and thoroughly, including quotes from screenplays such as orson welles' citizen kane and william wyler's best years of our lives; the use of an imaginary camera to frame shots (or rather, panels to create motion and to simulate the effects of cinematography with intriguing focus[54]; and in the use of "a star system in which certain manga characters appear in all roles in various stories. At least thanks to our techniques, skillful using existing techniques or both, tezuka's work has a cinematic dynamism that is widely found in later manga.Hasegawa's attention to the everyday existence and experience of women also became a feature of later shoujo manga.In its intense storytelling, focusing on everyday feelings, and experience, women's lives were portrayed as a dramatic equality with the adventures of male heroes who killed opponents and founded empires began in japan with the strengthening of two main marketing genres: boy-oriented shonen manga and boy-oriented shojo manga. Girls. Until almost 1969, shojo manga was only drawn by grown men for young female readers. -1956 ribon no kishi (princess knight or ribbon knight) and matsuteru yokoyama's 1966 mahōtsukai sarii (little witch sally).Ribon no kishi follows the adventures of princess sapphire, who was born into a fantasy kingdom with a male and female soul and whose battles and sword-swinging romances blurred the lines of rigid gender roles. Sarii, the pre-adolescent heroine princess of mahōtsukai sarii[62][63] came from her home in the magical lands to live in the world, go to school, and do various magical good deeds for her personal family and classmates.[ 62][63] 64] although some american writers believe yokoyama sarii's mahotsukai has been influenced by the american television sitcom bewitched to date, sari is a very different character from samantha, the protagonist of bewitched. Samantha is a married woman with her own daughter, but sari is a teenager who faces the challenges of growing up and coping with the responsibilities of the upcoming adult life. Sarii's mahotsukai helped create the now also popular shoujo maho or magical girl subgenre of later manga. Both series were and still are in great demand. The group 24 (also known as the magnificent 24s) debuted in shōjo manga (the year 24 is a derivative of the japanese name of 1949, the birth of a substantial number of these artists). The public included hagio moto, riyoko ikeda, yumiko oshima, keiko takemiya, and ryoko yamagishi[8], and the consultants marked the first major appearance of female artists in manga.[2][8] later, shōjo manga would be drawn primarily by female artists for an audience of girls and young girls. No bara (the rose of versailles), the story of oscar françois de jarjayes, a cross-dressing woman who was captain of marie antoinette's palace guards in pre-revolutionary france. Finally, oscar dies as a revolutionary leading her troops to attack the bastille. Also hagio moto's work challenged neo-confucian restrictions on the roles and work of women [47] [48] [49], as in her 1975 fictional story "toys made eleven" about a young female cadet at a future space academy. ]
These artists also created significant stylistic innovations. Focusing on the room-to-room experiences and feelings of the heroine, shojo manga are "picture poems" [71] with a narrow and complex design that often completely minimizes panel borders to accommodate a long, non-narrative continuation of time. 59 [60] [72] all these innovations - winning and independent female characters, strong emotionality and a modern look - remain characteristic of shōjo manga to this day. Comics from 1975 to today
In the following decades (from 1975 to the new millennium), shojo manga continued to evolve stylistically while developing dissimilar yet overlapping subgenres. Major sub-genres include romance, superheroes, and ladies' comics, whose boundaries are sometimes indistinguishable from each other and from shounen manga. Is a paramount theme in emotionally rich self-actualization narratives.[75] japanese manga/anime critic eri izawa defines romance as symbolic of “emotional, grandiose, epic; a taste of heroism, fantastic travel, and melancholy; passionate love, personal confrontation and eternal striving”, enclosed in a figurative, individualistic and temperamental framework of the narrative. These novels are sometimes long narratives that are able to deal with distinguishing between false and true love, overcoming sexual intercourse, and growing up in a fascinating world, themes inherited by subsequent animated versions of the story. Similar themes of "coming of age" or bildungsroman[78] are found in both shoujo and shonen manga[79]
In bildungsroman, the main character has to deal with adversity and conflict[78] and examples of romantic conflicts in shojo manga are common. Among these are miwa ueda's peach girl[80], fuyumi soryo's mars mars[81] and for mature readers, moyoko anno's lucky mania[82], yayoi ogawa's tramps as representatives of humanity[83] and "nana" ai yazawa[84]. ]
In another narrative device of the shojo manga bildungsroman, the young heroine is transported to a foreign space or time, where the playground meets strangers and must survive on its own. Examples include "toys made eleven" by hagio moto[70], "from far away" by kyoko hikawa[85], "fushigi yugi: mystery play" by yu watase[86] and the world develops for me" by chiho saito[87]
Another given device publishes parties with unusual or strange human beings and creatures, such as natsuki takaya's fruit basket[88], whose orphaned heroine tohru must survive in a forest in a house full of people who are able to pretend in animals. Chinese zodiac.In harako iida's crescent moon, the character mahiru encounters a group of supernatural beings, and finally discovers that she, too, has a supernatural origin when she and a young tengu demon fall in love.[89]
Sugar sugar rune by moyoco anno[90] is a good example of an elegantly drawn shoujo manga that combines some of these techniques. It tells about the current two best friends, both teenage girls, the heroine chocolate [sic] and her best friend vanilla, who become rival candidates for the title of queen of the magic realm, where vanilla's mother can now be called the queen of the chinese auto industry. The girls must go on the ground and into the dark realms, where each of them must fight demons, ogres, giant spiders and other monsters, while chocolate falls in love with pierre (prince of the dark realms), tries to find his mother and father. Tries to remain excellent companions with his rival vanilla and determine if pierre is really her brother (this is a misconception). Throughout the process, both girls must learn to be independent, courageous, and true to themselves and those they adore. Loyalty to others and family. These are not stories of isolated, alienated interesting girls or girls living in depression and anomie, nor are they stories of dreamy happy endings marrying prince charming. They depict beautiful ladies and young ladies as active arbiters of their destinies, and not as pawns of state power or potency.
With superheroines, shojo manga is more detached from the neo-confucian norms of female meekness. And obedience.[25][60] naoko takeuchi's sailor moon (bishōjo senshi sēramūn: "pretty soldier sailor moon") [91] is a lengthy 18-volume narrative about a group of young heroines who are both heroic and introspective, acting and emotional, obedient and modern. 93] the combination turned out to be extremely normal and sailor moon became worldwide popular in both manga and anime formats. Another example is the magic knight rayearth from clamp, whose three young heroines, hikaru, umi, and fuu, are magically transported into the abyss of the cephiro to be armed magical warriors on the job of rescuing the cephiro from internal and external enemies. They are also active, independent, porn tubes - sexfanstube.com - and correct to each other and to those they love. Working together[96] they might be sailor senshi in sailor moon, magic knights in magic knight rayearth, and mew mew girls from tokyo mew mew mii ikumi.[97] today, the superheroine story template is widely used (and often parodied) in the shojo manga tradition, such as nao yazawa's wedding peach[98] and tamayo akiyama's hyperrune[99], as well as in bishōjo comedies such as " galactic angel by kanan [99]. 100]
In the mid-1980s and later, as girls who read shōjo manga at a young age matured and stepped into the labor market, shōjo manga developed from twenty bucks to 30 years old.[74] these "women's comics" or sub-genres of radish-josei dealt with topics of youthful daily life: work, feelings and problems of sexual intercourse, as well as friendship or love between women.
The redisu manga retains many of the narrative style of shoujo manga, but was drawn and written for adult women.[105] manga and redisu art have often, but not always, been overtly sexual, but sexuality is usually presented in complex narratives of new acquisition and erotic arousal rolled into emotional risk. Examples include ryo ramiya's luminous girls[106], masako watanabe's kinpeibai[107] and sungiku uchida's efforts[108][109]. Another subgenre of shojo-radish manga deals with emotional and sexual relationships between women (akogare and yuri) [110] in the works of erika sakurazawa [111], ebine yamaji [112], and chiho saito [113][114][]. 115]
Other sub-genres of shōjo-radish manga have also developed, such as trendy (oshare) manga such as ai yazawa's heavenly kiss[116], and horror and gothic vampire manga, such as the manga by matsuri hino. The vampire knight[117] the saga of kaori kaori yuki[118] and the doll of mitsukazu mihara[119] interact in complex ways with street fashion, cosplay (“cosplay”), j-pop music and goth subcultures[120]. ][121][122]
By the beginning of the new century, manga for women and girls, for example, represented a wide range of materials from teenagers to women's parents. Everywhere, women are characteristically depicted as resisting and overcoming obstacles, thereby creating an independent life for themselves, not subject to any state rule over them, not subject to any man.Shojo manga also does not condemn women to everyday life or the enthusiasm for suicide, as in the tragedies of chikamatsu. Instead, the heroines of shojo manga put in a lot of effort to follow constant paths and desires. The great strength of shoujo manga is not that the heroine eventually succeeds, but that the reader sees how, year after year, technology has made it possible for her to become the independent person she wants to be.
The stylistic evolution of female and female manga
A comprehensive history of the stylistic evolution of shojo and related manga is probably not written in english. However, there are obvious tendencies of their own, which, as in all aspects of manga history, combine times and new technologies.
One trend concerns the fluidity and dissolution of panel boundaries. Like ribon no kishi[61] and mahōtsukai sarii[62], consisted of an everyday series of rectangular resources with well-defined boundaries, a style familiar to american readers from newspaper comics and comics[72]. The great american comics artist frank miller is quoted as saying that "an easy way to flip through comics is horizontally"[124], commenting on his 1998 individual comic 300.[125] for christopher murray, when the viewer reads horizontal panels with well-defined borders, he or he then perceives the fragmented narrative emerging from the fragmented set of individual images as if reflected in a broken mirror. Gaps between panels, called "gutterings", act as boundaries interpolated between narrative moments. For scott mccloud, the viewer's thought processes are filled with movement between panels, a mechanism he calls "closing" to mimic the continuity of time and work. For murray, it is necessary from this that "comics, you can tell, stitch together the illusion of continuous reality or narrative sequence, simultaneously bringing panels together and separating them." Mentally connects the panels together, these panels do not embody and are unable to display a continuous reality. Separated by clear boundaries, and those boundaries that clearly existed were often non-rectangular. Since there are no boundaries, only the same character will allow himself to appear more than once in a single and his image, thus creating the feeling not that the character was duplicated, but that he remains all sorts of diets, and the same regardless because, in which the building material is located. Time is not scattered into separate frames, but becomes continuous, and the psychological unity and continuity of apparent movement are created not by a regular change of film images projected onto a rectangular canvas or screen, but by showing both sides of a single character, as far as it is. Stops thinking, feeling, or interacting with their world. She remains the same person, because no boundaries and difficulties separate the skin from the past and future.
Another evolution was the extensive use of decorative motifs in comics. They include flowers, feathers, stars, sequins and swirls, brought together by multiple files on a single material, helping them to merge into a cohesive visual and psychological statement. Just as the figure of the heroine is superimposed on the smallest drawings that carry the story,[73] respectively making her the common denominator and focus of the smaller ornaments and therefore centering the story on her.
Supplement. This emphasis on the heroine, shōjo manga also often uses a rapid alternation of viewpoints between the heroine and the male, sometimes around one image lacking panel borders. Although the alternation of points of view occurs in other genres of manga and is ultimately a cinematic device, this can be especially pronounced in shojo manga, a situation analyzed by manga critic setsu shigematsu.[132]
1. First, we meet the heroine looking at us from the page. We know that in this story he also sees her, just as people see her, which is why we identify with the smoker, because we share with whom the transport that he sees (= her). Everyone started him as a surrogate and his gaze settled on her.1. Then we see it. He also looks from the site, they are aware here, and she sees him in the story. Now our identity switches to her, since we share with her saying that the page sees (= he). Thus we become a surrogate for her with her of her gaze resting here.This technique places the viewer in an imaginary world of the heroine and the males, where our identities with his secrets and with her quickly waver from them. [133] or she gains the ability to look at another woman—for example, in the shojo manga sugar sugar rune, when, after many adventures, the two heroines are reunited in the final volume.But no matter who looks at whom, the result is only the same: a startlingly increased sense of psychological and emotional reality shared between the main characters and the viewer.
Shoujo manga uses many techniques. For depictions of girls and women and for bringing the viewer closer to a close, sometimes quite intimate understanding of the heroine. Although these techniques are used in tapes, in other manga and have precedents in old japanese art, they have also been widely developed in the history of girl manga and girls.
Shounen, seinen and seijin manga
+>Boys and young men were the first to read manga after world war ii.[135] beginning in the 1950s, shonen manga focused on topics that were said to be of interest to the archetypal boy: science and technology topics such as robots and star treks and heroic action adventures.[136] shounen and seinen manga narratives often depict challenges to the abilities, skills, and maturity of the central character, emphasizing self-improvement, strict self-discipline, sacrifice for duty, and honorable service to the community, community, family, and friends. .[135][137]
Manga with single costumed superheroes like superman, batman and spider-man didn't catch on as a shōnen genre.[135] kia asamiya's batman: dreamchild, released in the us by dc comics and in the land of the rising sun by kodansha, is rightfully considered a special case. However, lone heroes are found in takao saito's golgo 13[139] as well as koika and kojima's lone wolf and cub[140]. Golgo 13 is about a killer who uses his efforts to keep world peace and other social causes, while ogami itto, the swordsman hero of lone wolf and cub, is a widower who looks after his own son, daigoro, while he seeks revenge on his wife. The killers. However, golgo and itto remain human, and none of the heroes ever show superpowers. Instead, these stories "travel into the hearts and minds of people" in the realm of human psychology and motivation. Early examples of the robot subgenre included tezuka's astro boy and fujiko f. Fujio's 1969 doraemon about a robot cat and the boy he lives with. The robot theme has evolved widely, from mitsuteru yokoyama's 1956 gigantor to complex robots and mechs in stories like gundam. Schodt shows a 1943 japanese propaganda drawing of a robot stomping on an enemy city. The theme of combat robots often appears in post-war manga such as neon genesis evangelion and during live-action films such as casshern. Such stories about robots and mechs can be very, very complex, because the main character must not only defeat enemies, but also learn to control himself and cooperate with the mech controlled by him. Part of the tragedy of neon genesis evangelion is that shinji fights—and fails—against the enemy, against his fur, and against his hatred of his father.[145] these narratives are not stupid technology, but explore, sometimes deeply, the psychology of human-robot interaction.
Sports themes are also in demand in manga for male readers.[135] such stories emphasize self-discipline, depicting not only the excitement of sporting events, but also the character traits necessary for the hero to overcome his feet and win. Examples include boxing, such as tetsuya chiba's tomorrow's joe from 1968–1973[146] and rumiko takahashi's 1987 one-pound gospel[147], and basketball, such as takehiko inoue's 1990 slam dunk[148][149], among others.
Supernatural environments have been another source of adventure comics in shonen and a number of shojo manga, through which the hero has to overcome difficulties. Sometimes the main character fails, as in tsugumi ōba and takeshi obata's death note, where the main character light yagami receives a notebook from the god of death (shinigami) who kills anyone whose name is on it[150], and in the shojo manga example , "demon ororon" hakase mizuki, whose main character gives up his demonic reign in hell to exist and die in the world. Sometimes the main character is himself a supernatural, as in kohta hirano's hellsing, whose vampire hero alucard fights reborn nazis hell-bent on conquering england,[152] but the hero can also serve (or was) a human battling an ever-growing series of supernaturals. Enemies. Examples include fullmetal alchemist by hiromu arakawa[153], flames of recca by nobuyuki anzai[154] and bleach by tite kubo[155].
Military adventure stories, the action of which takes place in a modern person. , For example, about the second world war, remained under suspicion of glorifying the imperial history of japan[135] and did not become a significant part of the shōnen manga repertoire[135]. However, tales of fantasy or historical military adventures did not become stigmatized, and manga about heroic warriors and boxing masters was extremely popular.Some are serious dramas, such as sanpei shirato's the legend of kamui and nobuhiro watsuki's rurouni kenshin. But others contain heavily humorous elements, such as akira toriyama's dragon ball. Wars, just like with a pure adventure shooting game. Examples include seihō takizawa's heart of darkness, a retelling of the story of joseph conrad but about a renegade japanese colonel whose effect is made during world war ii in burma, kaiji kawaguchi's silent service about a japanese nuclear submarine. , The vietnam war is told in a talking animal format.[161] other combat-oriented manga are complex stories of criminal and espionage plots that the protagonist must overcome, such as hojo tsukasa's city hunter,[162] buronson's fist of the north star,[163] and shoujo. For example, from erotica affectionately" yasuko aoike, a long-running detective-spy story that combines adventure, action and humor. ] Such battle stories endlessly repeat the same nonsensical themes of violence, which they sardonically call "shounen kebab manga plot", where fights follow fights like meat skewered on a stick. Other commentators believe that the scenes of fighting and violence in the drawings serve as a social outlet for dangerous impulses. Shōnen manga and its extreme martial spirit have been parodied, for example, in mine yoshizaki's wild comedy "sergeant frog" (keroro gunso), about a platoon of ne'er-do-well alien frogs that invade the earth and end up unloading for free at the hinata family in tokyo. 168]
Gekiga
Gekiga literally means "dramatic images and interacts with a form of aesthetic realism in manga.[169][170] gekiga pattern is emotionally macabre, often highly realistic, at times very violent, and focuses on the grim everyday realities of life often drawn in a crude and unappealing manner. Gekiga was born in the late 1950s and 1960s partly as a result of the political activism of left-wing youth and the classroom,[169][172] and some of the aesthetic dissatisfaction of young manga artists like yoshihiro tatsumi with existing manga. [173][174] examples include sampei shirato's 1959-1962 chronicle of ninja military achievements (ninja bugeichō), the story of kagemaru, the leader of a peasant rebellion in the 1500s, which is directly related to oppression and class struggle,[175] and hiroshi hirata's satsuma gishiden. , About rebellions against the tokugawa shogunate.[176]
As the social protest of these early childhoods waned, the meaning of the gekiga shifted towards the socially conscious, mature film, and towards the avant-garde.[171] ][174][177] examples include koike and kojima's "lone wolf and cub"[140][178] and akira, an apocalyptic tale of motorcycle gangs, street warfare, and unexplained transformations of future tokyo children.[179] another example is osamu tezuka's 1976 manga mw, a bittersweet story about the consequences of containing and even deliberately releasing poison gas by the u.S. Military based in okinawa years after world war ii. The social consciousness embodied in the gekig remains alive in our manga. An example is iwgp: ikebukuro west gate park of the turn of the century by ira ishida and sena aritu, a story of street thugs, rape and revenge set on the social fringe of tokyo's wealthy ikebukuro district.[181]
Yaoi
Yaoi is pronounced yaoi and is an acronym for yamanashi, ochinashi, iminashi, meaning "no punchline, no punchline, no meaning". To a manga depicting romantic and often bed-like contact between two men. Yaoi and the closely related genres we know as boy love, bl, and shōnen-ai manga[183] are mostly drawn and read by women, not gay men.[184][185][186][ 187] the term yaoi was coined sometime in 1980 by yasuko sakata and akiko hatsu.[188]
Kize to ki no uta (song of the rose of winds and trees) by keiko takemiya in 1976 was the first a commercially drawn manga featuring "boy love" featuring strikingly beautiful youth living in a french boarding school. Over the next three decades, yaoi and bl manga became extremely popular not only in japan but also around the world. Yaoi and its related subgenres have large fan bases and fan conventions of their own, and as of october 4, 2008, a google search for yaoi returned almost 15 million results. Robin brenner has provided a list of recommended titles in her book for librarians.[192]
Yaoi and related genres have generated considerable controversy. In may 1992, gay activist masaki satō provoked a lengthy debate in the community of yaoi worshippers and gay writers about yaoi's inability to accurately imagine gay life, promoting instead an idealized but destructive whole religion of gay men as wealthy men.And comfortable, and ignoring anti-gay prejudice, all in the name of providing women with fantasy material to masturbate. Although yaoi fans and artists objected that yaoi was not intended for gay schoolchildren but was essentially a harmless hobby for its readers, the debate continued for a couple of years.
Women writers have commented extensively on yaoi. For example, kazuko suzuki considers yaoi to be opposed to heterosexist masculine ideals. However, other writers say that fiction that portrays male homosexuality to female readers ("slash" fiction, of which any variety remains yaoi[195]) is attractive to women, due to the fact that the development of female psychosexuality gives rise to a desire to root sexual relationships in reliable and tested friendships.[196] thorne suggested that the complex phenomena of yaoi and slash fiction point to the fact that female fans are dissatisfied with "the standards of femininity that they must uphold and a social environment that does not support or sympathize with this discontent." 197][198]
Others compare the art and words of yaoi to a slot in a doll, where a woman makes the dolls do whatever they want.[199] from this point of view, reading yaoi is sexy, fun, and powerful.
Sex and female roles in recent manga
In early shonen manga, men and boys all played key roles, and young girls occupied only auxiliary corners in the role of sisters, mothers, and sometimes girlfriends. Of the nine cyborgs in shotaro ishinomori's 1964 cyborg 009, there is only one girl, and she soon disappears from the action. A number of recent shonen manga do not actually feature women, such as the martial arts story "baki the fighter" by itagaki keisuke[201] and even the supernatural fantasy "sand land" by akira toriyama[202]. But by the 1980s, girls and women began to play even more prominent roles in shonen manga, such as toriyama's 1980 dr. Slump, which centers on the mischievous and strong robot girl arale norimaki. +>The role of girls and women in manga for male readers has changed significantly since the days of arale. One class is women who are free from excess clothing (bishojo).[204] sometimes a woman is out of reach, but this trouble is always the object of the hero's emotional and sexual interest, like belldandy from "oh, my goddess!". Kosuke fujishima[205] and shao-lin from minene sakurano's guardian angel getten[206]. Sometimes the stories of the hero are surrounded by such girls and women as in negima!: Magister negi kena akamatsu[207] and hanaukyo maid team morishige[208]. The protagonist, father, spouse or friend, does not always succeed in harmonizing relations with a woman, for example, when bright honda and aimi komori fail to get close in masakazu katsura's lady of the shadows. At other times, the sexual activities of a successful couple are depicted or implied, such as joji manabe's outlander. In other cases, the initially naive and immature hero grows up to become a man, learning to behave with girls and coexist with them emotionally and excitingly, like yota in video girl ai masakazu katsura,[211] train man in train man: densha otoko hidenori hara[ 212] and makoto in the manga sutra (step up love story: futari h) by katsu aki.[213][214] in poruno and eromanga (seijin manga), sometimes referred to in the states as hentai manga, sex is taken for granted and depicted explicitly, as in the work of toshiki yui [215] and in the days of the were-slut jiro chiba[216] and slut girl by isutoshi.[217] the result is a wide range of images of boys and men, from the naive to the most experienced in bed.
With the easing of censorship in japan after the early 1990s, a plethora of realistically drawn sexual themes emerged. In the manga, which are respectively found in english translations. Such background images are found in manga for grown men and grown women and can range from mild partial nudity to implied and explicit sexual acts, bondage and sadomasochism (sm), bestiality (bestiality), incest and rape. In some cases, the themes of rape and lust killing have come forward, as in toshio maeda's urotsukidoji[219][220] and kei taniguchi's 1994 blue catalyst[221], but these extreme themes are not common. Neither untranslated nor translated. Manga.[26][222]
Female warriors
Heavily armed female warriors (bishōjo senshi or bishōjo sento) represent a different class of girls and girls in the manga . For male and female readers. These women can range from sword-wielding superheroes battling demons, to beautiful, strong women armed to the teeth - and extremely dangerous, to cyborg warrior girls. The top superheroes include sailor moon[91] and hikaru, umi and fuu, the heroines of magic knight rayearth[95] mentioned earlier.Superheroines share the battle scene not only with cyborg girls such as saikano's chise[227] and gunslinger girl's assassins[228], but also with adult females, in particular humans (attim m-zak[229], karula olzen[ 230].]) And a number of cyborgs, such as alita from battle angel alita by yukito kishiro[231] and motoko kusanagi from ghost in the shell by masamune shiro[232]. Others are supernatural (shana, from shakugan no shana)[233], but they are all powerful, highly competent, and strikingly beautiful.
Links and notes
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↑ Post, john a. 2001. "Introduction". In john a. Lent, editor. Illustrating asia: comics, humor magazines and picture books. Honolulu, hi: university of hawaii press. Pp. 3-4. Isbn 0-8248-2471-7.↑ 2.00 2.01 2.02 2.03 2.04 2.05 2.06 2.07 2.08 2.09 2.10 2.11 2.12 2.13 2.14 2.15 2.16 2.17 2.18 schodt, frederik! Manga! World of japanese comics. Tokyo: kodansha. Isbn 4-7700-1252-7.↑ Schodt, 1986, op. Cit. Chapter 1, pp. 12–27. ↑ Thorne, matt, september 29, 2008 "how much do these japanese people read manga?" http://matt-thorn.Com/wordpress/?P=261 (accessed october 3, 2008) ↑ thorne, matt, september 29, 2008 "additional statistics on manga reading in japan." http://matt-thorn.Com/wordpress/?P=272 (accessed october 3, 2008) ↑ "manga market growth slows." Icv2 manga guide, september/october. 2008, no. 57, p. 4.↑ "Graphic novels hit $375 million." The icv2 guide to graphic novels, autumn. 2008, no. 55, p. 4.↑ 8.0.8 percent percent % percent percent,1 8.2 8.3 8.4 8.4-9.6-eight,7, 8.8 gravett, paul. 2004. Manga: forty years of japanese comics. New york: harper design. Isbn 1-85669-391-0. 8.↑ Masanao, amano, editor 2004. Manga design. Cologne: taschen. Pp. 92-95. Isbn 3-8228-2591-3 .↑ 10.0 10.1 koyama-richard, bridget. 2007. A thousand years of manga. Paris: flammarion. Isbn 978-2-0803-0029-4.↑ Kinsella, sharon. 2000. Adult manga: environments and power structures in a fascinating japanese society. Honolulu: university of hawaii press. Isbn 0-8248-2318-4.↑ In this article we use the term "manga" to refer to japanese files only, and will say "manga-like", "manga-influenced" or "original english manga" . ("Oel") for work performed outside of japan.↑ Tai, elizabeth. September 23, 2007. "Manga outside japan". The star online, http://thestar.Com.My/lifestyle/story.Asp?File=/2007/9/23/lifebookshelf/18898783