Sunday, January 17, 2010

History of Manga, Part 20

As part of the History of Manga thread, I want to comment on a few more important figures, but I don't have a copy of their manga to review and I haven't been to a museum exhibit on them yet. So, what I'm going to do is briefly say why I think they're important and why you should learn more about them, and then provide links to interviews, reviews or collections of scans of their work.

Shigeru Sugiura (杉浦 ) (1908-2000)
Adam (Nanjara Hoi) brought Shigeru to my attention, and his art is definitely off the wall. He was one of the early manga artists of the 1930's, having apprenticed under Suiho Tagawa (Norakuro), and as is frequently mentioned, had trained Fujio Akatsuka of "Tensai Bakabon" fame. Fujio had his own studio, where Kunio Nagatani worked, so Shigeru's influence was obviously passed on to later generations. He's worth paying attention to simply for having appeared in the Tokyo Asahi Shimbun newspaper in 1932, and then following that up with manga in Shojo Club, Shonen Club and Shin Shonen magazines in the 1930's as an early artist.

The Ganzfield 4
The Ganzfield 5
Completely Futile review of Shigeru Tribute book
Nihon Sun announcement of KMM Exhibit on Shigeru
Kyoto Manga Museum exhibit description
Nanjara Hoi tribute to Shigeru
Links to TV ads animated by Ghibli based on Shigeru's characters
Descriptions of the TV ads
Google Books pages of Shigeru's manga
Google search of Shigeru's artwork
Japanese wiki entry
Japanese book review page

Yoshihiro Tatsumi (辰巳 ヨシヒロ) (1935)
I've mentioned Yoshihiro couple of times before, in reference to Garo magazine. He's the one that coined the term "gekiga" (dramatic pictures), and 4 of his titles have been carried in English by Drawn and Quarterly ("The Push Man & Other Stories", "Good-Bye", "A Drifting Life in Gekiga" and "Abandon the Old in Tokyo"). Gegika kind of developed a reputation for gritty action and fight scenes (ala "Kamui-den"), but Yoshiro maintains that he intended the term to refer mainly to the mundane elements of life as "theater". He also claims that he was a big fan of Tezuka, and the break between gekiga and "manga as comics for kids" had more to do with what the publishers were demanding, than by what Tezuka himself wanted to produce.

English wiki entry
Comics Week interview
Pop Matters comments on A Drifting Life

I also want to bring your attention to three other gekiga artists carried by Drawn and Quarterly. Imiri in particular is a modern proponent of gekiga, and his works are currently running in AX magazine.

Seiichi Hayashi (Red-Colored-Elegy)
Susumu Katsumata (Red Snow)
Imiri Sakabashira (The Box Man)

Macoto (たかはし まこと) (1934-)
AKA Makoto Takahashi. Macoto debuted in 1957 in Shojo magazine, and pretty much created what is now recognized as the big, glittery-eyed shojo style. He's the one that took Jun'ichi Nakahara's pre-WWII big eyed style of girl's illustrations and carried it into post-WWII manga. He does have his own gallery in Chiba, near Narita airport, but that's a little too far away from me to visit at this point.

Official website
Baka Updates profile

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