#Tagawa suiho

[yusuke1234]

2

#edward gorey #takeshi kitano #werner herzog #fujiko f fujio #philip guston #mike leigh #park hoon-jung #jan svankmajer #henry taylor #goya #kawanabe kyosai #wallace berman #Tagawa suiho #yoshikazu ebisu #takashi nemoto #de palma #the naked cult of hickey

[nobrashfestivity]

Suiho Tagawa. Norakuro, c. 1930s

Postcard

#Suiho Tagawa #postcards #japanese art #Norakuro #dogs #manga

[falseandrealultravival]

Why did Japanese Manga highly develop? Because Japanese are very sloppy religiously.(Essay)

A stinky monkey worshiping a frog impersonating Buddha (Choju-Giga)

The following is an exchange of comment between my blog friend cenecio and me (iirei) about manga.

cenecio: Mr. Morishita, I would like to ask you, why did the field of manga develop in Japan?

This is a question from Mr. Gear and me. Thank you. If you have time, it doesn't matter tomorrow.

iirei: This is a very difficult question. Speaking of my past logs, there is one that deals with bird and beast caricatures,so called”Ｃhoju-Ｇｉｇａ（鳥獣戯画）”.

We recognize that this picture scroll is one of the oldest manga in Japan. When writing this blog, Isao Takahata clearly saw "frame splitting" about "Shigisan Engi Emaki", and he also referred to the book "Japanese Animation" (was it), which was said to be a pioneer of manga. He made it.

Returning to Choju-Giga, as a famous scene like sumo wrestling of frogs and rabbits, it is especially remarkable in the picture of a fishy monkey shaved worshiping the principal image of a frog, but in other countries the religious main god is likened to a frog. It’s impossible.

Religion is still not really rooted in Japan.　But what should be noted here is the idea of ​​parody. The combination of frogs and monkeys is a wonderful parody. These picture scrolls were made from the end of the Heian period to the beginning of Kamakura period, with a religious background in which "Pure Land Buddhism" covered Japan, but the Japanese are sloppy(Charanporan), aren't they? While admiring the Pure Land, he makes fun of it. Of course, Western European countries also had parodies like Rabelais　did, but I think they weren't as non-religious as Japan.

I think that this comment alone is not enough to answer this difficult question. If you come up with something again, I'll write it.

Note: Mr. Takahata(Member of Studio Gibli)’s book, official name "Animation of the 12th Century: Movie-like and Anime-like Things Seen in National Treasure Picture Scrolls" (Tokuma Shoten: 1999).

…………………………………………..

cenecio: Good morning, Mr. Morishita.

I'm sorry to hear from you last night.

> Isao Takahata clearly sees "frame splitting" about "Shigisan Engi Emaki", and this picture scroll is also a pioneer of manga.

This is interesting. How to divide the frames is a big difference between manga and BD, and it seems to be one of the themes that the discussion is enthusiastic about.

I would like to find out about the roots of manga myself.

Thank you very much.

The situation changes depending on where you take the manga overrun (Ransho: 濫觴:the time of the headwaters). I think it is generally from Osamu Tezuka, but there is also a position that it is from Suiho Tagawa's "Norakuro". In my case, I made the argument based on the Heian period bird and beast caricature and Shigisan Engi Emaki(picture Scrolls).

A word of the day: In addition, the representative of the story manga was Osamu Tezuka, and the representative of the gag manga was Fujio Akatsuka. (The Tezuka Award and Akatsuka Award are the gateways for young manga artists in Japan to be held by Shueisha.) Regarding this extremely interesting work, especially "Tensai Bakabon(The genius fool)" the manga artist was not Charamporan(sloppy), but the reader was Charampolan. The creators of gag manga are those who draw their works with bloody efforts, and story manga does not require much tension. In fact, the lifespan of a gag manga artist as an author is shorter than that of a story manga artist.

After the serialization of Tensai Bakabon, Mr. Akatsuka serialized a manga called "B.C. Adam" that "teases" the Bible. I remember that this work was not very popular, but I think it was rather a work that showed Mr. Akatsuka's own charamporan.

#manga #Ja;an #sloppy #charamporan #Choju-Giga #Isao Takahata #frame splitting #Shigisan Engi Emaki #religion #parody #animation #Studio Gibli #Fujio Akatsuka #Tensai Bakabon #essay #Babylman

[redcat924]

Influences a family tree

Two influences family tree: people who inspired Hayao Miyazaki

Nick Park

Chuck Jones

Yuri Norstein

Ray Harryhausen

Osamu Tezuka

Disney

Suiho Tagawa

Wan guchan (Princess Iron Fan)

Lev Atamanov

Hans christian anderson

Sergey Aksakov

Alfred Schnittke

[kakarot4school]

1/21/24

Today’s media consisted of a longer anime and a reading. An Unholy Alliance of Eisenstein and Disney: The Fascist Origins of Otaku Culture stood out to me. This article was rather interesting as it sought to explain the backgrounds for what Americans might call “geeks”.

Initially, I thought this was a rather outrageous theory; however, Tagawa Suiho adopted animation techniques that closely resembled “westernized” animation. These adaptations can be closely tied to Disney, which was (and still is) a major influence in culture. In the 1930s, this notion was used by the Japanese Naval Department. They speculated that if Japan lacks animation that has an influence over the people, like Disney’s, then Japan’s influence will eventually fail. To me, weaponizing animation feels rather absurd considering we are all exposed to it daily, especially the idea of a particular style.

This animation style seemed rather appealing though, especially considering many countries (notably axis) had banned Disney media, yet claims state they illicitly watched it. In the media I attached separately, it’s apparent that the anthropomorphic-style juxtaposed with military themes seems to alleviate the severity of what a viewer could be watching. Not only does the animation contribute to it, several techniques (notably those from Eisenstein) were deployed to make the media more visually appealing. Although this sort of film-theory wasn’t studied in-depth, Japan knew that these westernized approaches were, indeed, appealing.

One of the most important techniques that is almost a key-characteristic of manga is the “Eisenstein montage” theory. This happened when a series of cinematic “cuts” were developed to create a single image. These images are significantly more encapsulating as they convey ideas such as motion far better than a still picture, and this is commonly used everyday.

It’s interesting to see that authoritarian ideas were a motivating factor for composing such fascinating media. The simplicity of animating a character and putting them into a scene where they don’t belong was used as a better form of propaganda. The fact that “war-time aesthetics” is a term that can, somewhat, describe manga’s development is so strange.

[christinaklassen]

1/19 Blog

In the manga series, “Norakuro” by Suiho Tagawa, Japan is illustrated as a symbol of strength and the “hero of Asia” through its main character. In “Norakuro”, the central character is Norakuro-kun, a black and white dog serving in the dog army, which symbolizes the Japanese military. He valiantly battles against the pigs’ army, representing the Chinese forces. In the story, we see the dog troops and Norakuro fighting courageously and eventually winning the battle against the pigs’ army. Afterward, as the dogs patrol the walls, the pigs inside express sentiments like “With the rabid dog troops protection, our country will finally have good politics” and “Dogs have won! Pigs have lost!” while happily waving a flag. These expressions depict the dogs (symbolizing Japan) as a hero of Asia for defeating the pigs (symbolizing China) and bringing good politics and harmony to Asia. This manga series serves as a compelling example of how manga and other forms of media were utilized as propaganda during wartime. While “Manga Anime Culture” by Norris discusses prewar and postwar manga, it doesn’t delve into wartime manga and its role as propaganda. Norris notes the use of prewar comic strips for adult readers, indicating that manga could serve purposes beyond basic entertainment. Similarly, during the war, comic strips like “Norakuro” were not only sources of entertainment but also forms of propaganda aimed at the younger generation in Japan. Norakuro-kun, depicted as a brave soldier leading the dogs to victory, becomes an iconic figure for young Japanese children who are entertained by his heroic actions. This narrative strategy aims to engage younger generations in the war effort, potentially fostering a sense of patriotism and encouraging them to consider joining the Japanese army as they grow older. Moreover, the inclusion of a maze game at the end, allowing readers to decide which plane to blow up- an enemy plane or Norakuro’s plane- indicates the manga’s targeted audience of children. This blend of entertainment and propaganda within the pages of “Norakuro” illustrates how wartime manga was strategically crafted to influence and shape the perspectives of the younger generation in support of nationalistic sentiments and military engagements.

Below is the image of the maze game included at the end of the manga series "Norakuro" that showcases its targeted approach to the younger generation in Japan at the time.

[yajifun]

高見沢遠治版浮世絵集　国光社　1940年

国立国会図書館デジタルコレクション

風流六歌仙 僧正遍昭　礒田湖龍斎 画　1765年頃（復刻版）

“おもひつゝぬれはや人の見えつらむ夢としりせはさめさらましを”

※小野小町の歌

※高見沢遠治(たかみざわ えんじ)とは - コトバンク

※「ある浮世絵師の遺産～高見澤遠治おぼえ書」 帯文 “文豪荷風、建築家ライトを激怒させた贋浮世絵事件の影にいた男。大正・昭和画壇の異才岸田劉生と江戸情緒の世界をさすらい、贋作者の汚名の中で浮世絵復刻に命をかけた天才浮世絵師高見澤遠治の波乱の生涯が初めて明らかにされる。”

※田河水泡（本名 高見澤仲太郎）の従兄

#Ukiyo e #ukiyoe #Koryusai #Dream #Ono no Komachi #Takamizawa Toji #Tagawa Suiho #Rokkasen

[holespoles]

Life is...

Gain Experience...

it's from now on !

Suiho Tagawa

#Suiho Tagawa #田河水泡 #Illustration

[bewarethebibliophilia]

Suihō Tagawa, Norakuro comics, ca. 1930s.

#manga #retro manga #Norakuro #Suiho Tagawa #田河水泡 #Tagawa Suiho

[boxedinspiration]

A smathering of work from Suiho Tagawa

#suiho tagawa #art inspiration #coloring #character design #vintage manga

[giornalepop]

I MANGA DURANTE LA SECONDA GUERRA MONDIALE

I MANGA DURANTE LA SECONDA GUERRA MONDIALE

I primi anni del Novecento sono decenni di guerra e le imprese dei soldati giapponesi diventano uno degli argomenti più popolari nel mondo dei manga.

Dalla guerra russo-giapponese del 1904 alla Prima guerra mondiale, fino ad arrivare alla Seconda guerra mondiale, la casta militare nipponica diventa sempre più potente, tanto da prendere in mano le redini del Paese. Di conseguenza, la figura del…

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#bontaro shiyataka #cyborg #gajo sakamoto #Giappone #kumerasu yuasa #naburo oshiro #norakuro #robot #sanpei yoshimoto #seconda guerra mondiale #suiho tagawa #tanku tankuro

[shihlun]

婦人倶樂部十月號　凸凹黒兵衛

1936

#田河水泡 #suiho tagawa #suihō tagawa #凸凹黒兵衛 #婦人倶樂部 #manga

[noclco]

のらくろ探検隊／田河水泡

#のらくろ #田河水泡 #norakuro #suiho tagawa #vintage manga

[mangamara]

Wanna hear about Hiromu Arakawa?

Hiromi Arakawa was born in Hokkaido, a farming community, in 1973. Her parents owned a dairy and a potato farm. After graduating school, she worked on for her parents farm for seven years. During this time, she honed her artistic abilities. In 1999, her seven year promise was fulfilled, and she moved to Tokyo to become a mangaka. One of her first jobs was for Gamest magazine. She also assisted Hiroyuki Eto with his series Magical Circle Guru Guru. She eventually became Hiroyuki’s assistant. Under Eto’s tutelage, she refined her manga skills and got experience as a mangaka.

Her original pen name was “Edmund Arakawa.” It is currently “Hiromu Arakawa,” as “Hiromu” is more masculine than her birth name. She won the ninth 21st Century Shonen Gangan Award with her Fullmetal Alchemist  one-shot. After this, Square Enix offered her a manga contract. She describes her style as inspired by Hiroyuki Eto and Suiho Tagawa (Norakuro). Arakawa doesn’t make a lot of public appearances; Romi Paku, Edward Elric’s Japanese VA, usually represents her.  Arakawa is married with three kids

Works:

Annals of the Three Kingdoms (doujin)

Shishi Juushin Enbu (with Zhang Fei Long) (net novel)

Stray Dog (one shot) (1999)

Fullmetal Alchemist (one shot)

Totsugeki Tonari no Enikksu (series) (2000)

Demons of Shanghai (series) (2000 – 2006)

Fullmetal Alchemist (series) (2001 – 2010)

Raiden-18 (series) (2005 – present)

A Bat in Blue Sky (one shot) (2006)

Hero Tales (2006-2010)

Noble Farmer (2008 – present)

Silver Spoon (2011 – present)

The Heroic Legend of Arslan (2013 – present)

 - Arakawa’s stories usually show her appreciation for Chinese history and culture.

 - Her characters, protagonists and antagonists alike, are, to some degree, complex and morally grey, with fully fleshed out motivations.

 - She is an expert at weaving classic shonen elements with well-timed humor and appropriately portrayed emotions

- She conducted extensive research when creating Fullmetal Alchemist, including interviews with ex-criminals, refugees, and former members of the military.

- The magazine issue featuring the one-shot of Fullmetal Alchemist sold 150,000+ copies.

- FMA is the best-selling graphic novel in the U.S. for 2005.

- Kept working on FMA during the entirety of her pregnancy in 2007. That’s amazing, considering mangaka usually only get 1-2 days off a month. 

- Awards:

49th Shogakukan Manga Award (2004)

Seiun Award for Best Science Fiction Comic

15th Tezuka Osamu Cultural Prize for Best New Artist (2001)

Eagle Awards’ Favorite Manga (2010 and 2011)

#fullmetal alchemist #fma #fmab #manga #hiromu arakawa

[fma-facts]

Just for fun, here are some trivia facts about our beloved cow mom, Hiromu Arakawa! All of these come from interviews, guidebooks, or Arakawa’s comments in FMA volumes or art books. If you want a source on something specific, just ask.

Her birthday is May 8, 1973. She was raised on a dairy farm in Hokkaido, as the fourth of five children in a hardworking family. She loves cows and has a deep respect for those who work hard to earn their livelihood.

She’s generally secretive about her private life, although she is known to be married and have at least three children. She’s known for never showing her face in public appearances. If you find a photo of her online that’s not an anthropomorphic cow, it’s probably actually a photo of Romi Park (Ed’s voice actress), who often represents Arakawa at events.

Her favorite food is miso ramen, and she always says Hokkaido has really good ramen.

She works out, and has been known to lift 8 kg (17.5 lbs) weights.

She is a fan of Star Wars, and says Darth Vader is the greatest villain of all time. According to one of her assistants while working on FMA, she once tried to buy a life-sized Darth Vader statue but gave up when it wouldn’t come down in price. She also feels that Anakin doesn’t deserve Padme and Padme’s a fool for falling in love with him.

She also loves Indiana Jones.

She’s a fan of the famous sumo wrestler, Mitsugu Chiyonofuji.

She loves dogs, and Den was named after her dog Densuke, who was named after a brand of expensive Hokkaido melons.

Her favorite part of writing manga is the omakes, and she wishes she could do an entire volume of nothing but omakes. She also likes inking, but hates storyboarding.

Her favorite character to draw is Armstrong, but in general her favorite characters are Ed, Al, Winry, and Hawkeye.

She often gets ideas for writing while she’s in bed going to sleep for the night, so she keeps a notepad nearby to write ideas down. But because she usually writes them while on the verge of falling asleep, she often wakes up to find completely vague and incomprehensible notes. (Me too, sensei... me too.) The notes she leaves on draft pages for her assistants are often like that too.

Her idol as a manga author is Suiho Tagawa, author of Norakuro, an old military manga about an anthropomorphic dog soldier. She also looks up Rumiko Takahashi (Inuyasha, Ranma 1/2),Yudetamago (Kinnikuman), and Hirohiko Araki (Jojo’s Bizarre Adventure, Baoh). She also learned a lot from Hiroyuki Eto during her time as his assistant on Mahoujin Guru-Guru. As a young child, she used to read issues of Shonen Jump her older sister(s?) unwittingly left lying around.

She likes shopping for antiques, and blew her entire first paycheck on buying an antique pocket watch to use as a reference for Ed’s watch.

#Hiromu Arakawa

[mattseneca]

good stuf

The year that just passed was wack as hell for numerous reasons, but there were also some nuggets of gold that stood out like corn kernels in the giant turd that was 2016. Here is a list of art I encountered for the first time and enjoyed last year. Most of it didn’t actually come out in 2016, but who cares.

COMICS!

Sir Alfred #3, by Tim Hensley. Best comic of the year. So funny, well drawn, and balanced right on the precipice between touching and farcical while moving with an incredible momentum. Also a fitting end to the tragically departed Alvin Buenaventura’s magnificent publishing career.

Providence #7-11, but especially 11, by Alan Moore and Jacen Burrows. Alan Moore at his best is better than all the other comics; this is Alan Moore at his best. Burrows is as good as anyone Moore’s ever collaborated with, which is to say a league of comics legends. Providence 11 goes past being just a really good scary comic into feeling like the object itself is actually evil, actually the carrier of something malign. Brilliant. 

Peplum, by Blutch. The best comic in the best genre (ancient Rome). Makes the ancient world seem as wild and strange as it would probably seem if you could actually visit it. The drawings in here are what Will Eisner wanted to be but lacked the skill to achieve. Holy shit is this an amazing book.

Epoxy Cartoon Magazine, by John Pham. Not a comic per se but a “design container” by the dude in comics best equipped to make one of those.

“Canibul Ball” in Kramers Ergot 9, by Lale Westvind

“Silver Medicine Horse” in Kramers Ergot 9, by Steven Weissman

“Modern Box” in Decadence #11, by Lala Albert

Amandine Meyer’s untitled one-page short in Dome

Hugo Ruyant’s untitled one-page short in Dome

MOVIES!

The Witch, The Neon Demon, Don’t Breathe, The Handmaiden, The Love Witch, and Elle were all movies of more or less excellent quality that utilized different horror movie tropes (lost in da woods, Dario Argento type shit, final girl, period horror, sexploitation a la Jean Rollin, and rape revenge) to make feminist statements, or statements about feminism, that felt worthwhile and cogent. And even if they didn’t, they were all kickass movies that kicked ass. The best movie of the year, however, was Johnny Ma’s Old Stone, a first movie by a director completely at home stepping into the shoes of Taxi Driver and walking a totally different direction from that movie in them to produce something of equal lurching grace and black profundity. See it!

COMICS, BOOKS, MOVIES AND MUSIC THAT DIDN’T COME OUT THIS YEAR

I enjoyed far more old things that were new to me than actual new things in 2016. Here’s some....

The Airtight Garage, by Moebius - the best Moebius

Jeremiah, by Hermann - the best European comic!

Conan: Red Nails, by Barry Windsor Smith (in Marvel Treasury Edition #4)

Norakuro, by Suiho Tagawa

Dinotopia: Journey to Chandara, by James Gurney - if you like comics and you haven’t read the Dinotopia books, you really need to get on that

Paradise Now, by Peter Bialobrzeski - my favorite photography book ever, and the biggest influence on my own art in a really long time

Cape Light, by Joel Meyerowitz

The Hand of Man on America, by David Plowden

A Feast of Snakes, by Harry Crews - hardest shit in prose

Pick-Up, by Charles Willeford

Gentleman of Leisure, by Susan Hall and Bob Adelman

Fat City, by Leonard Gardner

Stoner and Butcher’s Crossing, by John Williams

Perceval, by Chretien de Troyes

Pocket Atlas of Remote Islands, by Judith Schalansky

33 1/3: Another Green World, by Geeta Dayal

Conan stories by Robert E. Howard

Memory of Fire: Genesis, by Eduardo Galleano

A Distant Mirror, by Barbara Tuchman

Bloodstone’s Greatest Hits, by Bloodstone

Fourth World vol. 1: Possible Musics, by John Hassell and Brian Eno

Angel Shadow, by Kim Free

M3000, by Mandre

One of these Nights, by The Eagles

Visions of the Country, by Robbie Basho

Introducing the Walker Brothers, by the Walker Brothers

Let The Power Fall, by Robert Fripp

...and that’s all I can think of off the top of my head. Best wishes for the new year! I hope nuclear war doesn’t happen in 2017, but when I’m honest it would be the best thing for the planet in the long run if it did, so either way we’re good!

#best of 2016