What is Manga and Where Did it Come From?

What is Manga?: Before I knew what manga was, I had asked myself the question that titles this section several times over the years. Yet, I apparently wasn't that interested in finding an answer-until recently. What I found, in my investigating, was extremely interesting and often surprising. The simple definition of manga is "Japanese comics" (Sanders). Yet, manga is so much more. In this one word, the "synthesis [of] a long Japanese tradition of art that entertains" is defined (Schodt 21). To better answer the question, "What is Manga?" it is best to view the entire scope of Manga and the influences that shaped it. While manga has not always been known by this name, it's existence has left an indelible mark on the past while forging a path into the future.

The Ancient Manga: The earliest influences of Manga date back to ancient Japan. In the eighth century, CE, Horyuji Buddhist Temple was completely rebuilt after burning to the ground (Ito 458). When repairs were done on the temple in 1935, drawings resembling caricature figures and, according to Frederik Schodt in Manga! Manga! The World of Japanese Comics, "grossly exaggerated phalli" were discovered on wood boards taken down from the temple's ceilings (qtd. in Ito). These drawings are some of the earliest known Japanese comic art (Ito 458).

During the eleventh century, CE, a priest named Toba Sojo painted what is now referred to as "the Animal Scrolls" (Ito 458). These scrolls, or "choju giga," feature rabbits, monkeys and other animals "in silly activities, including farting contests" (Aoki). This satirical look at the lives of Buddhist monks is also an early example of drawings depicting events in sequential order. When unrolled the scrolls present the images in order from right to left, a reading technique that is still employed in reading manga today (Aoki). The Toba Sojo Scrolls in their entirety are currently available for viewing online.

While this type of parody and satire may seem irreverent to some, Japanese people found (and still find) great humor in Toba's scrolls. In the West, Japanese people are often stereotyped as being "serious, reserved, diligent" or "calculating, oversexed, [and] cunning" (Ito 456-7). However, according to Kinko Ito, the people of Japan "are humorous, witty and funny...once they bring down the formal façade that they project to others, especially foreigners" (457). Toba's scrolls show that this love of satire and parody have a long-standing place in the history of Japan.

Manga during 1603-1867: Satire was a new beginning for manga. Satire was introduced in manga during the mid-seventeenth century, the Tokugawa period (1603-1867). There is a little story behind a well-known manga, Ostu-e: the town of Otsu near Kyoto sold Ostu-e, or "Otsu pictures," to commoners and people who were traveling on the main road from Kyoto to the north (Ito 458). According to Thatcher's Expert Day Presentation, Ostu-e began as a simple story with an inspiration of Buddhist folk art. This manga had a specific genre for prayer, as Buddha was a strong central point of their culture at the time. Tokugawa government was actively persecuting Christians and that, my friends, influenced manga to be satire, secular, and sometimes scandalous which appealed to many of the purchasers.

Furthermore, during the Genroku (1688-1704) and Kyoho (1716-1736) periods, a popular manga has joined the history of manga, "Akahon." That name literally means a "red book" which has led to a genre during the two time period (Macwilliams 29). There were manga that were commonly referred to the colors of the books; those books, however, has a true genre to it, and it is folk tales and fairy tales. The colors have led a great influence for the future manga. In 1765, Harunobu Suzuki started multicolor woodblock printing which has marked the beginning of the golden age of ukiyo-e color prints. Katsuskhika Hukusai was well-known for sketches and dynamic compositions in the ukiyo-e style. The masterpieces of Hokusai's were "The Thirty-six Sceneries of Mt. Fuji" which illustrated for novels, and other paintings/drawings of beauties and samurais (MacWilliams 29).

Akahon was a picture book based on fairy and folk tales such as "The Peach Boy," "The Battles of the Monkey and the Crabs," "The Sparrow's Tongue," "Click-Clack Mountain," and "How the Old Man Lost His Wen" (Ito 459). However, Akahon changed its audience from children to adults, and the book remained its consistency of pictures and not text.

Manga during 1736-1912: The Meiji Era was a time period in which Japan ended the Shogun feudal system and brought back imperial rule (keldjoran). While the majority of popular manga in the 18^th century satirized Japanese political figures, it wasn't until 1853, when Commodore Perry, a U.S. naval officer, introduced Japan to the western world, that manga would begin its evolution (Aoki).

"Prior to [...] 1868, Japanese artists usually drew themselves with small eyes and mouths and variable proportions [...]" (Schodt, 60), but as new western ideas began to infiltrate Japanese traditional values, manga and its artists became influenced and inspired by imported artistic styles such as French and English political cartoons (keldjoran). These styles found in magazines Toba-e and The Japan Punch, soon had artists blending western comics with Japanese ideas (Aoki).

"At the dawn of the 20th century, manga reflected the rapid changes in Japanese society [...]" (Aoki). Influential artists that contributed to the development of modern manga include: Katsushika Hokusai (1760-1849), whose iconic woodblock printed images and sketchbooks display the best early examples of humor in Japanese art (Aoki); Rakuten Kitazawa (1876-1955), who "[...] founded Tokyo Puck, a magazine showcasing Japanese cartoonists" (Aoki); and Ippei Okamoto (1886-1948), "[...] the founder of Nippon Mangakai, the first Japanese cartoonists society" (Aoki).

Manga during 1912-Present: Coming from the Meiji era to the Showa, many of the Western comics from newspaper gave the Japanese different way of expressing humor into their own forms of publications. Not only that, Japan was involved in World War I, thus it changes themes of the comic strip.When WWI ended in 1919, it left an impression on the inhabitants of Japan. Some of which was expressed through cartoons. To invoke a sense of Japanese pride to the younger generation, manga artist created stories around the valor of the native spirit. One of the manga that used the idea of war was "Miyazaki Ichiu" which created a story that depicts Japanese gallantry and the Yamato spirit also known as Yamato damashii. The plot revolved around a massive conflict again a foreign enemy.

Other countries have had influence on manga such as America. Rakuten Kitazawa (1876-1955) and Ippei okamoto (1866-1945) were a great help for the growth of American cartoons and comic strips. Kita, who is also an important figure of this time period, is known for his creation--Tokyo Pakku which was in 1905 (MacWilliams 32). It was the first multicolor manga magazine in Japan, and it became an instant hit. As Kita was traveling to the West, he learned that manga for children could possibility be a hit--ad it was--especially in the newspaper subscriptions. He started a Japanese version of Yellow Kid in the Jijo chimpo's Sunday's edition (MacWilliams 32). Another "hit" in America was during 1931, when Henry Yoshitaka Kiyama's book, The Four Immigrants Manga, was published in Japan and then it was brought San Francisco. It was one of the first modern comic book styles in the United States.

Next in the history of manga were the emerged heroes. During the Taisho period, there was a "rapid rise of the parliamentary power and the leadership of party cabinet" (MacWilliams 33). The period was also characterized by urbanization, class, growth of democracy, more attention to higher education, and the industry community (MacWilliams 33). During this period of many changes, the Japanese government also regulated motion pictures and other media. The year of 1925 was a big year for the culture/history of manga!

World War II, after Japane went into war with US, the Japanese government demanded cooperation from the manga artists to write stories of the war. During this time, a genre entered the world of manga, "zosan manga." The name itself suggests "the concerns of government" (MacWilliams 34). After World War II ended, there were numerous of manga magazines invented: Manga kurabu (manga club), VAN, Kodomo manga shim bun (Children's Manga Newspaper), Kumanbati (The Hornet), Manga shonen (Manga Boys), Tokyo Pakku (Tokyo Puck), and Kodomo Manga kurabu (Children's Manga club) (MacWilliams 35). However, the boom of these specific manga only lasted so long -- three years. The main factors for this manga boom not lasting for long are because of the suffrage they experienced after war; most Japanese were hungry and poor.

Osamu Tezuka is an important figure during the creation of modern manga and the highlight of the ‘60s. In Japan, Tezuka would be known as the "god of manga" (MacWilliams 38). Tezuka's most known creation would be the Mighty Atom and is known throughout the world. The U.S., Mighty Atom was turned into an animated version with the name of "Astro Boy."

Then the ‘70s rolled around when a new genre entered the world of manga. This specific genre, shojo manga, grabbed many young girls' attention; in the manga, there were cute heroines who were beautifully drawn which made the pictures so captivating to young girls. The year of 1972 was a good year for many of the female artists who desired to become successful in the manga industry. Many of the female artists bloomed that year and began drawing for the female audiences. (Use one of the manga we have read in class). During the early 1970's, manga was heavily focused on Japan's success, specifically in the area of sports. In 1964, their volleyball team won the gold medal which has given the manga industry ideas for themes: sports. Mark MacWilliams gives us an example of a manga magazine, Sainwa V and Attaku namba. Those two stories included "sportsmanship, friendship, injuries, fights, falling in love with a handsome male coach, competition, jealously, dogged efforts, and any other human emotions involved in winning games" (MacWilliams 40). Those theme have given new morals for Japanese readers: "to preserve in any situation and to always work hard in order to accomplish one's goals" (MacWilliams 40). This new moralistic idea has led women to be modern career people, but also a greater attraction for love stories. One of the women's favorites during that time was "The Rose of Versailles." This manga was a series created by Riyoko Ikeda, and it is an epic story that dealt with French court in the years and days leading to the French Revolution. Later in the 70's, the theme went a little deeper--sexuality. Sexuality as being the theme was especially focused on male homosexuality. Because men began to read manga, specifically businessmen, there was then manga with a genre of academic or educational. This time of genre is referred to "information manga" (MacWilliams 42). There were quite a few additions of genres into the culture of manga as well as to their history. The 1970s was the time of change and growth of passion for many manga readers.

During the 1980s, it was the time of economic growth. There were a few new genres during this time as well. One of them would be directly for adult females, mainly females during their child-bearing years. This magazine focused on erotic stories and love. After the 1980s, there was a change. Stories in manga that became successful and a favorite to many readers would be seen on television as a show. There were different types of café, but according to Mark MacWilliams, there were two main cafes: the coffee café and the pay library café. Customers would go there to purchase coffee and manga, and read manga while drinking their beverages. In 1999, manga has been an influence to many television shows and soap operas; many characters from shows have been based on the stories of manga.

Works Cited

Aoki, Deb. "Early Origins of Japanese Comics." About.com. The New York Times Company. 2010. Web. 27 Feb. 2010.

Keldjoran, . "Art In Japan." Squidoo. Squidoo, LLC and respective copyright owners, Web. 3 Mar 2010.

Kinko, Ito. "A History of Manga in the Context of Japanese Culture and Society." Journal of Popular Culture V. 38 No. 3 (February 2005)

P. 456-475, 38.3 (2005): 456-475. Web.

MacWilliams, Mark W. "Manga in Japanese History." Japanese Visual Culture Explorations in the World of Manga and Anime. Armonk:

M.E Sharp, 2008. 26-47. Print.

Sanders, Joe. California State University, San Bernardino. English 315 Japanese Comics and Animation. 13 Jan. 2010. Lecture.

Schodt, Frederik. Dreamland: Japan: Writings on Modern Manga. Berkeley: Stone Bridge Press, 1996. Print.

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