(r12) WhatIsMangaAndWhereDidItComeFrom < CAL/English/Sanders

<img width="180" alt="Manga Written in Kanji" align="absBottom" src="http://upload.wikimedia.org/wikipedia/commons/thumb/7/75/Manga_in_Jp.svg/180px-Manga_in_Jp.svg.png" title="Manga Written in Kanji" height="262" />

_Manga written in Kanji_

*WHAT IS MANGA AND WHERE DID IT COME FROM?*

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 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).

<img width="500" alt="Toba Sojo Scrolls" align="absBottom" src="http://www.aamdocents.org/AAM/Special/07_06Manga/DevManga9.jpg" title="Toba Sojo Scrolls" height="320" />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 [[http://manga.about.com/gi/o.htm?zi=1/XJ&zTi=1&sdn=manga&cdn=hobbies&tm=5&gps=534_533_1259_790&f=11&su=p504.3.336.ip_&tt=2&bt=1&bts=0&zu=http://www.kokingumi.com/ChojuGiga/01.html][Toba Sojo Scrolls]] are currently available in their entirety for viewing online.

While this type of parody and satire may seem irreverent to some, the Japanese 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.

<strong><img width="91" alt="Daikoku Shaving Fukurokuju, 18th Century Otsu-e" align="left" src="http://www.onmarkproductions.com/assets/images/daikoku-shaving-fukurokuju-18th-century-copyright-nihon-mingeikan.jpg" title="Daikoku Shaving Fukurokuju, 18th Century Otsu-e" height="175" /></strong><strong>1603-1867:</strong> Satire marked an evolution in manga. Yet, another evolution was about to begin. During the Tokugawa period the town of Otsu near Kyoto sold Otsu-e, or "Otsu pictures," to commoners and people who were traveling on the main road from Kyoto to the north (Ito 458). Otsu-e began as a simple story with an inspiration of Buddhist folk art (!MacWilliams 27). These manga focused on the specific theme of prayer, as Buddha was a strong central figure of the culture at the time. Tokugawa government was actively persecuting Christians and this influenced artisits to draw manga filled with satir<em><img width="264" alt="Toba-e" align="right" src="http://images.artelino.com/images/items/12249a2.jpg" title="Toba-e" height="202" /></em>e that was both sacred as well as secular (and sometimes scandalous which appealed to many of the purchasers).

<em>Tobae </em>began to be drawn during the Hoei period (1704-1711) and mark the "start of the commercialization of manga" (Ito 459). These pictures depicted Japanese life in funny and satirical ways. They were also some of the first drawings to be produced using a woodblock printing technique.

<img width="107" alt="Front cover of an Akahon book." align="left" src="http://i171.photobucket.com/albums/u303/michael1inuyasha/akahon.gif" title="Akahon" height="149" />During the Genroku (1688-1704) and Kyoho (1716-1736) periods, _Akahon_ became very popular (Ito 459). Akahon literally means "red book" (!MacWillia ms 29). These picture books were commonly referred to by the color of their cover. They focused on folk and fairy tales such as <em>The Pe</em><em>ach Boy</em>, _The Battles of the Monkey and the Crabs_ and <em>Click-Clack Mountain </em>(Ito 459). Over time, the audience for Akahon changed from children to adults, while remaining in picture-only form.

In 1765, Harunobu Suzuki started multicolor woodblock printing, marking the beginning of the golden age of _ukiyo-e_ ("the pictures of the floating world") color prints (Ito 459). When ukiyo-e moved from depicting the hedonistic amusements of the merchant caste to "the woodblock-printing version" as art, it thrived (Ito 459).

Katsushika Hukusai was well-known for sketches and dynamic compositions in the ukiyo-e style. The masterpieces of Hokusai's were [[http://www.artelino.com/articles/hokusai-36-views-fuji.asp][The 36 Views of Mt. Fuji]] which illustrated novels, and other paintings/drawings of beauties and samurais (!MacWilliams 29). And where does the word manga come from? From Hakusai of course! Hakusai coined the word "manga" (Ito, 460), which immediately made his works best-sellers.

*1868-1912:* 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<sup>th</sup> 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 magazine like _The Japan Punch_ soon had artists blending western comics with Japanese ideas (Aoki).

<img width="228" alt="The Japan Punch" hspace="400" align="absBottom" src="http://www.christies.com/lotfinderimages/d51679/d5167996l.jpg" title="The Japan Punch" height="340" />

<img width="159" alt="Comic strip by Rakuten Kitazawa" align="right" src="http://upload.wikimedia.org/wikipedia/commons/thumb/9/94/Tagosaku_to_Mokube_no_Tokyo_Kenbutsu.jpg/250px-Tagosaku_to_Mokube_no_Tokyo_Kenbutsu.jpg" title="Comic Strip" height="223" />"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).

<strong>1912- Present: </strong>The number of growing artists soon faced a change that altered the current themes they were once accustomed to when World War I started in 1914. In 1915 the &ldquo;Shonen Club&rdquo; was established as a magazine for young children to read (Aoki, History of Manga- Manga goes to War). World War I ended in 1919; however it left an impression on the cartoonist who then sought to teach the youth about the patriots&rsquo; sacrifice for their country. Miyazaki Ichiu created stories in 1922 through the Shounene Club. His stories depicted &ldquo;Japanese valour and the Yamato spirit&rdquo; (Griffiths). During 1923 Shojo Club mangazine was founded to appeal to the feminine populous. Eventurally manga was used for propaganda in World War II.

In 1931 Henry Yoshitaka Kiyama&rsquo;s book &ldquo;<a href="http://www.jai2.com/HK.htm" title="The Four Immigrants">The Four Immigrants Manga</a>&rdquo; was published in Japan and then it was brought to San Francisco. It was on of the first modern comic book styles in the United States. Kodansha, in 1931, was a publishing company that produced Tagawa Suiho&rsquo;s Norakuro which is about a black dog that takes up arms to fight. The point of the story was to teach the children of Japan the value of sacrificing oneself for their country and learn the importance of valor on the battlefield. &ldquo;Ganbatte&rdquo; which means &ldquo;do your best&rdquo; was the phrase children cried out after reading Norakuro (Aoki, History of Manga- Manga goes to War). &ldquo;Shin Nippon Mangaka Kyokai&rdquo; was a government supported trade organization that all forms of cartoonist had to join (Aoki, History of Manga- Manga goes to War). This was the start of using mangakas or manga artists for propaganda purposes in 1937.

In 1946 Osamu Tezuka&rsquo;s first work to be serialized as a professional was called Diary of Ma-Chan. It is about Ma-chan and his friend Ton-Chan and their life in post WWII Japan. Also during that year Hasegawa Machiko was one of the pioneering female manga artists of the time. She made Sazae-san which was serialized in Asashi newspaper. It was about family life from a housewife&rsquo;s perspective to extended family. Akabon&rdquo; or &ldquo;red books&rdquo; first appeared in 1947 and was known for their extensive use of red ink to add tone (Aoki, History of Manga- Manga goes to War). These books were cheap and it gave many struggling manga artists their big breaks. For example Osamu Tezuka was one of those individuals. Shin Takarijima by [[http://www.dnp.co.jp/museum/nmp/nmp_i/articles/manga/manga3-1.html][Sakai Shichima]] and [[http://www.dnp.co.jp/museum/nmp/nmp_i/articles/manga/manga3-1.html][Osamu Tezuka]] is one example of many akabons.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.

<img width="500" onmouseover="this.src='http://farm3.static.flickr.com/2751/4457138883_c9c520ee35.jpg';" alt="manga of the 1950s" hspace="300" src="http://farm5.static.flickr.com/4026/4457917462_66d1ab53c4.jpg" onmouseout="this.src='http://farm5.static.flickr.com/4026/4457917462_66d1ab53c4.jpg';" title="1950s" height="500" />

The first few decades in the Showa period showed much growth artistically. It was not until the 1950s that manga blossomed into the vast world it had created. Osamu Tezuka was a major driving force for the manga industry. He provided a solid foundation in which future mangakas could use as a reference in creating their own stories. To countless individuals he was known as the &ldquo;God of Manga&rdquo; (Gravett 24). In the 50s decade Tezuka had found a beginning with releasing &ldquo;Astro Boy&rdquo; also known as &ldquo;Mighty Atom&rdquo; and countless other works, however his efforts did not come in to full fruition until the 60s. During that time his work &ldquo;Jungle Taitei&rdquo; or Kimba the White Lion was the first of his work to be animated in full color in 1965 (Gravett 30). Osamu Tezuka&rsquo;s career in manga allowed him to expand the genres that were once so limited due to government interference. He showed all of Japan that manga does not end with childish stories, but can evolve to a cultural gold mine for readers of all ages.

Then the &lsquo;70s rolled around when a new genre entered the world of manga. This specific genre, [[http://www.dnp.co.jp/museum/nmp/nmp_i/articles/manga/manga6-1.html][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. Maki Miyako was the first to emphasize the " [[http://muse.jhu.edu/journals/mechademia/v002/2.toku.html][gekiga]]" or "ladies comics" manga style (Masami). 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" (Mac Williams 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. <img width="150" onmouseover="this.src='http://www.mangaheart.com/images/InuyashaA1.jpg';" alt="Maison Ikkoku by Rumiko Takahashi" align="right" src="http://images.amazon.com/images/P/1591166179.01.LZZZZZZZ.jpg" onmouseout="this.src='http://images.amazon.com/images/P/1591166179.01.LZZZZZZZ.jpg';" title="Maison Ikkoku" height="226" />

In the 1980s a new market trend started that became beneficial to many mangakas. &ldquo;Comiket&rdquo; or &ldquo;Comike&rdquo; is short for comic markets where amateur artists sell their original works (Masami 28). This was a medium that gave an opportunity to those who wanted to join the industry and be discovered by one of the well known publishing companies. One famous group to come from this is the group called [[http://www.statemaster.com/encyclopedia/Clamp-(manga-artists)][CLAMP]] which consists of four mangakas name Igarashi Satsuki, Ohkawa Ageha, Nekoi Tsubaki, and Mokona. [[http://www.akira2019.com/manga.htm][Akira]] by Katsuhiro began its serialization in the 80s. Akira was the first manga to be translated in its entirety in English. It was in this decade that many of the well known manga artists released some of their break out works. For example <a target="_blank" href="http://www.viz.com/products/products.php?product_id=5138">Dr. Slump</a> by Akira Toriyama who later created Dragon Ball and [[http://www.viz.com/products/products.php?product_id=7997][Dragon Ball Z]]. The manga [[http://www.viz.com/downloads/manga/maisonikkoku.php][Maison Ikkoku]] by Rumiko Takahashi lead to the artist&rsquo;s work on Inuyasha.These manga artists obtained successful careers through the rising publishing company "Shueisha Publishing"(Thorn). Their " [[http://www.matt-thorn.com/mangagaku/history.html][Weekly Shonen Jump]]" magazine growth kept the number one rank in circulation around Japan well through to the present day (Thorn). Countless titles from the 80s soon became the catalyst to expanding the industry in the United States.

From the 1990s to the present, manga had become an industry in which occupies 40% of sales dealing with books and magazines (Schodt). In Japan itself manga had been integrated into the daily lives of the people, however the biggest feat for these forms of art was the growing influence in the United States. Before its popularity there was only a few titles that ever made it to the U.S. let alone be translated to its entirety. Companies like [[http://www.viz.com/][Viz Media]] and [[http://www.tokyopop.com/][Tokyopop]] leading the manga industry in America it is no surprise that smaller companies would appear to cash in on titles that have not been licensed by the two juggernauts. Popular titles from Japan that have been introduced to the Western civilization in the last decade have been well received by the public. Not only did titles like [[http://www.bleachexile.com/][Bleach]], [[http://www.narutocentral.com/][Naruto]], and Pokemon entrance the young generation of the 90s, the adolescence also became smitten with the comics from the East. This results in the continuous growth of the industry and its expansion to reaching readers on an international level. This would not have been achieved if it were not for the efforts of numerous manga artists who continue their serializations to this day.
<p align="center">Works Cited</p>

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

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1107304683 0 0 415 0;} @font-face {font-family:"\@MS Mincho"; panose-1:2 2 6 9 4 2 5 8 3 4; mso-font-charset:128; mso-generic-font-family:modern; mso-font-pitch:fixed; mso-font-signature:-536870145 1791491579 18 0 131231 0;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-unhide:no; mso-style-qformat:yes; mso-style-parent:""; margin-top:0in; margin-right:0in; margin-bottom:10.0pt; margin-left:0in; line-height:115%; mso-pagination:widow-orphan; font-size:12.0pt; mso-bidi-font-size:11.0pt; font-family:"Times New Roman","serif"; mso-fareast-font-family:"MS Mincho";} p.MsoBibliography, li.MsoBibliography, div.MsoBibliography {mso-style-priority:37; mso-style-next:Normal; margin-top:0in; margin-right:0in; margin-bottom:10.0pt; margin-left:0in; line-height:115%; mso-pagination:widow-orphan; font-size:12.0pt; mso-bidi-font-size:11.0pt; font-family:"Times New Roman","serif"; mso-fareast-font-family:"MS Mincho";} .MsoChpDefault {mso-style-type:export-only; mso-default-props:yes; font-size:10.0pt; mso-ansi-font-size:10.0pt; mso-bidi-font-size:10.0pt; mso-fareast-font-family:"MS Mincho";} @page Section1 {size:8.5in 11.0in; margin:1.0in 1.0in 1.0in 1.0in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.Section1 {page:Section1;} --> <!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"MS Mincho"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style> <![endif]--> Gravett, Paul. <u>Manga: Sixty Years of Japanese Comics.</u> New York: Harper Design International., 2004.

Griffiths, Owen. "Militarizing Japan: Patriotism, Profit, and Children&rsquo;s Print Media, 1894-1925." 22 September 2007. <u>The Asian-Pacific Journal: Japan Focus.</u> 5 March 2010

&lt;http://www.japanfocus.org/-Owen-Griffiths/2528&gt;.

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. 456-75_, 38.3 (2005): 456-475. Web.

!MacWilliams, Mark W. "Manga in Japanese History." <em>Japanese Visual Culture </em><em>Explorations in the World of Manga and Anime (East Gate Book). </em>Armonk: M.E. Sharpe, 2008. 26-47.

Masami, Toku. "Shojo Manga! Girls' Comics! A Mirror of Girls' Dreams." <u>Mechademia 2: Networks of Desire</u> (2007): 19-32.

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.

Thorn, Matt. <u>Manga-gaku.</u> 2005. 15 March 2010 &lt;http://www.matt-thorn.com/mangagaku/history.html&gt;.

Manga in Kanji !http://en.wikipedia.org/wiki/File:Manga_in_Jp.svg

Otsu-e !http://www.eliteturks.gen.tr/anime-forum/19039-anime-manga-nedir.html

Japan Punch !http://www.christies.com/LotFinder/lot_details.aspx?intObjectID=5167996

Tobae !http://www.eliteturks.gen.tr/anime-forum/19039-anime-manga-nedir.html

Toba Scrolls !http://www.aamdocents.org/AAM/Special/07_06Manga/DidacticsDev.htm

CSUSB.kallnerk - 2010-03-20

CSUSB.selvinm - 2010-03-22
Topic revision: r12 - 2010-03-23 - kallnerk
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