The Comic Storytelling Of Western Japan

Rakugo, a popular form of comic storytelling, has played a major role in Japanese culture and society. Developed during the Edo (1600–1868) and Meiji (1868–1912) periods, it is still popular today, with many contemporary Japanese comedians having originally trained as rakugo artists. Rakugo is divided into two distinct strands, the Tokyo tradition and the Osaka tradition, with the latter having previously been largely overlooked. This pioneering study of the Kamigata (Osaka) rakugo tradition presents the first complete English translation of five classic rakugo stories, and offers a history of comic storytelling in Kamigata (modern Kansai, Kinki) from the seventeenth century to the present day. Considering the art in terms of gender, literature, performance, and society, this volume grounds Kamigata rakugo in its distinct cultural context and sheds light on the 'other' rakugo for students and scholars of Japanese culture and history.

2022 Eisner Award Winner for Best Academic/Scholarly Work Japanese comics, commonly known as manga, are a global sensation. Critics, scholars, and everyday readers have often viewed this artform through an Orientalist framework, treating manga as the exotic antithesis to American and European comics. In reality, the history of manga is deeply intertwined with Japan’s avid importation of Western technology and popular culture in the early twentieth century. Comics and the Origins of Manga reveals how popular U.S. comics characters like Jiggs and Maggie, the Katzenjammer Kids, Felix the Cat, and Popeye achieved immense fame in Japan during the 1920s and 1930s. Modern comics had earlier developed in the United States in response to new technologies like motion pictures and sound recording, which revolutionized visual storytelling by prompting the invention of devices like speed lines and speech balloons. As audiovisual entertainment like movies and record players spread through Japan, comics followed suit. Their immediate popularity quickly encouraged Japanese editors and cartoonists to enthusiastically embrace the foreign medium and make it their own, paving the way for manga as we know it today. By challenging the conventional wisdom that manga evolved from centuries of prior Japanese art and explaining why manga and other comics around the world share the same origin story, Comics and the Origins of Manga offers a new understanding of this increasingly influential artform.

Tokyo is ground zero for Japan's famous "geek" or otaku culture--a phenomenon that has now swept across the globe. This is the most comprehensive Japan travel guide ever produced which features Tokyo's geeky underworld. It provides a comprehensive run-down of each major Tokyo district where geeks congregate, shop, play and hang out--from hi-tech Akihabara and trendy Harajuku to newer and lesser-known haunts like chic Shimo-Kita and working-class Ikebukuro. Dozens of iconic shops, restaurants, cafes and clubs in each area are described in loving detail with precise directions to get to each location. Maps, URLs, opening hours and over 400 fascinating color photographs bring you around Tokyo on an unforgettable trip to the centers of Japanese manga, anime and geek culture. Interviews with local otaku experts and people on the street let you see the world from their perspective and provide insights into Tokyo and Japanese culture, which will only continue to spread around the globe. Japanese pop culture, in its myriad forms, is more widespread today than ever before--with J-Pop artists playing through speakers everywhere, Japanese manga filling every bookstore; anime cartoons on TV; and toys and video games, like Pokemon Go, played by tens of millions of people. Swarms of visitors come to Tokyo each year on a personal quest to soak in all the otaku-related sights and enjoy Japanese manga, anime, gaming and idol culture at its very source. This is the go-to resource for those planning a trip, or simply dreaming of visiting one day!

This open-access essay collection brings together a range of viewpoints on gender from a diverse group of international scholars based in Finland, Belgium, Japan, Singapore, and Australia. The focus is, in particular, on gender performativity and non-binary or non-normative gender. The essays examine the ways in which gender can be depicted, perceived, and understood in Japanese popular culture. The work will be of interest to scholars working in gender studies, Asian studies, and popular culture. It will also act as a source text for higher education courses in Asia, Europe, and the United States.

Japan's output of manga is massive, accounting for a staggering forty percent of everything published each year in the country.Outside Japan, there has been a global boom in sales, with the manga aesthetic spreading from comics into all areas of Western youth culture through film, computer games, advertising, and design. Manga: Sixty Years of Japanese Comics presents an accessible, entertaining, and highly-illustrated introduction to the development and diversity of Japanese comics from 1945 to the present. Featuring striking graphics and extracts from a wide range of manga, the book covers such themes as the specific attributes of manga in contrast to American and European comics; the life and career of Osamu Tezuka, creator of Astro Boy and originator of story manga; boys' comics from the 1960s to the present; the genres and genders of girls' and women's comics; the darker, more realistic themes of gekiga -- violent samurai, disturbing horror and apocalyptic science fiction; issues of censorship and protest; and manga's role as a major Japanese export and global influence.

This innovative book traces the impact of tradition on modern humour across several Asian countries and their cultures. Using examples from Japan, Korea, Indonesia and Chinese cultures in Mainland China, Hong Kong and Taiwan, the contributors explore the different cultural rules for creating and sharing humour. Humour can be a powerful lubricant when correctly interpreted; mis-interpreted, it is likely to cause considerable setbacks. Over time, it has emerged and submerged in different periods and different forms in all these countries but today’s conventions still reflect traditional attitudes to and assumptions about what is appropriate in creating and using humour. Under close examination, Milner Davis and her colleagues show how forms and conventions that differ from those in the west can also be seen to possess elements in common. With examples including Mencian and other classical texts, Balinese traditional verbal humour, Korean and Taiwanese workplace humour, Japanese laughter ceremonies, performances and cartoons, as well as contemporary Chinese-language films and videos, they engage with a wide range of forms and traditions. This fascinating collection of studies will be of great interest to students and scholars of many Asian cultures, and also to those with a broader interest in humour studies. It highlights the increasing importance of understanding a wider range of cultural values in the present era of globalized communication and the importance of reliable studies of why and how cultures that are geographically related differ in their traditional uses of and assumptions about humour.

Meet one of Japan's most popular characters of all time—Kitaro, the one-eyed monster boy Meet Kitaro. He’s just like any other boy, except for a few small differences: he only has one eye, his hair is an antenna that senses paranormal activity, his geta sandals are jet-powered, and he can blend into his surroundings like a chameleon. Oh, and he’s a yokai (spirit monster)! With all the offbeat humor of an Addams Family story, Kitaro is a lighthearted romp in which the bad guys always get what’s coming to them. Kitaro is bestselling manga-ka Shigeru Mizuki’s most famous creation. The Kitaro series was inspired by a kamishibai, or storycard theater, entitled Kitaro of the Graveyard. Mizuki began work on his interpretation of Kitaro in 1959. Originally the series was intended for boys, but once it was picked up by the influential Shonen magazine it quickly became a cultural landmark for young and old alike. Kitaro inspired half a dozen TV shows, plus numerous video games and films, and his cultural importance cannot be overstated. Presented to North American audiences for the first time in this lavish format, Mizuki’s photo-realist landscapes and cartoony characters blend the eerie with the comic. Translated from the Japanese by Jocelyne Allen.

This collection features examinations of popular culture, including manga, music, film, cosplay, and literature, among other topics. Using interdisciplinary sources and analyses, this collection adds to the global discussion and relevancy of Japanese popular culture. This collection serves to highlight the work of multidisciplinary scholars who offer fresh perspectives of ongoing cross-cultural and cyclical influences that are commonly found between the US and Japan. Notably, this collection considers the relationships that have influenced Japanese popular culture, and how this has, in turn, influenced the Western world.

This biography of the first foreign-born samurai and his journey from Africa to Japan is “a readable, compassionate account of an extraordinary life” (The Washington Post). When Yasuke arrived in Japan in the late 1500s, he had already traveled much of the known world. Kidnapped as a child, he had ended up a servant and bodyguard to the head of the Jesuits in Asia, with whom he traversed India and China learning multiple languages as he went. His arrival in Kyoto, however, literally caused a riot. Most Japanese people had never seen an African man before, and many of them saw him as the embodiment of the black-skinned Buddha. Among those who were drawn to his presence was Lord Nobunaga, head of the most powerful clan in Japan, who made Yasuke a samurai in his court. Soon, he was learning the traditions of Japan’s martial arts and ascending the upper echelons of Japanese society. In the four hundred years since, Yasuke has been known in Japan largely as a legendary, perhaps mythical figure. Now African Samurai presents the never-before-told biography of this unique figure of the sixteenth century, one whose travels between countries and cultures offers a new perspective on race in world history and a vivid portrait of life in medieval Japan. “Fast-paced, action-packed writing. . . . A new and important biography and an incredibly moving study of medieval Japan and solid perspective on its unification. Highly recommended.” —Library Journal (starred review) “Eminently readable. . . . a worthwhile and entertaining work.” —Publishers Weekly “A unique story of a unique man, and yet someone with whom we can all identify.” —Jack Weatherford, New York Times–bestselling author of Genghis Khan

Outside Japan, the term ’manga’ usually refers to comics originally published in Japan. Yet nowadays many publications labelled ’manga’ are not translations of Japanese works but rather have been wholly conceived and created elsewhere. These comics, although often derided and dismissed as ’fake manga’, represent an important but understudied global cultural phenomenon which, controversially, may even point to a future of ’Japanese’ comics without Japan. This book takes seriously the political economy and cultural production of this so-called ’global manga’ produced throughout the Americas, Europe, and Asia and explores the conditions under which it arises and flourishes; what counts as ’manga’ and who gets to decide; the implications of global manga for contemporary economies of cultural and creative labour; the ways in which it is shaped by or mixes with local cultural forms and contexts; and, ultimately, what it means for manga to be ’authentically’ Japanese in the first place. Presenting new empirical research on the production of global manga culture from scholars across the humanities and social sciences, as well as first person pieces and historical overviews written by global manga artists and industry insiders, Global Manga will appeal to scholars of cultural and media studies, Japanese studies, and popular and visual culture.