Author: Wang Xinxi/Anitama Cover Source: Shotaro Ishimori during the Tokiwaso period
<h4>Third, young people with ill-fated lives</h4>
In 1955, Japan entered the "Shenwu boom" period, people initially got rid of poverty, and the demand for spiritual entertainment increased, so the demand for manga also increased, which also made many newcomer manga artists begin to have opportunities. In September of that year, Shinichi Suzuki moved into Tokiwaso. The manga artist was an important member of Fujiko's team and one of Zero Studio's entrepreneurial partners. Fujiko's Super Dragon Suit Mr. Koike, who loves ramen and has appeared in many manga, is based on him; the name "Shin ちゃん" in the manga "Monster Q Tai 郞" is also taken from him; and the cover art of the large length of the Doraemon bunko edition is also taken by him. Although Shinichi Suzuki was a manga artist, perhaps he himself felt that he lacked talent in manga, and gradually transformed into an animator, and in 1963, together with Akitaro Ishimori, Fujiko Fujio, Fujiko Fujio, Fujita Fujio, and Jiro Kakuda (つのだじろう) brothers who followed the example of Osamu Tezuka, he formed Studio Zero, a company specializing in animation, with him as the first president. The animation produced by the studio is basically the work of those founders, such as "Monster Q Taro", "Asong", "Superman Parmen", "Prince of stars", etc., these animations he has participated in the production. When the studio was dissolved in 1971, he continued to be active in the animation industry. When he was old enough to participate in the first-line productions, he switched to teaching and worked as a special lecturer at the Tokyo Animation Academy (where Kazuno Nakazawa came from) to focus on cultivating new talents. Some of the more well-known animators are now his students.
In the Fujiko duo's manga, Mr. Koike, who often appears in the dragon set, is based on Shinichi Suzuki.
In February 1956, Naoya Mori (森安なおや), who was working in a dairy shop, was fired after a customer complaint that he was late delivering milk because he was obsessed with drawing manga. This bitter child, who died of his mother at an early age, had nowhere to go but to run to his friend Shinichi Suzuki. The two brothers and sisters lived in the same room in Tokiwaso and were intimate. Fortunately, at that time, people's hearts were simple, and if they were now, they would have to be ^_^ suspected by rotten women as "good friends".
Naoya Mori is a truly miserable person who has struggled with adversity all his life. Just published a short story in "Manga Boy", he encountered the suspension of "Manga Boy"; he was owed the manuscript fee by the loan publishing house, resulting in the agreement with Suzuki to pay half of the rent and could not come up with money, and when it was most difficult, Suzuki could only sell books and suits for their food expenses; Mori an was also the tokiwaso manga artist who was rejected by the magazine the most times. Gradually, he lost the perseverance and perseverance to continue to be a manga artist, and finally in early 1957, he escaped from Tokiwaso, which led to his removal from the New Manga Party.
After Mori An Naoya changed careers, he still had a bad fate. I worked in a tavern, washed dishes in a cafeteria, and worked as a woodcutter and houseware salesman, but none of them worked for long, so I had to write and draw a loan comic again. Unfortunately, at that time, the loan comic had begun to decline, and there was no food to eat, so I had no choice but to put the pen on hold for ten years. At the age of thirty-six, his wife was separated from him again, miserable and clear, and when he was old, he died alone in the apartment. In short, on the origin, Sen An is poor and humble; on life, Sen An is the most miserable manga artist; on the achievement of manga, he is at the bottom with Yokota Tokuo in Tokiwa Sho. Anyone who sees him will, like the author, shake a wave of sympathy to him.
Hayato Ibuki's "Tokiwa-so" Unreliable School: Manga Artist Nayaya Den Moriyasu, Social Shaisha Publishing.
Naoya Moriyasu's manga work Takita-haku, the main yu "Horibe Yasube", "Suzurin no Hanasakuka", "Red Bicycle", "Tsukiya no Tupture", "President Oshige", etc.
Another ill-fated manga artist, Tokuo Yokota (よこたとくお), is a good friend of Shotaro Ishimori. Shi Sen not only went to Beijing to struggle himself, but also pulled his best friends into the Camp of Tokiwaso. Tokuo Yokota moved in around the end of 1957, when Shinichi Suzuki and Naoya Mori had moved out, and Yokota moved into their house. Although he was from the same family as Tokiwaso, Tokuo Yokota is the worst manga artist in Tokiwaso, not to mention obscure in China, and not many people in Japan remember him (Naoya Mori yasu is still mentioned because of the tragedy of his life). He also did not draw any immortal masterpieces, mainly submitting articles to shonen manga and comedy manga magazines, his debut work was "Yamagata", "Tsukikan", and also painted the loan manga "Hate Flower Blowing Snow", "剣風乱れコ乙女", etc., and his masterpiece "マーガレットちゃん" was published in the Weekly Margaret.
<h4>Fourth, he wants to be Tezuka second</h4>
The tenant who moved into Tokiwaso after Naoya Mori is Akitaro Ishimori, the founder of Japan's unique superhero manga Kamen Rider series. He moved to Tokiwaso in May 1956, when he was only 18 years old. Born in Noboru, Miyagi Prefecture, this slightly fat little brother, formerly known as Shotaro Onodera, is an amphibious talent who writes novels with a pen in his left hand and draws manga with a pen dipped in water with his right hand. When he was 10 years old, he pulled out a comic book "New Treasure Island" from his classmate's home, and in a flash, another teenager's heart was captured. "Is this really a comic? It's like a movie! The protagonist seems to be about to fly out. Thus, "New Treasure Island" changed the life of a child. Being a manga artist like Tezuka and portraying manga like a movie became Ishimori's lifelong career.
Compared to the self-effacing humility of the Fujiko duo, which can't even reach the heel of Tezuka, Ishimori is much more ambitious, and he has always declared that he wants to be "Tezuka second". When he was 12 years old, he organized his best friends and hand-painted the manga doujinshi "A Drop of Ink" (which later became the name of the official online store of ishimori Wanhua Museum). The following year, he submitted an article to the "Daily Middle School Student News" and published his manga debut. During middle school, because of his good writing, his teacher encouraged Ishimori to become a full-time novelist, but Ishimori's dream of being a cartoonist was deeper and stronger, and comics had always been his first ambition. In 1953, he organized the "East Japan Manga Research Association", and the following year he made his debut with the publication of "Second-Level Angel" in the new year number of "Manga Boy", and attracted the attention of Hiroo Terada. "Second-Level Angels" tells the story of the second-level angels in the heavens who went down to the human world to perform various good deeds in order to upgrade to first-level angels, and the concept seemed quite clever at the time. The magazine gave Ishimori a reward of 780 yen per page, which gave Ishimori an initial confidence that relying on comics would be enough to make a living. In 1956, Tezuka sent a telegram to the famous Ishimori inviting him to go to Kyoto to join the manga industry. Ishimori, who had just graduated from high school, was thrilled and decided to run away from his depressed hometown and become a manga artist and make a lot of money.
The original version of shi sen's fanbook "A Drop of Ink" painted when he was a child, No. 6.7.8.
However, like most young dream seekers, family obstruction is inevitable. Shi Sen's father was a local civil servant (later official to the director of the Education Bureau), and the life path he designed for Shi Sen was: As the eldest son in the family, he must study hard, graduate and be admitted to the civil service, and live a life without wind and waves. "Later you will understand how important it is to have a stable job!" When Ishimori told his father about his wish to "drift east", his father, like most Chinese parents today, urged him in a serious voice, hoping that he would give up the "Japanese dream" and honestly become an ordinary person with "small luck".
Shi Sen was a little afraid of his father, so he was undecided. At this time, his sister Yuhui, a weak woman who also harbored literary dreams but could not realize her dreams due to illness, encouraged her brother not to stay in the birdcage and to fly bravely to the new world. Inspired, Ishimori plucked up his courage and boarded a train bound for Tokyo. Since he had already joined the Second New Manga Party and became acquainted with Terada and others, ishimori naturally moved into Tokiwaso after arriving in Tokyo.
Map of the location of each room of each person at Tokiwaso drawn by Shinichi Suzuki.
The stronghold of the New Manga Party, Tokiwaso, has now become a desirable, incomparably rustic and pure place. Here, the only topics we talk about are comics, comics, or comics. When creating, the corridor is quiet, only the slight rustle of the tip of the pen across the paper. Everyone has food to eat, money to make together, if someone is in a hurry to hand over the manuscript, others will definitely come to help. The "party members" inspired each other and vowed to draw cartoons that the children liked in their hearts. The eldest brother Terada cares about and takes care of his younger brothers everywhere in terms of food and living. Strong friendship and warm warmth flowed in the small Tokiwa Village.
Tokiwaso's housing is small, but his career is vast. Of the male manga families, Ishimori is the youngest (Noriyuki Yamauchi, who moved in at the end, is two years younger than him, but it is a different story), so he receives the most care in life, which allows Ishimori to free up more time to create. "Firebird Kazetaro" (火の鳥風太郎), "Water Color Ribbon" (水色のリボン), "快杰 Halimao" (快傑ハリマオ) are his masterpieces during the Tokiwaso period. During this time, he also worked as a planner for the animated film Journey to the West, which Tezuka supervised.
Shotaro Ishimori's "Fire Bird Wind Taro".
In 1958, something happened that had a huge negative impact on Ishimori's spiritual world. Her frail sister, Yue, came to Tokyo for medical treatment and died of an asthma attack. The sister who loved her the most was gone, and no one in the world was so gentle and caring to herself. For the first time, the young Shi Sen faced the darkness of the world, and he was extremely painful and helpless. Why do people have to survive? What exactly is human nature? He pondered bitterly, and with such a question in mind, sought answers with a paintbrush. Therefore, his painting style has changed greatly, from a children's style to an adult style. The pursuit of the true meaning of life has become the theme of his future works.
At the end of 1961, at the age of 23, After a week of circumnavigating the world, 23-year-old Shotaro Moved out of Tokiwaso and entered a new working environment. Later, he wrote a biography of this time that will always be remembered, "Chapter Saying: Tokiwaso・春" (章說・トキワ荘・春). Ten years later, he created The Kamen Rider manga that no one in Japan knows, which was adapted into one of Japan's three major feature series, and the trend continues to this day.
A miniature model of Shotaro Ishimori's work desk, made by Kazuhiro Yoshiga. Image source
At the recommendation of Osamu Tezuka, Ishimori became the author of the weekly Shonen Sunday, No. 19, 1959. His first weekly manga was the short story "Summer Hugh". Subsequently, starting from the 20th issue, the serial of トンカツちゃん was carried out. But the response to this work was mediocre, and it ended in the 30th issue of 1959. The following "ダイナミック3")"1959年33-1960年2号) and "かけだせダッシュ( 1960年3–21rd issue) are also not very noticeable. This has a lot to do with the fact that Ishimori has a large number of manuscripts, and he has to be distracted from drawing girl comics at the same time, and he can't carefully craft each work. Ishimori's early comics, objectively speaking, are basically second- and third-rate. He is not as poor as Hiroo Terada, who does not change his ambitions and insists on not bending his back for commercialization. He paints on any subject, as long as the editor says hello, fantasy, science fiction, horror, sports, love, adventure, eroticism, war, etc., all-encompassing, on-call painting. Therefore, the number of his complete manga collections is more than that of Tezuka, but the quality is well, most of them are not satisfactory. It should be noted that the creation of any literary and artistic work requires a thick and extensive accumulation of knowledge, and to understand everything is actually equivalent to not understanding anything. Shi Sen committed this problem. A cartoonist like him, it seems that he can draw a variety of subjects, which is very suitable for the extensive operation of commercial magazines in the early days, so the editor likes it and the manuscript is constantly being written. However, most of the works are formalized, lacking depth and sustainability, resulting in a short serial time and quickly forgotten.
Shotaro Ishimori repeatedly fought against "Weekly Shonen Sunday" and switched to "Weekly Shonen Magazine". At this time, he may have realized the drawbacks of "Bo but not Fine", so he took a shortcut and adapted the TV series "Kuaije Halimao" (快杰 Halimao) (快傑ハリマオ) into a manga, and invited the famous novelist Kazuo Yamada to write a script, and he just concentrated on drawing it. Sure enough, "Quick Jai Halimao" became a hit, and it was one of the rare highlights of "Weekly Shonen Magazine", which was being overwhelmed by "Weekly Shonen Sunday" at that time.
Shotaro Ishimori's co-produced manga "Kairi-Hari-Éro", Yumushi Comics Publishing.
Originally titled The Magic City, The Story takes place in Southeast Asia, and "Halimao" means "Tiger of The Malays". We should look at the contents of the work with a critical eye. Halimaou's prototype is The Japanese Navy Lieutenant Michio Otomo, who wears a white cloth around his head, sunglasses in his eyes, is good at pistols and riding skills, and is active in southeast Asian countries colonized by the West, fighting wits and courage with the colonial army in order to liberate the oppressed people of Nanyang. Such a plot, self-advocating, fighting with Westerners is also counted, and even from time to time monsters, demons, and giants are a bit thunderous. It is believed that Ishimori Shotaro was influenced by this and later embarked on the road of close-up films.
The image of the 1960 version of the TV series "Fast Jay Halimao", starring Toshiyuki Katsuki.
The TV series version of "Quick Jay Halimao" is Japan's first color series and the first time in the history of Japanese television to be filmed overseas. However, in 1960, the number of color picture tube televisions was quite small, so the show only produced the first 5 episodes of the color version, the last 60 episodes are still black and white. The manga version was serialized in Weekly Shonen Magazine, No. 16, 1960 - No. 10, 1961, and basically maintained the synchronization with the TV series. With the help of the promotion power of the TV series, the comics also became popular for a while. At that time, many children followed the example of Halimau, wrapped a white cloth around their heads, hummed the theme song of "The fiery red sun burns the endless southern sky" in their mouths, and carried toy pistols everywhere to "do justice".
The duo of Ishimori and Fujiko are the ones with the most manuscripts and the heaviest work in Tokiwaso, and whenever the night is quieter, they meet to go to the street to eat a bowl of supper. Cold nights, eating hot noodles, warm heart! Matsuba, a long-established Chinese restaurant near the apartment, is also a frequenting restaurant for manga artists.
The ramen at Matsuba Shop is said to have remained unchanged for decades, and it is exactly the same as that eaten by manga artists in those days.
In particular, Shinichi Suzuki has a special love for ramen, and every time he goes to matsuba, he must order ramen noodles. He is tired of all kinds of ramen in various flavors, so in the pen of others, he has always been eating the image of ramen. Gradually, the manga artists also had feelings for Matsuba, and the food for dinner and takeaway was basically from Matsuba. When the clerk goes to Tokiwaso to deliver food, he often sees young manga artists working hard all night. At that time, they had not yet become "wrist children", and the writing fees they earned were similar to those of ordinary wage earners, far from the point of wealth. However, although life is poor and work is hard, it also has fun that others cannot experience. Matsuba is still in front of the store, with a large-scale picture of the tokiwaso manga artists eating noodles together in "Manga Road", both as an advertisement and as a commemoration of the unforgettable story of youth struggle.
Shotaro Ishimori's work on The Youth of Tokiwaso, published by Kodansha, about the memories of Tokiwaso.
Shotaro Ishimori can be said to be the last aftersound of Tokiwaso. When he also moved out of Tokiwaso at the end of 1961, the story of Tokiwaso was nearing the end.
The next episode will appear on the father of the now popular "Asson", the king of comedy, Akatsuka Fujio.
This article is for publication by Anitama only, and no unit or individual may publish part or all of this article in any form.
Official website: http://www.anitama.cn
Official Weibo: @AnimeTamashii
WeChat public number: Anitama0815
Cooperation email: [email protected]
Original: m.anitama.cn/article/137d39a539bcc248?utm_source=toutiao