Author: Wang Xinxi/Anitama Cover Source: Fujiko Duo in His Youth
<h4>2. Attack fujiko duo</h4>
In October 1954, Osamu Tezuka found a better place to live in a wooden house in the Toshima area and moved away from Tokiwaso. At the end of the month, the Fujiko duo, whose fame and achievements are second only to Tezuka's, appeared!
Today, the name "Fujiko Fujio" is well known as the pen name used by Hiroshi Fujimoto and Suo Yasuko. Their deep friendship, from the fifth grade of elementary school to the death of Hiroshi Fujimoto in 1996, lasted for more than half a century, and they really became good friends and partners for a lifetime.
A lifelong good friend and partner. On the left is Hiroshi Fujimoto and on the right is Suo Yasuko.
Unlike Hiroshi Fujimoto, who came from an ordinary family, Yasuko Suo's family lineage is quite legendary. In 1934, in The Light Zen Temple, an ancient temple in Izumi City, Toyama Prefecture, a baby fell to the ground, and the father of the baby was the 49th abbot of the CaoDong Sect, and this baby was An Sun Zi Su Xiong. Originally, An Sunzi's father planned to let him inherit the mantle and become the next abbot of Cao Dongzong. When An Sun Tzu was only ten years old, his father went to see the Buddha. The family moved to Takaoka City to make ends meet. It was a deliberate arrangement of the Buddha, who transferred to Takaoka City's Tsuchitsuka National School and became a classmate of Hiroshi Fujimoto, who was four months older. Therefore, at the right time, they met the right people, they met each other in the mountains and rivers, accompanied by each other, and finally achieved each other, turning into eternal good stories.
When they were young, Fujimoto and Yasuko were able to see each other the same way because they had a common hobby: painting. Fujimoto is extremely poor in athleticism, timid and cowardly, and is often bullied by strong classmates in school. Physical education class is a mess, needless to say, culture class is also so-so, language arithmetic can only be made up. Coupled with a shy personality, not thinking of enterprising, indecisive, only thinking about playing every day, and crying his nose from time to time, he is the prototype of Nobita Nobita. If there is one more advantage for him, it is that he loves to paint, and he still paints like a model, very standard.
The unsociable Fujimoto Hiroshi had few friends at school until he met Yasuko Suo under the guidance of fate. In the autumn of 1944, shortly after the beginning of the new school year, whenever he came to the recess, Hiroshi Fujimoto, a fifth-year second-class student, saw his classmate An Sun Zi Su xiong copying a picture book on his desk, and he was greatly interested, so he went forward to talk with him. The introverted Hiroshi Fujimoto originally had very little to talk to his classmates, but this time he talked a lot because he had a common topic. Yasuko Suo was also silent because of the loss of his father, but at this moment he could talk to Fujimoto with great interest. Their words were speculative, and on the one hand, the purest and most innocent friendship sprouted between the young two.
During the reading period, the fantasies of daily life were drawn into cartoons. From Fujiko Fujio A's "The Way of Manga" Chuo Korasha edition
At that time, Hiroshi Fujimoto had begun to put all kinds of naïve and wonderful fantasies in his mind into his pen, drawing them into comics, nailing them page by page, making them into small picture albums, and circulating them among relatives and friends. At first, his parents admired their son's talent for painting, but when they found out that this seriously affected his studies, they immediately turned to and forbade their son to indulge in painting. Honest Hiroshi Fujimoto had to put his pen on hold for the time being. The appearance of Anzai Suo rekindled Fujimoto's enthusiasm for painting, and they hid from their parents, painting together, dreaming together, and going to the back mountain of the school to "explore treasures". These companion game experiences have accumulated original creative materials for the future "Doraemon".
The life of a self-amusing little cartoonist continued until the end of elementary school. In 1946, Hiroshi Fujimoto was admitted to the Electrical Department of the Middle Division of the Craft College, and Yasuko Suo was promoted to Takaoka Junior High School. Although they are no longer in the same school, they still maintain a close relationship with the bond of comics.
In middle school, the two were no longer satisfied with small fights, and Fujimoto, inspired by Paper Shibaju, began to use a homemade projection slide projector to show the "Sky Demon" cooperated by the two to classmates and neighbors, which was warmly welcomed. Every weekend, children, big and small, gather around them, expecting the screening to start soon.
Hiroshi Fujimoto made his own projection slide machine in middle school.
When Hiroshi Fujimoto was 14 years old, he bought a manga on the street called "New Treasure Island". When he took the book and shared it with An Sun Tzu Su Xiong, he turned the first page and only looked at it for the first time, and he was stunned. He later recalled: "The moment we held the book in our hands, the fate of our lives was already decided. Since then, the four bright words of "Tezuka Osamu" have always been imprinted in their hearts, shining with golden light, and have never faded in their lives.
"New Treasure Island" inspired Hiroshi Fujimoto and Suo Yasuko to aspire to the manga business at a higher level, and they saw the hope of turning their hobby into a career from their big brother who was only five years older than themselves. In 1948, after enjoying Tezuka's manga "Pre-Century" and the Disney cartoon movie "Snow White", they could no longer hold back their passion for creating real comics, so they began to work. The two first co-founded a comic fandom called "Little Sun", so serious that even the above advertisements were completely hand-drawn. He then submitted a manuscript to Manga Shonen and wrote a passionate letter asking the Editorial Board of Manga Shonen to hand it over to Osamu Tezuka. Although the manuscript was not published by "Manga Boy", the two received a reply from Tezuka and were so moved that they could not help themselves.
The two men collaborated on "Little Sun" for the first time. From Fujiko Fujio A's "The Way of Manga" Chuo Korasha edition
In December 1951, near graduation, the Mainichi Elementary School News published a four-panel manga "Angel Ayu" jointly created by Fujimoto and Yasuko, and serialized ten chapters. This is the first time that the works of the two have been published in a regular journal, and the first test of crying can be regarded as a debut work.
After that, they opened a joint account at the post office to jointly manage the income from the manuscript fee, withdraw money to see the movie together, and learn the technique of storyboard composition from the movie. Once, they watched a magnificent movie "BinXu" (watching the 1926 version, not the 1959 Oscar best picture), and they felt inspired it and created a comic strip based on the film. Before submitting the article, they made a special trip to Takarazuka City to visit Osamu Tezuka, hoping that the idol would give him some guidance. When they first saw Makoto Tezuka, it was like an electric shock, and their eyes burst with excitement. It should be known that at that time, every teenager who loved manga worshipped Tsuka as a god. Which once wanted Tezuka to only glance at "Binxu" a few times, said: "Well, the painting is good." "It was perfunctory. The two were disappointed, but it was inconvenient to reveal, leaving the drawings, and returned to Toyama Prefecture overnight. In fact, Tezuka has seen that they are malleable talents, and has developed an urgent sense of competition and crisis for such a wonderful offspring, lamenting that the two may be their lifelong opponents. The manuscript of the Binxu was later treasured by Tezuka for a lifetime.
Memories of the first time the two met Osamu Tezuka. From Fujiko Fujio A's "The Way of Manga" Chuo Korasha edition
Time flies, the green campus life is over in the blink of an eye, and Hiroshi Fujimoto enters the Tsuda Sugar Company as an ordinary technician. But his ability to do nothing but painting, where can he do this job? After only three days on the job, he accidentally rolled his arm into the machine and was injured. Does this pay off? Three days is so bad, if you have more time, wouldn't you have to take your life? Fujimoto resigned in a hurry, and his parents did not dare to force him to develop independently. So Hiroshi Fujimoto stayed at home and put all his mind on manga creation.
Compared with Hiroshi Fujimoto, Yasuko Suo's career path is much smoother. His uncle worked as a specialist at Toyama Shimbun, and through this connection, he was also introduced to the company, where he was responsible for portrait painting and interviews in the Faculty of Arts (Pan-Arts) and the Ministry of Social Affairs. His life is stable, and his income is many times higher than that of Hiroshi Fujimoto, who depends on the fee.
However, the young heart is always beating and not willing to be mediocre. Yasuko has never forgotten to chase the dream of manga, going to Fujimoto's house to help with painting on weekends or vacations. Fujimoto urged him to resign and go to Tokyo to become a true manga artist. Going to Tokyo is a big deal for Fujimoto, but it's a choice question for Anko. On the one hand, An Sun Zi hopes to do a career and live up to this life; on the other hand, he is nostalgic for a stable working and living environment, so he hesitates. This is very similar to the mentality of young Chinese people today. To this end, he deliberately consulted with his mother, who told him: "Do what you are most willing to do." This sentence made An Sun Zi make up his mind and resolutely resign to seek his dream. When he asked his uncle, who had been promoted to president, to resign, his uncle couldn't understand why he had to give up his promising job to draw comics that might not even have enough to eat. In 1954, Suo Yasuko, who left his post, formally formed a creative duo with Hiroshi Fujimoto. In order to express their admiration for Otsuka, they decided to use the pen name "Ashikatsuka Fujio", which means "Our level is not even higher than Tezuka Sensei's heel." ”
There are fewer manga works under the name of Fujio Azumatuka, among which "40,000 Years of Drifting" was serialized only a few times, and he was beheaded. Subsequently, Tsuru Shobo published their only single edition, Utopia Final World War (UTOPIA Final Battle of the Worlds), named "Azuma Fujio". Unfortunately, sales are very small, and only 7 copies are extant, which is the highest priced ancient manga auction house in Japan, and it is also the dream treasure of countless manga collectors. It can be said that the duo, which has just started their career as a professional cartoonist, did not have satisfactory results at first. In order to seek a broader development prospect, in June 1954, Fujimoto dragged Yasuko to Tokyo by train at Takaoka Station. Today, in front of Takaoka Station, there are statues and post boxes of Doraemon, Nobita Nobita, Shizuka, and other well-known figures to commemorate the beginning of this great journey.
Utopia One of the last surviving originals of The Last World War. At that time, it was published under the pseudonym of Fujio Azumatuka. Crane Study Publishing
In Japan at that time, the "East Drift" of a large number of young people, like the "North Drift" of today's Chinese literary and artistic youth, was an adventure full of desperate bets, success and defeat, and hope and despair were born at the same time. Fujimoto and Anko first arrived, with no manuscripts, no works, no income, and a difficult life, so they could only live in a small house of a distant relative of Anko, with an area of only 3.3 square meters. Such a space, let alone creation, is difficult to even turn around. The taller Fujimoto could only bend down and shrink his feet, cheer each other up with An Sun Tzu, and grit his teeth and insist.
Half a year later, Osamu Tezuka learned of their plight and immediately asked the schoolchildren' club to arrange for them to stay at Tokiwaso. In terms of deposits, Tezuka left the deposit that should be refunded after he moved out, and also supported 30,000 yen as the initial rent for the two juniors. Fujimoto and Yasuko were relieved to concentrate on creating manga, taking the first step towards the journey of professional manga artists.
Although Tezuka did not live in Tokiwaso at this time, he still had two little brothers in mind, and he asked the editor to bring part of his drawings to Fujimoto and Yasuko, and asked them to be assistants so that they would not be without income before the official publication of the serial manga.
The back of the two struggling for a comic dream. From Fujiko Fujio A's "The Way of Manga" Chuo Korasha edition
Since to because tokiwaso was often attended by editors of manga magazines, and Hiroo Terada assisted him, the two soon after moving in, they were given the opportunity to publish and create a short manga for the temporary supplement to the "King of Adventures" (Tanjun King) "Cosmic Veins" (Cosmic Veins). The two took advantage of the opportunity to change their pen names, taking a word from each of their surnames and merging them into "Fujiko Fujio".
Fujiko duo, the longest-lived manga artist in Tokiwaso, moved in on October 30, 1954, and moved out in October 1961, a seven-year stay. Their room was Room 14, where Tezuka had lived, and on the day of the move, the two were particularly excited to live in the room where the master they had admired since they were teenagers.
In this burrow, Fujiko first drew a loan book for the Loan Publishing House. Because he is a newcomer and the drawings are all one-time buyouts, his income is meager and he can only make ends meet. Later, with the relationship of the "New Comic Party", the situation improved well.
The result of a collaboration between the Comic Magazine and the New Comics Party. The result of a collaboration between the Comic Magazine and the New Comics Party.
Before officially moving into Tokiwaso, Fujiko and his wife met three like-minded new manga artists of similar age, namely Naoya Mori, Takemaru Nagata, and Saburo Sakamoto. In July 1954, Fujiko and the three manga artists mentioned above, plus Hiroo Terada, formed the first New Manga Party, with Hiroo Terada as president and head of finance. In April 1955, the First New Comics Party was dissolved for some reason. In May, Hiroshi Terada organized the second New Manga Party with Hiroshi Fujimoto, Suo Yasuko, Jiro Kadoda, Shinichi Suzuki, Naoya Mori (removed in 1957), Shotaro Ishimori, Fujio Akatsuka, and Shunji Enyama. The purpose of the New Comics Party is to cooperate and help each other to jointly study and develop the comic book industry. At that time, the nine members left pictures on the curtains of Tokiwaso to commemorate it. As a result, this curtain became known as the "Buddha's robe" in the manga industry, and was later purchased by collector Teruhisa Kitahara.
A member of Fujiko Fujio A's Tokiwaso. Photo credit: Natalie website feature
After the formation of the new manga party, Terada was responsible for contacting various magazines, and party members cooperated to contribute and attack in groups. Editors were very supportive because they could get their manuscripts in a centralized manner, saving them a lot of travel, and the number of drafts for the New Comics Party increased rapidly. Publications such as "Juvenile Club", "Manga King", and "Maiden" made an appointment for a manuscript to Fujiko duo, so that they could reach 6 serial comics per month, "enjoying" the high-standard treatment known as "deadline hell" that only best-selling manga artists have. The thrilling, dragon-and-fish battle on paper gave the two great mental pressure and challenges, and also prompted them to change from novices to old birds in a short period of time.
The generous tete tezuka daijin was very affectionate to Tokiwaso, often returned to visit, and took Fujiko and other small characters to the cinema to enjoy the best films, Westerns were the most watched genre movies. With the help of the film, Tezuka taught the screenwriting and storyboarding skills to the younger generations, and Fujiko and others benefited a lot.
Memories of Osamu Tezuka taking their two juniors to a movie. From Fujiko Fujio A's "The Way of Manga" Chuo Korasha edition
Although the Fujiko duo poured out their enthusiasm and desperately painted, they were also mortal flesh after all, and the huge workload made them exhausted and exhausted. Once, they really couldn't move the painting, and they actually picked up the pick and ran directly back to their hometown. The editorial board is not as tolerant of them as Tsuka, and this kind of behavior that causes the publication to open the skylight must be resolutely cracked down. So the editorial departments joined forces to ban the Fujiko duo for a period of time, and later thanks to Terata Hiroo's intercession, they were able to get out of the "manga artist blacklist". The two of them deeply reflected, returned to Tokiwaso, and from then on, they worked diligently and never dared to learn the vices of Tezuka's escape drafts.
In 1957, Hiroo Terada, who took good care of the two of them, was taken together when they got married, with Yasuko Suo in the middle of the back row and Hiroshi Fujimoto on the right.
In 1959, the cartoonist in the apartment had left several people, and the duo, who originally lived in the same room, were able to rent a room for each person, and the creative environment improved a lot. Do you know why Doraemon sleeps in a closet? It turned out that there were three years in Tokiwaso, and fujiko and fujiko took turns to rush the manuscript, one of them was painting, and the other was resting in the closet. You can imagine how cramped the living rooms we shared back then were. As I said before, they were "beaten" and almost smashed their jobs in the monthly era for being lazy and escaping from the manuscript, a lesson that they took a lifelong lesson. Therefore, after the era of manga weekly, although the weekly magazine was more rhythmic and the frequency of drafts was higher, the Fujiko duo was able to work diligently and complete the weekly tasks in a timely manner. In 1959, the "Prince of the Sea" (海の王) in the inaugural issue of The Weekly Shonen Sunday was their first shot in the weekly era.
Shueisha edition of the Sea Prince, 6 volumes.
The original work of "Prince of the Sea" was Aoi Takagaki, a famous manga screenwriter in the 1950s and 1960s, who wrote the scripts for the first to ninth times of the game, and then left for some reason. So the story from the tenth time was conceived by the duo themselves. This is a children's science fiction comic, the prince of Cain in the underwater kingdom is brave and kind, and has a high talent for fighting, shooting, mechanical control, etc. Together with his sister, he piloted the super sea-air fighter Falcon, diving into the sea and fighting heroically against organized crime in the world's major seas. Mysterious areas such as Alcatraz Island, Undersea City, and Phantom Island have left their footprints in punishing evil and pursuing evil.
One of the characteristics of the work is that the characters in the painting can distinguish at a glance who painted it. What does this mean? It turns out that the comics that the two have previously cooperated in, due to the symbiotic relationship, deliberately pursue stylistic unity in terms of brushwork and brushwork, which is reflected in the work, that is, water and milk blend, and they are not separated from each other. But in fact, the two have a very different style of drawing, so let's first look at some of their independently signed comic works.
The two Fujiko's painting styles are contrasted, with Hiroshi Fujimoto's "Doraemon" on the left and Suo Yasuko's "Here Comes The Magic Taro!" on the right. 》
As shown in the picture, Hiroshi Fujimoto's characters have a flat head and a straight face, a kind face, giving people a sense of approachability. And the character characteristics of An Sun Tzu's pen, all sharp-billed monkey cheeks, thin face and shrunken cheeks, to put it ugly, is the roe deer's head rat eyes, which makes people feel disgusted at a glance. Even in an important biographical comic like The Comic Road, the two protagonists are drawn as treacherous, as if the villain has mistakenly become the protagonist. Therefore, after fully considering the painting style of the two, the editorial department arranged for the character of the righteous side in "The Sea Prince" to be sketched by Hiroshi Fujimoto, and the role of the evil side was sketched by An Sun Zi Suo. The two men first typed a draft, then drew the positive and negative characters separately, and finally spliced it together. Work efficiency is high, but also able to show their strengths, in the case of not yet hired assistants, it is a good idea. When readers enjoy "The Prince of the Sea", they can easily distinguish which characters are painted by which according to the style of the two people. By the way, although Fujimoto Hiroshi died early, his manga achievements are recognized as above An sun tzu, and the sales of his works after the dissolution are better than an sun tzu, which also has a certain relationship with the painting style.
During the Tokiwaso period, Hiroshi Fujimoto was creating.
The original golden partner, now left with An's grandson Suo (Fujiko Fujio A) is still alive. Photo credit: Natalie website feature
In addition to Prince of the Sea, Fujiko Fujio created more than a dozen novellas before moving out of Tokiwaso in October 1961, all of which were published in the school year magazines owned by elementary school hall and Kodansha. In particular, fujiko Fujio formed a lifelong friendship with the school year under the elementary school hall. Looking at their catalogues, from 1959 to 1996, the vast majority of their work was published in seven publications, from Kindergarten to Sixth Graders.
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Original: m.anitama.cn/article/d047ac0ea899537a?utm_source=toutiao