The "Clump Generation" (the generation with high birth rates) was in their 16th and 20s in the late 1960s, and new youth and adult magazines were launched to cater to their needs.
创于 Late 1960s,Co-owned GARO (Gallo) in 1964, Comic Magazine (Comic Magazine) in 1966, 1967 Published "Shukan Manga Action" (Weekly Manga Action) Japanese "Young Comics" (Young Comics), 1968 Play comics).
In the early 1970s, 1971, "Lead Comic" (Lied Comic) Japanese 1972 "Big Comic Original" (big comic original).
In addition to the advent of these new magazines, the established Weekly Shonen Magazine and Weekly Shonen Sunday have also adjusted their target audiences from elementary and junior high school students to high school and college students. The most representative manga artists of this period were all of the "drama drawing" (realistic manga) genre, such as Saito Takao (さいとう・たかを), Shiratoro Mitsuhei, Shigeru Mizuki, Andhin Kawasaki, and others mentioned in the book.
Covers of various comic magazines in the late '60s and early '70s
One of the initiators of the "Manifesto of Drama" ( Takao Saito ( whose real name was Takao " , using the pen name " さいとう ・ たかを " ) became so popular that he was the main writer of Comic Magazine and Young Comic.
In addition to the "Fever Magazines" and COM mentioned last time (see: 50 Years of Postwar Manga Reading Notes Part 6), the most notable of these new magazines are the Weekly Manga Action published by Futabasha and the Big Comic published by Kokukan (Kokukan).
The main works published in Weekly Manga Action.
"Shukan Manga Action", a comprehensive major work, comprehensive monkey punch-like "鲁鲁鲁乡鲁乡乡剉刚岛刚師帧刋刋 Hananojo Reinforcements Flower cheerleaders).
Representative works of "Big Comic": Takao Shibuto's "骷髅 13" (Saito Taka, Golgo 13), Shotaro Ishimori's "Sabuwa City Hahajiki" ?t(Ishinomori Shotaro, Satake and city catch refrain), hand halvatsu "Kirijin Uta" (Taito: Kirito 传译) Japanese ?s"Eciko" (Kirihito Sanka, Kiko).
Major works published in Big Comic
It was also at this time that major film companies sought inspiration from comic books, and various films adapted from the original comics competed to be brought to the big screen, and "50 Years of Postwar Comics" listed important adaptations by company:
A special mention to mention is "The Age of Cohabitation", which was already a best-seller during the manga period, and later fueled by movies, making "cohabitation" a Japanese social custom in the late 60s and early 70s.
The 1970s comic adaptation live-action movies were all the rage (compared to the previously mentioned manga originals).
From cartoons for children to comics for young people, comics have become increasingly influential in society; but this kind of adult-oriented works based on "drama paintings", from the rental comics of the "loan" period, have already attracted a lot of criticism, and now "drama paintings" are grandly featured in mainstream magazines and have been remade into movies, which makes the older generation of intellectuals feel worried.
Moreover, the rise of new forces threatens the existence of existing forces, and under the mentality of the literati, there are endless attacks and resistances among cartoonists.
However, some scholars criticized the comic culture of the time as a critic, which caused a lot of waves. Of these controversies, the October 14, 1973 special issue of Daily Sunday, "The Logic of Realistic Comics To Die," is the most worth exploring.
The 50 Years of Postwar Comics mentions that article:
Nagisa Oshima, who made the manga Ninja Martial Arts Tent into a movie in 1967, countered with an article titled "You can't say stupid things, only realistic manga is the representative art of modern times- a rebuttal to Mr. Yuji Aida."
Later, many scholars and critics joined the ranks of pen warfare, and cartoonists themselves also participated in the encirclement and suppression, and even the old predecessor of the drama painting school, Tatsumi Kayu (辰巳ヨシヒロ), also said that under the craze of drama painting, the drama painting was losing its initial vitality, and its expression methods were becoming increasingly hollow.
Kazuo Koike, the creator of the original work who has worked with many famous manga artists, said: "Realistic manga, like movies and novels, is a kind of medium, and in 10 or 20 years there should be a situation where realistic manga is used to convey news, or a combination of realistic manga and lead characters."
Although the readership of comics has grown, the problems that exist in the play have not disappeared.
George Akiyama's Asura
The Ninja Martial Arts Tent was criticized for being too realistic and cruel, and in the early 1970s, this criticism resurfaced. This time, the uproar was caused by the manga series Asura (アシュラ) published in Weekly Shonen Magazine.
Ninja Martial Arts Tent
The manga, created by Akira Akiyama (ジョージ秋山), "depicts the story of a man who even eats human flesh in order to survive in a cruel environment." In the comics, it is not a big deal to pick up dead bodies to survive, and some people eat dead flesh and bones! The mother of the protagonist, Asura, is even ready to burn a living Asura to eat!
"Asura" attracted severe criticism, and the popular manga artist George Akiyama at the time disappeared for two years.
Inside page of the Asura
Two comic-related events are also mentioned at the end of the chapter.
First, kodansha reissued the pre-World War II manga Kurogog (のらくろ) manga in 1967, much to the displeasure of critic Ishiko Shuntoku. If the act of republishment, he argues, "is only a negative document documenting the process by which militarism trampled on the liberal tendencies of Japanese children's culture," and that "its resurrection is nothing more than the resurrection of imperial military life." This naturally gave rise to polemics between both the pro and the negative sides.
Another incident was the 1973 manga "Please Kill Me Tenderly!" published in Long Comic (長編コミック, Yoshibunsha! The author of this manga is Kondo Yuki, which depicts the story of a female spy. The story of the spy is not a big deal, the bad thing is that the female spy is a "Korean", her ostensible profession is a porn actress and call girl, but in fact she uses her posture to get close to Japanese political and business celebrities to collect intelligence.
As soon as the manga came out, it caused protests from the "Japan Korean Research Institute Operation Committee", pointing out that the manga was suspected of vilifying Koreans and inciting the xenophobia of the Japanese people. The incident ended with a solemn apology from The Fangbunsha.