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News Review: February 2015

Americas

United States

Culture

The New-York Historical Society has awarded its annual American History Book Prize to Jill Lepore’s  The Secret History of Wonder WomanLink (17/02/2015, English, WG)

The Billy Ireland Cartoon Library & Museum will celebrate women’s history month and their international holdings with the opening of World of Shojo Manga! Mirrors of Girls’ Desires. The exhibition takes place between the 28th March and the 5th July. Link (English, WG)

Research

The MLA Discussion Group on Comics and Graphic Narratives has published a call for papers for three panels at next year’s MLA Convention in Austin, Texas (7th to the 10th January 2016). The panels are Satire and the Editorial Cartoon, Latina/o Comics, and Charlie Hebdo and its Publics. Link (14/02/2015, English, WG)

Scholars Kathryn La Barre, Carol Tilley, and John Walsh are collaborating on a digital archive analysing comics readership from 1961-1973. Link (03/02/2015, English, WG)

Asia

Japan

Culture

Yonezawa Yoshihiro Memorial Library is showing the exhibition “Mihara Jun, Revival Festival” between the 8th February and the 31st May. Link (Japanese, JBS)

Education

The works of students graduating from Kyoto Seika University’s Faculty of Manga and Graduate School of Manga will be exhibited at the Kyoto International Manga Museum during Anime Week (18th to the 22nd February). During this period, access to the museum is free. Link (Japanese, JBS)

Europe

Austria

Culture

Nextcomic Festival is going to take place in Linz from the 19th until the 27th March; guests include Anke Feuchtenberger and Nicolas Mahler. Link (19/02/2015, German, MdlI)

Belgium

Obituary

Belgian artist Géri, known for his work on Tintin magazine, has died aged 80. Link 1 (05/02/2015, French, LTa), Link 2 (05/02/2015, French, LTa)

France

Culture

Joann Sfar, creator of The Rabbi’s Cat, has began publishing columns and illustrations in the French edition of the Huffington Post. Link 1 (05/02/2015, French, LTa), Link 2 (05/02/2015, French, LTa)

Obituary

Jacques Kamb, cartoonist for the newspaper L’Humanité and bande dessinée artist for Pif Gadget, has died at 81. Link (06/02/2015, French, LTa)

Germany

Culture

Scott McCloud is going to present his latest comic, The Sculptor, in Berlin and Leipzig from the 11th-13th March. Link (05/02/2015, German, MdlI)

Guests at Leipzig Book Fair and the simultaneous comic festival, The Millionaires Club, from the 12th until the 15th March, include Achdé, Judith Park, and Sascha Hommer. Link (12/02/2015, German, MdlI)

Comicfestival München is going to take place from the 4th until the 7th June 2015. Guest country is the UK; guest artists include Frank Quitely, Don Rosa, and Bryan Talbot. Link (19/02/2015, German, MdlI)

An exhibition on Atze and Mosaik is shown in Leipzig from the 24th February until the 18th March. Link (23/02/2015, German, MdlI)

Brigitte Helbling and Sarah Burrini are going to talk about contemporary comics and their production in Stuttgart on the 14th April. Link (26/02/2015, German, MdlI)

Research

There is a Call for Papers for the second issue of Closure. Kieler e-Journal für Comicforschung; the deadline is the 11th March. Link (08/02/2015, German, MdlI)

Greece

Culture

The Athens Comics Library, the first comics library in Athens Greece, is now open. Link (15/02/2015, Greek, LTs)

Hungary

Culture

The Hungarian comic artist and designer Zorro the Bianco’s exhibition, Are You In Our Story?, was opened as part of the LGBT History Month on the 18th February at Roham Bár, Budapest. Zorro’s work was featured in the 2014 campaign film of the LGBT History Month. Link 1 (Hungarian, ES), Link 2 (Hungarian, ES)

Netherlands

Research

The inaugural Amsterdam Comics international conference, Comics Interaction, will take place between the 1st and 3rd July in Amsterdam. Abstracts are due by the 17th April. Link (English, WG)

Portugal

Culture

On the 19th February the Latvian magazine S! published an issue inspired by the book Livro do Desassossego by Fernando Pessoa. The issue includes some comic works from 17 portuguese authors and an introduction by Marcos Farrajota. Link (26/02/2015, English, RR)

Spain

Culture

The winners of the 2015 prizes of the AACE (Asociación de autores de comic de España -Spanish Comics Authors Association) have been announced. Link (11/02/2015, Spanish, EdRC)

The third edition of KBOOM!, an event about comics and self-publishing, will take place in Espai Jove La Fontana (Barcelona) on the 14th and 15th March. Link (24/02/2015, Spanish, EdRC)

The IVAM (Institut Valencià d’Art Modern -The Valencian Institute of Modern Art) is hosting an exhibition by Francesc Ruiz about Valencian comics, from the 19th February until the 30th August. The Universitat Politécnica de Valéncia will also celebrate a seminar parallel to the exhibition from the 4th to the 6th March. Link (22/02/2015, Spanish, EdRC)

A crowfunding project is looking for contributions to produce a documentary about the comics industry in Spain. Link (20/02/2015, Spanish, EdRC)

Sweden

Research

There is a call for papers for a conference regarding the Future in Comics. The event will take place in Stockholm between the 3rd and 5th September, and abstracts are due by the 15th April. Link (English, WG)

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  News Editor: Will Grady (comicsforumnews@hotmail.co.uk)

Correspondents: Jessica Bauwens-Sugimoto (JBS, Japan),  Enrique del Rey Cabero (EdRC, Spain), Martin de la Iglesia (MdlI, Austria & Germany), Renatta Rafaella (RR, Portugal), Eszter Szép (ES, Hungary), Lise Tannahill (LTa, Belgium & France), Lida Tsene (LTs, Greece).

Click here for News Review correspondent biographies.

Click here to see the News Review archive.

Suggestions for articles to be included in the News Review can be sent to Will Grady at the email address above.

 
 
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Posted by on 2015/03/04 in News Review

 

The Bi-Monthly ComFor Update: February 2015 by Lukas R.A. Wilde

Welcome to 2015’s first column of the German Society for Comics Studies (ComFor). Regardless that ComFor will be celebrating its 10th anniversary this year, due to holiday breaks and such you’d expect a relatively slow start for comic studies – with the biggest events comprised only of the traditional “must-read” lists and surveys on 2014’s works (you’ll find wonderful compilations of German and international “Top-X” lists on Christian Maiwald’s comic infopage Dreimalalles.info, including ComFor members’ own thoughts on interesting reads). Quite to the contrary, however, the last two months proved to be pretty eventful. I feel obliged to mention the shocking incidents at Charlie Hebdo first; not only because they overshadowed January, but also because they raised a lot of questions regarding the relation of cartoons and comics to politics – a topic that has been critical to some of ComFor’s previous annual conferences. While German scholars were as shocked and speechless as everyone else, some will try to think about a way to honor the contributors to Charlie Hebdo not only as victims but artists.

Despite that tragedy, there has been a lot of other really exciting and encouraging news for comics research. Charlie Hebdo wasn’t the only international topic discussed in Germany, thankfully: All eyes and newsfeeds were fixed on France for a more pleasant reason as well, which would of course be the Angoulême festival. Quite a few German artists and their works (including Barbara Yelin, Jens Harder, Ulli Lust and Till Thomas) enjoyed recognition (and some award nominations) in what is certainly Europe’s most important comic festival. Germany’s own stand was organized by a collaboration of the Frankfurt Book Fair, the Deutscher Comicverein and the Goethe Institute Paris. It was also announced that a renowned German prize for merits in literary translations, The Christoph-Wieland-Übersetzungspreis, will focus exclusively on comic book translations this fall. The prize has been awarded biannually since 1979, but this is the first time that comic books have been considered instead of previous genres like lyric poetry (2009), short prose (2011) or world literature (2013). Also worth noting, Paderborn University’s Department of English and American Studies announced a recruitment notice last month which focuses exclusively on comic book research: the sought-for associate is to work within Alexander Dunst’s research group “Hybride Narrativität: Digitale und Kognitive Methoden zur Erforschung graphischer Literatur” (“Hybrid narrativity: digital and cognitive methods for the research of graphic literature”), supported by the Federal Ministry of Education and Research. Alongside such growing cultural and academic recognition, one of the largest German newspapers, Berlin’s Der Tagesspiegel, published yet another well-researched article on the recent increase in comic scholarship and specialized literature.

Festivals and Fairs

If not in competition with Angoulême, some German festivals nevertheless deserve attention. Already announced in Nina Heindl’s last column, the city of Kassel celebrated its second “Neue Wege” (“new paths”) festival of graphic novels from  January 15th to 18th. In Switzerland we can look forward to the 25th installment of the renowned Fumetto festival in Luzern (March 7th till 15th), certainly also one of the most important cultural events for comics in Europe (the exhibition program looks nothing short of spectacular). The Buchmesse Leipzig (a huge book fair from March 12th to 15th), though not limited to comics, nevertheless offers fans a whole exhibition floor and a sensational program – Scott McCloud will introduce the audience to his newest work, The Sculptor, to mention just one (if you are in Berlin, you also have the chance to meet him on March 11th/12th at the house of the Berliner Festspiele). Alongside the Buchmesse, running on the same dates, Leipzig will also be the venue of The Millionaires Club, an annual Comics & Graphics Festival taking place in the Gallery for Contemporary Arts. A wide variety of artists from Finland, Latvia, France, Poland, Slovenia, Germany and beyond will be participating, and many workshops, concerts and exhibitions are on offer! Decisively smaller is the two-day-festival of Comic Invasion Berlin, which will take place in Germany’s capital on April 18th/19th for the 5th time. The Comic Invasion will also present a newly-announced incentive award to support young artists, adding to the exciting news for comics mentioned above. Details about the competition will soon be available online, with the contest theme said to be “Berlin 2055”.

Exhibitions

It’s getting increasingly hard to maintain an overview of the numerous comic-themed exhibitions. If you want to stay on top of these, we’d again suggest regularly checking Dreimalalles’ amazing calendar-tool. However, I’ve picked just a few noteworthy exhibitions here: From  January 1st until 31st LE MONDE diplomatique and the Reprodukt publishing house celebrated LE MONDE’S (German edition’s) 20th anniversary with the show “Comics zur Lage der Welt” (“Comics on Today’s Situation”) at the Neurotitan Berlin, exhibiting some of the best works of the artists that published in LE MONDE from 2010 to 2014. The Comic Haus Cologne did a beautiful show on 75 years of Batman from November 11th until February 5th. ComFor members such as Martin Frenzel and Lars Banhold participated in presentations and discussions on the Dark Knight’s history. Next up was the “Nothing Special” exhibition in Mannheim (February 7th till March 8th), focusing on young artists’ representations of everyday routines.

Research and Conferences

While the winter was relatively quiet in terms of new publications, a few studies not mentioned before are worth looking into: Holger Wilmesmeier put together a didactic “comic laboratory”, aiming at school use for children age 8+: Kreativ lehren und lernen mit Comics (Creative Learning and Teaching with Comics). Eckart Sackmann continued his impressive work on early German comic book research in volume 11 (2015) of Deutsche Comicforschung (German Comic Studies), featuring original articles on proto-comics before Wilhelm Busch, Lyonel Feininger’s early work, and the role of “comics” in newspaper research pre-1945 (to name just a few). On January 1st, the Transcript publishing house released Stefan Meiers study on the discourses surrounding Superman, focusing on aspects of seriality and media changes: Superman transmedial: Eine Pop-Ikone im Spannungsfeld von Medienwandel und Serialität (Transmedial Superman: A Pop Icon between the Poles of Media Changes and Seriality).

While Andreas Veit, Johannes Noldt, Simon Klingler and Johannes Schmid continued to host Hamburg’s Comic Colloquium, an open and interdisciplinary forum to discuss comic research in all stages, there were no conferences related to comic studies in winter – with the exception of Tuebingen’s Winter School, “Mediality and Multimodality across Media”. Organized by Klaus Sachs-Hombach and Jan-Noël Thon, the three-day-conference featured internationally renowned experts on the theoretical foundation of the buzzword “multimodality”: Covering wide areas of media and discourse – from film, television and the novel to non-verbal and online communication – ten keynote speakers and twelve junior researchers investigated the disciplinary and methodological assumptions of multimodality. Charles Forceville gave an in-depth presentation on the variety of multimodal communicative aspects of comic books, while Benoît Crucifix, Fabian Gregori, Evelyn Chew and myself pursued the concepts in question through specific (print and digital) comic cases and applications.

Tuebingen is additionally going to stay on the radar for a while longer: Jan-Noël Thon and myself are looking forward to organizing the 2nd Workshop of the AG Comicforschung (Comic Studies Board) of the Gesellschaft für MedienwissenschaftGfM (the German Society for Media Studies) with support from the Institutional Strategy of the University of Tuebingen (German Research Foundation, ZUK 63). From April 24th to 26th 2015, we’d like to offer the chance to discuss the “Materiality and Mediality of Contemporary Comics”, focusing on how this relationship has changed in the context of digitalization and an increasingly convergent media culture. The keynote speakers Daniel Merlin Goodbrey (Hertfordshire), Ian Hague (Comics Forum), Karin Kukkonen (Turku), Véronique Sina (Bochum) and Daniel Stein (Siegen) will chair additional paper presentations, which will all be in English. If you’d like to join in, have a look at our Call for Papers which is still open until March 15th.

Until our next column in April, I’d like to recommend some links which might be of interest to stay updated: While ComFor’s Martin Frenzel is still working on the Comicoskop-online journal I’ve already mentioned in my last column , he and his team are also doing a terrific job at the Comicoskop Facebook-installment: Updates on articles, reports and newscasts that are relevant to comics are given almost daily. Of even greater scholarly interest might be the Facebook-group Comicforschung/comic studies initiated by publisher Christian Bachmann some years ago. With over 300 members now, it has become an increasingly valuable environment to discuss questions, ask for educated guesses on current research projects, or just to stay informed on new publications and CfPs. You’d have to ask for registration, but as long as you don’t post (non-scholarly) advertisement, you should be fine. Return here for our next ComFor column in April!

Lukas R. A. Wilde, M.A., is a doctoral candidate at the Department for Media Studies of Tuebingen University; he is on the editing board of the website of the German Society of Comic Studies (ComFor) and a member of the Comic Studies Board of the German Society for Media Studies (GfM). His focus of interest is on picture theory; media theory; webcomics and digital comics; recent publications: Der Witz der Relationen. Komische Inkongruenz und diagrammatisches Schlussfolgern im Webcomic XKCD. (Stuttgart 2012); “Was unterscheiden Comic-‘Medien’?” In: Closure. Kieler e-Journal für Comicforschung (2014: 1), S. 25–50; “Distinguishing Mediality. The Problem of Identifying Forms and Features of Digital Comics”. In: Daniel Merlin Goodbrey / Jayms Nichols (eds.): Digital Comics. A Special-Themed Issue of Networking Knowledge (2015, forthcoming).

 
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Posted by on 2015/02/23 in ComFor Updates

 

News Review: January 2015

Americas

Canada

Research

Twelve-Cent Archie, by Bart Beaty, has now been published through Rutgers University Press. Link (English, WG)

United States

Business

DC and Marvel top the charts for the Top 100 Comics for the month of December based on total unit sales invoiced for the month. Batman #37 finished first for DC, and was followed by Amazing Spider-Man #11 and Shield #1 in second and third respectively. Link (English, MB)

Image’s Saga Volume 4 hit number 1 for the Top 100 Graphic Novels for December, with Marvels’ Captain America Peggy Carter Agent of Shield #1 in second, and Just the Tips from Image taking the third spot. Link (English, MB)

Diamond Comics reported the Top 100 Comics for 2014 and Marvel almost completely shut out the top ten slots. The top three spots went to Amazing Spider-Man #1 (Marvel), Walking Dead #132 (Image), and Rocket Raccoon #1 (Marvel). Link (English, MB)

All four volumes of Saga placed in the top ten slots for the Top 100 Graphic Novels for 2014. Saga Volume 3 (Image), Saga Volume 1 (Image), and Walking Dead Volume 20: All Out War Part 1 (Image) took first through third respectively. Link (English, MB)

Diamond Comics provided a year-end reporting of unit and dollar shares and top comic book publishers by retail market and unit market share. Link (English, MB)

Research

Central Michigan University’s Third Annual ComiConference will be  held on the 3rd March. Link (English, WG)

The Journal of Comics and Culture, a new peer-reviewed academic journal to be published by Pace University Press, has announced its first call for papers. Abstracts of 500 words are due by the 15th February. Link (06/01/2015, English, WG)

The new issue of the International Journal of Comic Art (vol.16, no.2) is now shipping. Link (05/01/2015, English, WG)

The Comics Arts Conference is now accepting proposals for its 2015 meeting at Comic-Con, taking place between the 9th and 12th July. Submissions are due by the 1st March. Link (English, WG)

There is a call for papers for the conference, Comics in Medicine & Teaching: Rethinking Comics as a Therapeutic and Educational Tool. The event will take place at the University of Nebraska between the 9th and 10th April, and proposals are due by the 23rd February. Link (26/01/2015, English, WG)

Asian Comics, by John A. Lent, has now been published through the University Press of Mississippi. Link (English, WG)

A second edition of The Power of Comics, authored by Randy Duncan, Matthew J. Smith and Paul Levitz, has been published by Bloomsbury. Link (English, WG)

Asia

Japan

Business

The (domestic) market for Japanese manga boomed to about 28.13 billion Japanese yen in 2014, over a quarter of the total book market. Link (23/01/2015, Japanese, JBS)

Culture

Yonezawa Yoshihiro Memorial Library is showing the exhibition “Mihara Jun, Revival Festival” from February until the 31st May. Link (Japanese, JBS)

The Exhibition “Black Jack Stories; Doctors’ Choice”, show medical professionals’ perspectives on Tezuka Osamu’s classic Black Jack, at Kyoto International Manga Museum from the 28th February until the 10th May. Link (English, JBS)

Education

The work of students graduating from Kyoto Seika University’s Faculty of Manga and Graduate School of Manga will be exhibited at the Kyoto International Manga Museum during Anime Week (between the 18th and 22nd February). During this period, access to the museum is free. Link (Japanese, JBS)

Law & Politics

A manga published on the website of Japan’s Health, Labour and Welfare Ministry caused commotion on social media by suggesting that the solution to the aging population crisis that the country faces is for young people to get married and have more children. Link (20/01/2015, Japanese, JBS)

Europe

France

Business

Bande dessinées from publishers Flammarion, Gallimard and Les Humanoïdes Associés are now available on digital comics platform ComiXology. Link (29/01/2015, French, LTa)

Culture

There is no date set for the publication of the next issue of Charlie HebdoLink (31/01/2015, French, LTa)

The release date of the next Asterix album has been announced at Angoulême: it will be released on the 22nd October. Link (30/01/2015, French, LTa)

Akira author Katsuhiro Otomo has been awarded this year’s Grand Prix at Angoulême. Link (29/01/2015, English, LTa)

Germany

Culture

This year, the Christoph Martin Wieland translator award will be given to a comics translator for the first time. Link (08/01/2015, German, MdlI)

The festival, Comicinvasion Berlin, is going to take place on the 18th and 19th April; sponsors are sought for a new artists’ award. Link (19/01/2015, German, MdlI)

An exhibition of emerging comic artists is going to be shown in Mannheim from the 7th February until the 8th March. Link (29/01/2015, German, MdlI)

Research

The Winter School Mediality and Multimodality across Media, which took place in Tübingen from the 28th until the 30th January, included several presentations on comics. Link (15/01/2015, English, MdlI)

A call for papers for a workshop on Mediality and Materiality in Contemporary Comics, which is going to take place in Tübingen from the 24th until the 26th April, has been published. The deadline for submissions is the 15th March. Link (16/01/2015, English, MdlI)

Alev Gönc gave a lecture on WWI and WWII in comics at University of Erlangen-Nuremberg on the 29th January. Link (26/01/2015, German, MdlI)

Portugal

Culture

The municipality of Odemira is organising the 9th edition of BDTECA, that consists of a series of activities related to comics. These include exhibitions, fairs and a contest. The event began on the 12th January with the launch of the annual comics contest, and will end in March. Link (02/01/2015, Portuguese, RR)

The Bookstore Europa-América in Lisbon is hosting an exhibition by the Portuguese comic author Fernando Relvas. The exhibition can be visited until the 6th February and visitors to the exhibition can buy some original comic panels from the author. Link (21/01/2015, Portuguese, RR)

Spain

Business

The publishing house Caramba!, which specialises in humour comics, will now continue working under the publishing house Astiberri. Link (16/01/2015, Spanish, EdRC)

The web Mangaland has published figures about manga sales in Spain. Link (11/01/2015, Spanish, EdRC)

The web Guía del comic has published figures about comic sales in Spain. Link (21/01/2015, Spanish, EdRC)

The website, Whakoom, has published a report about the state and future of digital comics. Link (19/01/2015, Spanish, EdRC)

Culture

Paco Roca, Miguel Gallardo, Zinni Quiros and Ángels Gónzalez Sinde discussed the Oxfam project, Viñetas de Vida: dibujantes on tour, which sent some comic artists to international development projects to later portray their experiences in the form of a comic. Link (14/01/2015, Spanish, EdRC)

The Spanish satirical on-line magazine Orgullo y Satisfacción has published a free special issue after the Charlie Hebdo killings. Link (09/01/2015, Spanish, EdRC)

Switzerland

Culture

The 25th Fumetto festival in Lucerne will take place from the 7th until the 15th March. Link (12/01/2015, German, MdlI)

UK

Culture

On the 7th March 2015 the University of Dundee is hosting the event, Comics, So What?, which seeks to engage the public in the appreciation of comics and graphic novels, and to draw attention to Comics Studies in the UK. Link (English, WG)

Education

The Centre for Language and Communication Research (CLCR) at Cardiff University is seeking applications for one Economic and Social Research Council (ESRC) three-year PhD studentship to commence on the 1st October 2015. Although the list of areas covered does not specifically mention comics and graphic novels, Down The Tubes report that the CLCR welcomes applications in this area. Applications are due by the 9th March. Link (24/01/2015, English, WG)

Research

The latest issue of European Comic Art (vol.7, no.2) has now been published. Link (English, WG)

Oceania

Australia

Culture

Melbourne comics creator Katie Parrish has been made the art director of literary journal The Lifted BrowLink (English, ALM)

The Ledger Awards are accepting nominations for the 2015 ballot. The Ledger Awards will also be compiling “The Ledger Annual”, an anthology that celebrates the best novice comics creators in Australia. Link (English, ALM)

Applications have now opened for residencies at the Comic Art Workshop, which will be in Maria Island, Tasmania, from the 1st to the 14th of November. The workshop directors are Pat Grant and Dr Elizabeth MacFarlane, with Leela Corman and Tom Hart leading the classes. Link (English, ALM)

*                    *                    *

 

News Editor: Will Grady (comicsforumnews@hotmail.co.uk)

Correspondents: Jessica Bauwens-Sugimoto (JBS, Japan), Michele Brittany (MB, North America), Enrique del Rey Cabero (EdRC, Spain), William Grady (WG, UK), Martin de la Iglesia (MdlI, Germany & Switzerland), Amy Louise Maynard (ALM, Australia), Renatta Rafaella (RR, Portugal), Lise Tannahill (LTa, France).

Click here for News Review correspondent biographies.

Click here to see the News Review archive.

Suggestions for articles to be included in the News Review can be sent to Will Grady at the email address above.

 
 
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Posted by on 2015/02/04 in News Review

 

The Architecture in Comics by Renata Rafaela Pascoal

At first sight, the relationship that architecture has with comics seems to be obvious and inarguable. According to Frank Lloyd Wright ‘architecture is life; or at least it is life itself taking form and therefore it is the truest record of life as it was lived in the world yesterday, as it is lived today or ever will be lived’ (Baker 2008, 117).

As comics is a medium that usually portrays human life through its characters, the representation of architecture will help the reader/viewer to understand the characteristics of the characters, since architecture is an interface created by Man to make the world fit to his needs and routines. However, the relationship that architecture has with comics is not limited to obvious representations of it in comics; it is also present in depictions of its creative process and even in the similarity between the experiences of the comics reader and the user of architecture. According to Buchet (2013), the architect can be compared to a strip cartoonist: when he draws a museum or even an airport terminal, there is an implicit narrative that the visitor reads when attending these places.

In this article I will enumerate four instances where architecture is present in comics and explain the different scopes and effects of its presence.

1. Comics where architecture is the main subject and the main reason for their creation.

In this case, comics is the chosen medium to communicate ideas of architectural projects and theory of architecture to a wide-ranging audience, composed of specialists and non-specialists. The choice of the comics language to communicate architectural ideas is related to its combination of images and words, which is common to architectural drawings. According to Syma and Weiner (2013): ‘visual narratives like comics and graphic novels show that they hold possibilities for communication that are unique, exactly because they combine the regimens of art and literature’ (187). The image in comics summarizes a description that would be extensive if it was written in other media and according to Scalera (2011, 74), ‘words are placed strategically and artistically to complement and guide the flow of the artwork’.

But what makes comics special relative to the technical drawings of architecture are the sequentiality that allows the reader/viewer to see the contiguous panels almost simultaneously with the vignette that is being read and the possibility for the reader/viewer to control the speed of the reading (and the knowledge apprehension). If architectural drawings are organized by scale, from the largest to the smallest, the vignettes in comics are organized by time. As such, comics could be a great media to understand the partial chronologies that are implemented in any plan (Bartual 2013) because it allows the creator to show the interaction that inhabitants have with the drawn architecture by time sequence. In architectural plans and sections, the functions of the drawn spaces seem to be abstract areas at the first glance.

Bjarke Ingels, author of the archicomic Yes is More confessed that before applying for architecture he wanted to be a comic artist. Apart from his assumed passion for comics, he chose comics as a medium to communicate some of his architectural projects because rather than showing the final results, the Bjarke Ingels Group studio ‘wanted to show the concerns and demands, conflicts and contradictions that shape our cities and buildings into what they are.’ [1]

Figure 1: Pages 68 from the book Yes is More. A sequence of axonometries in the top of the page shows the different stages of the building volume-shapes until reaching its final shape.  Credits: Bjarke Ingels Group (BIG). Used with permission from BIG.

Figure 1: Pages 68 from the book Yes is More. A sequence of axonometries in the top of the page shows the different stages of the building volume-shapes until reaching its final shape.
Credits: Bjarke Ingels Group (BIG). Used with permission from BIG.

During the book, architecture is shown by schemes, technical drawings, models, photos and renders supported by text that links these images. The book consists essentially of an illustrated monologue addressed to the readers, in which the architect is the narrator and sometimes a character. The texts from Yes is More do not depend on the images to be understood, unlike its images which depend on the text to make sense and add new architectural information to them.

The biggest part of the narrative happens in flash-back; project decisions that were taken during the architectural conception are explained by the architect in diegetic time, however, the images that are exhibited in the book were produced during the project´s development process, that is, in the past. As such, the text of the book obeys a time sequence that is typical for comics; however images are shown just to illustrate the projects that are described in the text. For this reason, the idea developed by McCloud (1994, 100) that time and space in comics are one and the same is not applicable to this case.

As happens with photography, the abundant use of realistic renders produced in computer software to show the created spaces in perspective, beyond abolishing the authors’ emotions, experiences and the characterization that the space could have if it was inhabited also abolishes the time duration that McCloud (1994, 102) refers to in Understanding Comics, conferring the idea of eternity upon the depicted architecture. According to Hatfield (2005, 52), synchronism, in which a single panel represents a sequence of events occurring at different “times”, offers images that can make sense only within a static medium. This sequence of events to which Hatfield refers is absent in these architectural renders because there is a lack of motion lines and other ideographic shorthand to denote movement.

Figure 2: Page 20 from the book Yes is More. This page shows the environment lived in the architectural design studio. Credits: Bjarke Ingels Group (BIG). Used with permission from BIG.

Figure 2: Page 20 from the book Yes is More. This page shows the environment lived in the architectural design studio. Credits: Bjarke Ingels Group (BIG). Used with permission from BIG.

However, these images belong to a logic defined by the architect to help the reader to build in their mind a model of the project through which he can understand the volume, the colors and the main concept of the project. Actually, this strategy used by Ingels is similar to a usual conversation between the architect and his client.

In this specific case we can conclude that comics as a medium was adapted to serve the architect´s goals and this justifies why the author uses the term “Archicomic” to differentiate his book from conventional comics. After reading this book, we feel that the potentialities that comics has to communicate were not fully explored.

More than explaining the project´s development process, comics could be used to forecast the interaction that the inhabitants will have in the created architectures by presenting narratives where the inhabitants are the main characters. However the methodology used here, collecting images that were created during the project´s development and articulating them with the text, does not allow Ingels to do that. In a comic book that has as the main scope explaining architectural projects we could expect that the drawn scenario representing the created spaces would be the main element responsible to simulate sequentiality, similarly to the narrative time in films (Harvey 1996, 176), but this does not happen here.

However the book also explains efficiently the project choices by sequences of axonometries [2] that show the transformations of the volumes during the project, the environment lived in the studio during the project and even the constraints of all architectural stages.[3] Such benefits can be considered a great argument for the creation of new archicomics.

Figure 3: Pages 26 and 27 from the book Yes is More. Credits: Bjarke Ingels Group (BIG). Used with permission from BIG.

Figure 3: Pages 26 and 27 from the book Yes is More. Credits: Bjarke Ingels Group (BIG). Used with permission from BIG.

2. Comics whose authors use the project based methodology of architecture to create fictional scenarios that fit to the actions and characteristics of the characters.

Some comics’ authors that create science fiction series have a creative attitude that is similar to that of architects: they select and discard the existing things to create something new. Consequently, the created architecture that belongs to these scenarios is the sum of elements from architectures that already exist in reality.

The project methodology includes scientific research, building models of the created cities and drawing subtitled plans and sections of the buildings that contribute to the coherence and sequentiality of the represented diegetic scenario and to the naturalness of the interaction of the characters in the scenario. As the authors have the freedom to create a new architecture, they often use it as a metaphor to characterize a society, a regime, etc. (Lefévre, 157). Sometimes these comics also work as myths that are created to stimulate interventions in the contexts where they were created. According to Georges Sorel, “we act politically according to myths of the future which may never materialize literally, but which motivate us nonetheless into productive action”. (Birenbaum 1988, 188) In the series Le Cycle de Cyann by Bourgeon and Lacroix, a new universe was created. Fortunately, the created places are not comparable with the real ones; however it is a representation of how our world could be in the future if we do not try to change it.

For example Marcade, from the book Les Couleurs de Marcade, is a capitalist city where even the right to privacy is paid for and consequently all human actions are supervised. The people pretend to conform to this situation; however they do not feel comfortable with the public exposure of their intimate lives. In terms of its architecture, the city is built on a limited platform above the soil that is supported by pillars. Below the platform, a set of clouds covers the soil, on which people do not know what happens.

This architectural attitude is reminiscent of the city upon columns, created by Eugéne Hénard (a visionary urbanist) and one of the five points for a modernist architecture, enumerated by Le Corbusier. For Le Corbusier, beyond the use of pilotis [4] to liberate the soil from construction and allow the free circulation of people and vehicles, modernist architecture should have free design of the ground plan, horizontal windows, free design of the façade and roof garden. If pilotis were used by Corbusier to allow the freedom of movements, in Marcade they are used to trap people in a limited area.

The use of pillars in buildings confirms that the created planets in the series have an identical gravitational force to Earth. The science fiction essence of the series is mainly given by the clothes and bizarre hairstyle fashion, the animals’ bodies (but not their vital systems), the different names given to things, the vehicles and the shape of the buildings. According to Bourgeon, the scenario should be narrative and this example proves it very well [5], because it helps us to understand the regimen of Marcade and its inhabitants´ behaviors.

For the reader/viewer that certainly has experienced better places to live, he can easily speculate that the soil represents a utopian place in which all the Marcade inhabitants would wish to live if they knew of its existence and the clouds an element that serves to instill fear in people and that they wish to avoid. From this point of view, the architecture in this study case does not serve to protect its inhabitants as it should do in reality and as its inhabitants think: architecture is no more than another instrument created by someone who wants to isolate people from the rest of the world to control them and impose a dictatorship.

This importance given to the scenario is possibly influenced by Bourgeon’s previous creation of historic novels like Les passagers du Vent, where the accuracy and realism of the scenario make the reader understand that the narrative is about the transatlantic slave trade in the eighteenth century. His previous experience in creating historic novels made him understand that a logical and accurate representation of the scenario is indispensible to make the narrative credible, independently of the series´ genre. If in historical novels a previous work of research is required to have sufficient elements to represent the scenario coherently, in science-fiction the elements used to support the representations of the scenarios need to be created. Bourgeon and Lacroix chose to materialize the created cities by constructing models to facilitate the visualization of the created scenarios.

Despite the attention given to making the characters’ actions and proportions correspond to the created scenarios and the fact that the newly created objects have similar characteristics to the real ones, they are detached from reality by the new designations attributed to things.This detachment obliged the authors to create a special book which is a compilation of all research work and a glossary that is intended for use by the readers to facilitate their reading process by explaining the fictional elements and comparing them with the real ones.

The places which were represented in this study case are mostly dystopian. Dystopias can only be understood as such if the reader-viewer has ideas of utopias. In response to the dystopias presented in comics, the reader/viewer generates a mental construction of an ideal place, to escape from these represented spaces.

3. Architecture in comics as a representation of the reality, framing the narrative in a certain real spatio-temporal context.

In some series, the representation of real architecture in comics can assume a pedagogical function, allowing the reader/viewer to acquire knowledge from architectural history, even if he does not have intentions to learn. Great examples of such titles can be found in the Les aventures d´Alix [6] and Vasco [7] series, where architectural representations are accurate and texts are sometimes extensive and very informative about the historical facts. However, sometimes the pedagogical role is simply to prompt the reader/viewer to research more widely about architecture, even if the architecture represented in the scenarios has some inaccuracies and indicates a lack of knowledge. Asterix, in the genre of humor, is a great example of this.

In the first example, authors like Jacques Martin and Gilles Chaillet must undertake exhaustive research that includes travelling to the represented places and the study of some specialized bibliography. When the represented places are currently in ruins, they are reconstructed in their representations as if they were inhabited, and sometimes the images that the comics’ authors create of these buildings in ruins are the only existing representations of those places.

According to Desrochers (2006, 189) westerners’ perceptions of ruins have changed since the Second World War, and the worsening of environmental problems became a subject of appropriation instead of an enchanted memory from a distant culture. But what is the enchanted memory to which Desrochers refers? Westerners have not lived in the period when the buildings were built: the memories are limited to those which historians have imagined and have articulated based on the traces of which they have no memory. The authors of comics in the historical genre, as well as historians, interact in the process of constructing memories, by the chaining together of the images and the narrative.

Apart from the representation of the unknown, according to Lefévre (2009, 157) some authors ‘use stereotypical icons (like the Statue of Liberty for New York or the pyramids for Egypt) because such famous buildings or monuments can be easily recognized by the readers.’ By recognizing these stereotypical elements, the reader/viewer also assumes that the narrative happens in the city where these icons belong in the reality, even if there are other elements that were created by the author.

The representation of old buildings in comics can also affirm desire on the part of the author to generate respect for these buildings and is not necessarily used to build new patrimony or to give an opinion about ancient architecture and urbanism. As we can see, the representation of architecture from the past could have a pedagogical role, but it also could communicate the author´s desire for an intervention in the views of the audience.

4. Authors that avoid the representation of architecture in comics.

When spatio-temporal coordinates are not needed to understand the narrative the absence of architecture may emphasize the characters’ actions. Some funny comic strips like Peanuts or Garfield invest in minimal or absent architecture, because it does not add relevant information to the narratives. (Lefévre 2009, 157)

However when the absence of architecture occurs in a scenario that aims to exist as an empty place, without an adaptation to Man, and the main characters are humans, the role of architecture should be more important than it seems at first glance. Man has a symbiotic relationship with architecture: Man needs architecture to protect him; however architecture needs Man to be built and to acquire history. When architecture is absent, that means that there is no history of Man in the place and a human visitor should feel lost in this place.

In the Le monde d´ edena series by Moebius, these kinds of scenarios are very frequent. In the second book of the series, Les Jardins d´ edena, the main characters are sent to a garden that is similar to the Christian Garden of Eden, something that is alluded to by the book’s name. This garden has sufficient resources to guarantee the inhabitants´ subsistence, however as the characters always lived in a world where all is transformed to fit to them, even the food, the characters feel uncomfortable in this place. This episode makes us think about the role of architecture in our lives and how we are currently dependent on it.

As the series also occurs in a series of dream stages, the occasional absence of architecture could be related to the contrast between the immateriality and abstraction of the dreams with the rigidity and materiality of the architecture. As such, we can think about the representation of architecture in comics as a way to make a narrative more plausible and grounded in reality.

*             *             *

Having analyzed four instances where architecture is present in comics, we may conclude that architecture is present in comics as it is present in reality. When it does not appear, the reader finds its absence strange because the actions of the real people and the characters are adapted to the space they are attending, just as space is created and adapted to the actions of Man. This justifies the choice of using the same methodology that is used in architectural projects to create scenarios for science fiction comic books.

As comics are usually composed of panels that frame characters actions and architecture frames human actions, the choice of comics as a medium to explain architectural projects has some potentialities that seem not to have been fully explored yet. However, examples like Yes is More have some strong points that may indicate directions for further exploration in future attempts.

References

‘Bjarke Ingels’ Denmark.dk : The official site of Denmark [Accessed 12th December, 2013] URL http://denmark.dk/en/meet-the-danes/great-danes/architects/bjarke-ingels/

Baker, W., 2008. Architectural Excellence in a Diverse World Culture. Victoria: Images Publishing.

Bartual, Roberto. ‘Architecture and comics: Jimenez Lai’s Citizens of No Place’ The Comics Grid: Journal of Comics Scholarship. [Accessed 15th November, 2013] URL http://blog.comicsgrid.com/2011/08/citizens-of-no-place/

Birenbaum, H., 1988. Myth and Mind. University Press of America.

Bourgeon, F. and Lacroix, C., 1997. La Clédes Confins.Bruxelas : Casterman.

Bourgeon, F. and Lacroix, C., 2007. Lescouleurs de Marcade.Porto: Asa.

Buchet, Alex. ‘Strange Windows: Draw Buildings, Build Drawings (part 1)’ The Hooded Utilitarian : A pundit in every panopticon. [Accessed 15th November, 2013] URL http://www.hoodedutilitarian.com/2010/09/strange-windows-draw-buildings-build-drawings-part-1/#sthash.Vwa67oXv.dpuf

Choay, F., 2002. O urbanismo: utopias e realidades: uma antologia. São Paulo : Editora perspectiva.

Costin, Aaron. ‘Reading Drawings: Architecture and Comics’ The Hooded Utilitarian : A pundit in every panopticon. [Accessed 15th November, 2013] URL http://www.hoodedutilitarian.com/2010/09/reading-drawings-architecture-and-comics/

Harvey, R., 1996. The Art of the Comic Book: An Aesthetic History. Mississippi: University Press of Mississippi.

Haslé, Brieg. ‘Entretien avec François Bourgeon’ Auracan.com [Accessed 14th December, 2013] URL http://www.auracan.com/Interviews/interview.php?item=121

Hatfield, C., 2005. Alternative Comics: An Emerging Literature. Mississippi: University Press of Mississippi.

Hockings, P., 2009. Principles of Visual Anthropology. Berlin: Walter de Gruyter.

Ingels, B., 2009.Yes is more : An archicomic on architectural evolution. Köln : Taschen.

Lefévre, P., 2009. The Construction of Space in Comics. In: Heer, J. and Worcester, K. A Comics Studies Reader. Mississipi: University Press of Mississippi,157-162.

Mackay, J. and Sirrup, D., 2013.Tribal Fantasies: Native Americans in the European Imaginary, 1900-2010. New York: Palgrave Macmillan.

Madge, J. and Peckham, A., 2006. Narrating Architecture: A Retrospective Anthology. New York: Routledge.

McCloud, S., 1994.Understanding Comics : The invisible art. New York: HarperCollins Publishers.

Moebius, 1992.O mundo de Edena: os jardins de Edena. Lisboa : Meribérica-Liber.

Scalera, B., 2011. Creating Comics from Start to Finish: Top Pros Reveal the Complete Creative Process. Ohio: Impact.

Syma,C and Weiner, R., 2013. Graphic Novels and Comics in the Classroom: Essays on the Educational Power of Sequential Art. Jefferson: McFarland.

Renata Rafaela Pascoal holds a MA in Architecture from the Universidade de Coimbra. She has presented papers at several international conferences as an independent researcher, and her field of interest in research includes comics, architecture, videogames and pedagogy. Apart from research, she also works as an illustrator, graphic/web designer and animator. For more information, you can visit her website at http://renatta.pt.tl

[1] Information obtained through e-mail interview.

[2] Similarly to perspective, axonometries are projections that simulate three dimensionality through a bi-dimensional drawing. Axonometries differ from perspective in its method of construction: if perspectives are constructed through one or more vanishing points that belongs to the same horizon line; the visual construction rays in axonometries are parallel, vanishing to no point or to a point located infinitely far away.

[3] Constraints are considered to be all the factors that obligate the architect to make certain options during the project. The program, the legislation, the place on which the building will be built (its dimensions, inclination, orientation, etc,..), the available budget, the costumes, etc. are a few examples of these constraints.

[4] Pilotis are supports of reinforced concrete such as columns and pillars that are used in the ground level, allowing the use of this level for circulation, gardens and other uses.

[5] Interview made by Pierre Dharréville and available at  http://www.humanite.fr/node/298676

[6] Les Aventures d´Alix is a French series created by Jacques Martin (1921-2010). According to Miller (2007, 19), this author used the clear line style from the École de Bruxelles, similarly to well-known authors like Hergé and E.P.Jacobs.

[7] Vasco is a French series created by Gilles Chaillet (1946-2011), one of the disciples of Jacques Martin. He also drew two albums from the series Les Voyages d´Alix that was created by Martin.

 
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Posted by on 2015/01/23 in Guest Writers

 

Manga Studies #6: Takeuchi Osamu and Manga Expression pt. 2: The Historiographic Basis of Manga Formalism by Nicholas Theisen

In part one, I showed how the manga artist Tezuka Osamu and his body of work function as more than a mere object of analysis within manga studies but as a totalizing discourse upon which a number of larger critical concerns are projected. This has the rather odd effect of rendering “Tezuka” a milieu which can absorb even those critiques which seek to overcome a Tezuka-centric purview as to what manga might be in both historical and formal terms. I used the critical writings of Takeuchi Osamu not to evaluate them as such but to demonstrate the discursive mechanics of this totalizing absorption. In part two below, I will once again use Takeuchi’s critical oeuvre to examine, in addition to how the critic’s own personal predilections can become subsumed into seemingly objective claims, the assumptions underlying manga formalism: how manga fit with other media, how manga is understood as children’s literature, and how manga is treated as, if not entirely presumed to be, a predominantly postwar phenomenon.

Jaqueline Berndt, in her essay, “Considering Manga Discourse: Location, Ambiguity, Historicity,” identifies four generations of manga studies in Japan. The first, emerging in the early 1960s, is identified with the journal Shisō no kagaku (The Science of Thought), and the second, from the late ‘60s into the ‘70s, with the journal Mangashugi (Manga-ism). Both of these generations were largely concerned with manga as a sociological phenomenon. The first sharp turn in manga studies discourse came with the third generation, the so-called “first person narrators” (boku-gatari) for whom manga critique was not only a function of one’s subjective, emotional response to comic reading but, as “reader” rather than “scholar,” the manga critic “functioned as an arbiter of taste and a means for the fan community’s self-affirmation.”[1] The turn away from a sociographic approach to the study of manga was, then, commensurate with an increased parochialism, wherein the values of a limited, fannish readership were held to be the ideal. This turn, while problematic, was nevertheless liberating for women writing about shōjo manga, which in the 1970s and 1980s was still widely denigrated.

Takeuchi most properly belongs to the fourth generation, emerging in the 1990s, which she identifies with Yomota Inuhiko and Natsume Fusanosuke, who seemed to eschew the subjective criticism of the previous generation as well as the sociologically oriented criticism of even earlier ones in favor of semiotics or, more specifically, manga hyōgen/manga expression: “[Yomota’s and Natsume’s] semiotic approach was intended to claim manga as an autonomous medium by explicating its unique means of expression from an internal perspective.”[2] I say “seemed to eschew,” because while the study of manga expression seeks to make objective claims about how manga are put together, those claims quite often betray their origins in the critic’s personal experiences. For instance, I noted in part one how Takeuchi set his own experiences reading Tezuka’s manga as a child against the “fashionable” trends of the 1960s and ‘70s in order to make the rather bald assertion that Tezuka lay at the heart of it all as well as how Natsume, thinking back on his earliest work, could see that it stemmed from his own particular interests and was, as such, rather limited.

The particular kind of manga formalism that followed from the more subjective criticism that preceded it did not entirely leave the “first-person narrators” behind. In fact, the study of manga expression, despite its objective pretensions, is profoundly subjective, though in ways that are not immediately apparent. What is not always clear and yet must be kept in mind is that formalist approaches, while broadly empirical, are not strictly descriptive—rather, something is first presumed to be manga (even while excluding a number of textual artifacts that go by that designation), that “something” is broken down into structural components, and then a formal theory based on those components is used as a lens to look back on manga in toto.[3] One only ever gets the occasional glimpse of what manga is presumed to be, though in Takeuchi’s critical corpus these manga presumptions are somewhat more common and easier to identify.

For Takeuchi, the study of manga expression is but one facet of the study of a much broader range of means of visual [re]presentation in all popular media. He identifies both Natsume and Yomota as initiators of the study of manga expression, but then almost immediately turns the discussion to how he believes it to be much older than the work of those two foundational critics. He locates manga hyōgen (i.e. manga expression) within what he refers to simply as hyōgen (i.e. expression/presentation), by which he appears to mean all visual expression in media, thereby combining the visual aesthetics of forms as disparate as film and children’s picture books (ehon) under one large hyōgen umbrella.[4] This understanding of manga among other media goes all the way back to the beginning of his career as a manga scholar/critic, 1989’s Manga to jidō bungaku no “aida” (“Between” Manga and Children’s Literature), and is central both to his own manga formalism and to the place the study of manga expression occupies within the history of manga studies. It is for this latter reason especially that I have preferred the work of Takeuchi in examining how manga formalism fits within a larger discourse to Yomota or Natsume, even though those two are, arguably, far more influential. It is in Takeuchi’s broader purview that the historiographic assumptions underlying manga formalism, even in those works for which the history of manga seems not to be a concern, is revealingly laid bare. Takeuchi himself does not explicitly point to these assumptions, but because his critical works have been directed both toward the history of manga and occasionally toward the history or, at least, important moments within the ongoing discourse of manga studies, we can see both how certain presumptions concerning what manga is (i.e. its formal properties) are embedded in historiographic treatments as well as how those histories inform what kinds of manga (and, in Takeuchi’s case especially, what kinds of graphic narrative generally) are chosen as the most common object of seemingly objective formal analysis.

In his overview of the study of manga history,[5] Miyamoto Hirohito identifies two rather sweeping though nonetheless useful categories of manga historiography: one which regards manga history as going back to the 12th century illustrated scrolls (emakimono) Chōjū jinbutstu giga, a common locus for the “origins” of manga, and one which takes the end of World War II as the proper point of departure for manga history.[6] Of these two categories, Takeuchi is placed quite rightly in the latter, especially given the title of his most well-known historiographic work, Sengo manga no 50nen-shi (50 Year History of Postwar Manga), published in 1995, which clearly takes the year 1945 as a point of demarcation. These groupings are, moreover, not limited to Japanese language manga studies discourse. Both Paul Gravett’s Manga: Sixty Years of Japanese Comics (published in 2004) and Sharon Kinsella’s Adult Manga take the postwar era as the proper historical locus for the study of manga, the latter going so far as to claim manga, rather dismissively, to be a “strikingly contemporary phenomenon,”[7] with little in the way of explanation as to what that might mean.

The “postwar,” by which is meant not just the immediate postwar period but every year since the end of World War II, works well enough as a historical frame of reference, precisely because the history of modern Japan, in Japanese language discourse especially, is so pervasively, though not universally, divided in two: one period beginning roughly from the Meiji Restoration in 1868 and a second from the Allied occupation in 1945. The postwar as a historiographic frame is not limited to formalist approaches. Tsurumi Shunsuke’s Manga no sengo shisō (Thoughts on Manga in the Postwar) considers the impact of a number of postwar manga artists, but his formal considerations, such as they are, appear in the context of a long historical treatment of doodles (rakugaki) in Japan.[8] Moreover, none of the formalists identified here—Natsume, Yomota, or Takeuchi—simply disregard the significance of pre-war manga. Takeuchi’s Kodomo manga no kyojin-tachi: Rakuten kara Tezuka made (Giants of Children’s Manga: from Rakuten to Tezuka), for instance, closely examines a number of manga artists from this period. Rather, postwar manga is seen as initiating a distinct shift, a novel mode of expression that prewar manga fails to fully encapsulate. This stylistic shift is commensurate with the cultural and political upheaval in Japanese society under the Allied occupation and subsequent economic boom. Arguably more than any other nation, Japan was radically transformed at the end of war with the emperor’s public rejection of his “divinity,” the occupation, the rewriting of the Japanese constitution under Allied pressure, the dissolution of the army, the restructuring of the Japanese economy, and the sudden influx of foreign media after years of privation.

A number of disparate frames of reference—manga as children’s culture, manga expression as media expression, and manga as postwar phenomenon (despite continuities with the prewar/wartime[9])—come together in the opening of the first chapter of Takeuchi’s 50 Year History of Postwar Manga. He begins with the political upheavals of 1945 and continues with the sudden change in lifestyle of the Japanese populace as a result of American films and fashion trends. From there, Takeuchi turns to the subject of his book, so-called “story manga” (i.e. long form[10] narrative manga), about which one might claim a “new style of expression” (atarashii stairu no hyōgen), yet Takeuchi himself considers matters to be not so clear cut. Manga is, for him, a creature of mass media, so his first entrée into discussing manga in the postwar concerns itself less with form (i.e. panels, speech balloons, figures, etc.) than with format. The distinction between form and format here is a crude one but is meant to show how Takeuchi’s formalism is not merely a function of what one sees on any given page but also of the printed format in which it appears, be it book or magazine or whatever.

This, then, leads him into a discussion of akahon, “red books” so called for their predominantly red covers. Unlike the hardbound volumes of popular pre- and postwar manga series, akahon in many ways more closely resembled magazines without actually being so, staple-bound newsprint with cardstock covers, selling for as little as five yen, a price suitable for purchase by and for children.[11] In the postwar era, as Ryan Holmberg notes, “[p]hysically and stylistically, they [were] clearly products of an age of want. They [were] flimsier, sometimes due to lack of high-grade paper and printing facilities after the war, sometimes from simple cost-cutting. The anything-goes energy of the age fueled many artistic innovations, some lost to history, others becoming the foundation stones of story-telling in postwar manga.” Despite going back long before, the akahon of the postwar are, for both Takeuchi and Holmberg, creatures of a very particular time and place, whose innovations become foundational for all manga to follow. The sense that is given, then, is not that manga did not exist in this prewar era but rather that those manga are largely other to what we see nowadays.

This focus on print media and, more specifically, print media for children makes sense of a number of peculiar inclusions and exclusions in Takeuchi’s larger critical practice. For instance, the Gendai manga hakubutsukan, 1945-2005 (The Encyclopedia of Contemporary Manga, 1945-2005), which Takeuchi edited along with Yonezawa Yoshihiro and Yamada Tomoko, omits a number of prominent comic strip (koma manga) artists (Hasegawa Machiko, the creator of Sazae-san, being the most glaring omission) yet includes a number of highly regarded artists/writers of emonogatari (illustrated stories). The inclusion of illustrated stories alongside the rather spare inclusion of comic strips can be accounted for somewhat by the fact that the manga magazines of the midcentury were far more mixed than the monthly and weekly magazines of today. Those magazines contained both manga and emonogatari in addition to puzzles, game boards, glossy photos, and a number of other visual media. Moreover, the koma manga that Takeuchi et al. do include are those that are found in these mixed media periodicals for children. Those they do not include, for the most part, are to be found outside them in newspapers and other periodical media aimed at, if not an exclusively adult, then a general audience.

Thus, what is regarded as manga in the first place, manga at all, as far as Takeuchi is concerned, stems from illustrated narratives produced for children in the immediate postwar. This presumption becomes the object of formal analysis, and the principles derived therefrom become the frame of reference for examining manga from all time periods. How this retrospection works can be seen in how Takeuchi, in Giants of Children’s Manga, characterizes Kitazawa Rakuten’s Chame manga as “for children,” despite the fact that many of the periodicals in which those strips appeared, Tokyo Puck, for instance, could not be meaningfully understood as being exclusively for a younger audience.[12] According to this purview, then, which makes invisible much of the manga “for adults” (or for a general audience) that preceded the war and persisted thereafter, the juvenilia of postwar manga print media grows into the more adolescent and young adult-oriented manga of the late 1950s and ‘60s and so forth and so forth in an easily digestible myth of progress. If permitted to speculate, I would say this is because, as I have argued elsewhere, shōnen manga of the postwar function, in practice if not in intent, as generic rather than as tailored to a certain gender and age demographic. According to this somewhat concealed logic, then, manga “for children” provide the base structure from which later manga presumably emerge.

References

Berndt, Jaqueline, 2008. “Considering Manga Discourse: Location, Ambiguity, Historicity,” in MacWilliams, Mark W. ed., Japanese Visual Culture: Explorations in the World of Manga and Anime, Armonk, NY: M.E. Sharpe, pp. 295-334.

Gravett, Paul, 2004. Manga: Sixty Years of Japanese Comics. New York: Collins Design.

Groensteen, Thierry, 1991. L’univers des mangas: Une introduction à la bande dessinée japonaise (The Universe of Manga: An Introduction to Japanese Comics). Tournai: Casterman.

Holmberg, Ryan.

— 2012. “The Bottom of a Bottomless Barrel: Introducing Akahon Manga” in The Comics Journal, January 5, 2012. Accessed August 10, 2014, http://www.tcj.com/the-bottom-of-a-bottomless-barrel-introducing-akahon-manga/

— 2012. “Manga Finds Pirate Gold: The case of New Treasure Island” in The Comics Journal, October 1, 2012. Accessed August 10, 2014, http://www.tcj.com/manga-finds-pirate-gold-the-case-of-new-treasure-island/

Itō, Gō, 2005. Tezuka izu deddo: hirakareta manga hyōgenron e (Tezuka is Dead: Toward an Enlightened Theory of Manga Expression). Tokyo: NTT Shuppan.

Kinsella, Sharon, 2000. Adult Manga: Culture and Power in Contemporary Japanese Society. Honolulu: University of Hawaii Press.

Lamarre, Thomas, 2010. “Speciesism, Part II: Tezuka Osamu and the Multispecies Ideal” in Mechademia vol. 5: Fanthropologies. Minneapolis, MN: University of Minnesota Press, pp. 51-85.

McCarthy, Helen, 2009. The Art of Osamu Tezuka: God of Manga. New York: Abrams ComicArts.

McCloud, Scott, 1993. Understanding Comics: The Invisible Art. Northampton, MA: Kitchen Sink Press.

Miyamoto, Hirohito, 2009. “Rekishi kenkyū” in Natsume, Fusanosuke and Takeuchi Osamu, eds., 2009. Manga-gaku nyūmon (Introduction to Manga Studies). Tokyo: Minerva Shobō, pp. 96-101.

Nakano, Haruyuki, 2007. Nazo no mangaka Sakai Shichima: “Shintakarajima” densetsu no hikari to kage (The Mysterious Manga Artist Sakai Shichima: The Light and Shadow of the Legend of “New Treasure Island”). Tokyo: Chikuma Shobō.

Natsume, Fusanosuke.

— 1992. Tezuka Osamu wa doko ni iru (Where is Tezuka Osamu?). Tokyo: Chikuma Library.

— 2013. “Where is Tezuka?: A Theory of Manga Expression” trans. Matthew Young in Mechademia 8: Tezuka’s Manga Life, Minneapolis: University of Minnesota Press, pp. 155-171.

Natsume, Fusanosuke and Takeuchi Osamu, eds., 2009. Manga-gaku nyūmon (Introduction to Manga Studies). Tokyo: Minerva Shobō.

Ōtsuka, Eiji, 2013. Mikkī no shoshiki: sengo manga no senjika kigen (The Form of Mickey: The Wartime Origins of Postwar Manga). Tokyo: Kadokawa Sōsho.

Schodt, Frederik L., 1983. Manga! Manga! The World of Japanese Comics. New York: Kondansha International.

Suzuki, CJ. “Manga Studies #4: Traversing Art and Manga: Ishiko Junzō’s Writings on Manga/Gekiga” in Comics Forum, August 11, 2014. Accessed August 17, 2014, http://comicsforum.org/2014/08/11/manga-studies-4-traversing-art-and-manga-ishiko-junzos-writings-on-mangagekiga-by-shige-cj-suzuki/

Takeuchi, Osamu.

— 1989. Manga to jidō bungaku no “aida” (“Between” Manga and Children’s Literature). Tokyo: Dai Nippon Tosho.

— 1992. Tezuka Osamu-ron (On Tezuka Osamu). Tokyo: Heibonsha.

— 1995. Sengo manga 50nen-shi (Fifty Year History of Postwar Manga). Tokyo: Chikuma Shobō.

— 1995. Kodomo manga no kyojin-tachi: Rakuten kara Tezuka made (Giants of Children’s Manga: From Rakuten to Tezuka). Tokyo: San’ichi Shobō.

— 2005. Manga hyōgen-gaku nyūmon (Introduction to the Study of Manga Expression). Tokyo: Chikuma Shobō.

— 2009. “Manga kenkyū no ayumi” (“A Walk Through Manga Studies”) in Natsume, Fusanosuke and Takeuchi Osamu, eds., 2009. Manga-gaku nyūmon (Introduction to Manga Studies). Tokyo: Minerva Shobō, pp. 248-257.

Takeuchi, Osamu and Koyama Masahiro, eds., 2006. Anime e no hen’yō: gensaku to anime to no bimyō na kankei (Adaptation to Anime: The Subtle Relationship Between Anime and Original). Tokyo: Gendai Shokan.

Takeuchi, Osamu, Yonezawa Yoshihiro, and Yamada Tomoko, eds., 2006. Gendai manga hakubutsukan 1945-2005 (The Encyclopedia of Contemporary Manga 1945-2005). Tokyo: Shōgakkan.

Theisen, Nicholas, 2013. “13a. The Problematic Gendering of Shōnen Manga” in What is Manga?, May 27, 2013. Accessed August 10, 2014, http://whatismanga.wordpress.com/2013/05/27/13a-the-problematic-gendering-of-shonen-manga/

Tsurumi, Shunsuke, 1991. Manga no dokusha to shite (As a Manga Reader…). Tokyo: Chikuma Shobō.

Yomota, Inuhiko, 1994. Manga genron (Principles of Manga). Tokyo: Chikuma Shobō.

Nicholas Theisen is a research fellow with the Center for Asian and Pacific Studies at the University of Iowa. His research is interested broadly with textual and formalist issues in poetry, popular music, and comics, and he has written articles on the comics of Dave Sim, Tezuka Osamu, and Miyazaki Hayao. He is currently at work completing a book project which reconfigures comics as a hermeneutic practice rather than as a visual form. He is also the creator of the blog What is Manga?

[1] Berndt, 303-304.

[2] ibid., 304.

[3] Though I have limited myself to a discussion of manga, one could easily substitute each instance of the word “manga” in this paragraph with the words “comics” or “comic,” and the argument would largely remain the same.

[4] Takeuchi, “Manga kenkyū no ayumi,” 250-251.

[5] Miyamoto, 96-7.

[6] Miyamoto’s purpose in identifying these two camps, it should be noted, is to critique them and to show how treating manga as a postwar or as a transhistorical phenomenon are both problematic.

[7] Kinsella, 19.

[8] “Comics [manga] have their origins in doodles, and in the modern day comics are one source of doodles.” Tsurumi, 89.

[9] Ōtsuka Eiji’s Mikkī no shoshiki: sengo manga no senjika kigen (The Form of Mickey: The Wartime Origins of Postwar Manga), for example, attempts to disrupt the convenient distinction between pre- and post-war and tries, to a limited degree, to re-assert continuity.

[10] “Story manga” (sutorii manga) is a relatively recent term, and “long form” here is a rendering of chōhen, a term actually used in the immediate postwar period.

[11] Exchange rates fluctuated wildly during the occupation, but in 1949 the rate was fixed at 360 yen to the US dollar, making five yen roughly equivalent to the purchasing power of a single US penny.

[12] What is more, the trajectory of Giants is one meant to arrive at Tezuka, the most common locus for the postwar stylistic shift.

To read more from Comics Forum’s Manga Studies column, click here.

 
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Posted by on 2015/01/09 in Manga Studies

 

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