あたしの心の秘密、人生のものガタリ。かな氏のとき、嬉のとき、眠らないのと木、全部が心にくず王が不印します。だけどあたしの心痛い出す、心の傷 忘れないです、たとえば気持ち死んでい如煮。
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Hi, welcome to my blog, this blog is dedicated to to only contain things related to my PD ICA in NYP. This is my records of My Manga Project by which i need to complete 5 scenarios by October 09
Anyway, please do comment on my work in the ICA project i'm doing, your comments
might help me in my ICA like help me create new ideas ans stuff. Happy reading (^o^)/
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history of manga ....part 2 MANGA GOES TO WAR!!
In the years leading up to World War I, Japan’s leaders had ambitious plans. Once isolated from the world, the island nation set its sights on extending its influence into Asia, especially nearby Korea and Manchuria.
Against this backdrop, magazines inspired by Western comics including Shonen Club for boys and Shojo Club for girls were established in 1915 and 1923. These popular publications included illustrated stories, photo features and light-hearted fun for young readers.
However, by the 1930’s, these same magazines featured heroic tales of Japanese soldiers, and showed its cheerful characters holding guns and preparing for battle. Manga characters such as Suiho Tagawa’s Norakuro (Black Stray) the dog took up arms, to instill values of sacrifice on the home front and valor on the battlefield in even the youngest Japanese reader. "Ganbatte", meaning "do your best" became the rallying cry for manga created in this period, as Japan and its people prepared for the conflict and sacrifices ahead.
Paper Warriors and Propaganda Messengers
With Japan’s entry in to World War II in 1937, government officials cracked down on dissident artists and artwork that was counter to the party line. Cartoonists were required to join a government-supported trade organization, Shin Nippon Mangaka Kyokai (The New Cartoonists Association of Japan) to even be published in Manga Magazine, the only comics magazine to be published regularly amidst wartime paper shortages.
Mangaka who weren’t fighting on the front lines, working in the factories, or banned from cartooning drew comics that followed the government’s guidelines for acceptable content. Manga that appeared in this period included gentle, family-style humor making light of the shortages and ‘make-do’ inventiveness of wartime housewives or images demonizing the enemy and glorifying bravery on the battlefield.
Manga’s ability to transcend language and cultural barriers also made it a perfect medium for propaganda. As Tokyo Rose’s radio broadcasts encouraged allies to give up the fight, illustrated leaflets created by Japanese cartoonists were also used to undermine the morale of the Allied soldiers in the Pacific arena. For example, Ryuichi Yokoyama, the creator of Fuku-chan (Little Fuku) was sent to the war zone to create comics in service of the Japanese military.
But the Allied forces also fought this war of images with manga, thanks in part to Taro Yashima, a dissident artist who left Japan and resettled in America. Yashima’s comic, Unganaizo (The Unlucky Soldier) told a tale of a peasant soldier who died in the service of corrupt leaders. The comic was often found on the corpses of Japanese soldiers in the battlefield, a testament to its ability to affect the fighting spirit of its readers. Yashima later went on to illustrate several award-winning children’s books, including Crow Boy and Umbrella.
lifted form : http://manga.about.com/od/historyofmanga/a/mangahistory2.htm
shocking itn't it?? manga used for war..... i was quite shock....like why would anyone think of using manga for war???
Zuirei/Sakura |
4:41 AM
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