A Brief History of Japanese Comics Part 3: Japanese Pioneers

In the last issue, I discussed the European influence of Japanese comic books during the mid- to end- 19^th century. This time period worked like building blocks for the later eras of establishing what is known now as modern Japanese manga/comic books.  Today’s topic will be how those building blocks were used and developed once Japan began re-establishing its own calls between the Taisho Era and the War years. This rough layout of the timeframe between European cultural and the introduction to the Japanese artistic turnaround created which persisted afterward. 

Even with everything previously stated for Wirgman and Bigot, the Japanese comic book would not be what it is today without the influence of Kitazawa Rakuten (1876-1944) [1], Okamoto Ippei (1886-1948) [2], and many others.

The Taisho Era (1912-1926) comprised of many prominent names among manga artists and those who did their part to adapt the Japanese comic book industry to their modern day. Recognized as the “New Progressive Representatives of Manga” [2], these players withstood this political slash art cultural movement in attempt to adapt Japan’s mainstream media to a level of acceptance of governmental critique that was already seen in the United States and Europe.

Kitazawa Rakuten and Okamoto Ippei are often seen as orchestrators of modern-day Japanese comics. They were both very engaged in the new and upcoming manga communities, establishing and/or leading different regional groups in later days. Both are also regarded as fathers of the modern Japanese comic and did much to earn this title [2].

Oktamoto Ippei studied Western paining at the Fine Art School in Tokyo. After graduation, he landed a job at the major national daily magazine, Asahi, where he became well appreciated for his political cartoons. Despite his recognition, Ippei sought to bring the early American comic strips into a greater cultural awareness within Japan, which he worked to do throughout his career [2]. 
 
Ippei not only made his mark on paper, but also helped the manga industry adjust to the day’s demand. He assisted in coining the term manga kasha (manga journalist), which helped open up a whole new career move for the already entranced Japanese comic developers. In addition to this, he also helped set up the Association of Tokyo Manga in 1915, which would ultimately lead to the Japanese Manga Association in 1923 [2].
On top of this, his works became identifiable with his own particular style, which separated him from other artist. His drawing style, described as exaggerating or simplifying features, set him apart, thus making them recognizable from other notables, such as Kitazawa’s more realistic look. This type of style made his work overwhelmingly popular with high-school girls, but it would be a mistake to say he had no male fans as well [2].

Kitazawa Rakuten, known as a “pioneer of the Japanese comic book,” demonstrated a devotion to the academic (or otherwise) growth of manga that few can match [2].
 

Kitazawa was first enthralled by classic Japanese art. After going to school to study it, he became a well-known artist in nihon-ga, traditional Japanese painting [1]. However, as the years went on, Kitazawa discovered the American comic strip in his studies of Western painting. He began first imitating it, doing what he could to make it popular in Japan. He would later produce his own works through the manga department of the Jiji Shimpo newspaper [1]. 



Rakuten, in an effort to elevate the caricature style, began to designate his own comics as “manga”. By the 1890s, “the rather derisive term ponchi-e had been replaced by the word manga, now redefined to cover all the cartoon arts at that time” [1]. The age of caricature was quickly moving into the age of manga. 

In 1905, Rakuten founded his own review, The Tokyo Puck. While only meeting with meteoric success, the review was the first done in color. It is also known as the first to use comic strips with six panels, as he had seen in the Western comics that had inspired him. [5]. Similar to Japan Punch and Tobae, Rakuten always produced political or “topical themes”, which would often receive government retribution. This prevented several issues of Japan Puck from being published [1]. Unlike similar magazines, The Tokyo Puck was produced in Japanese, Chinese, and English, making it able to attract a larger, international audience [5]. The addition of languages may have made the magazine’s critiques a greater concern to the Japanese government, because of the broader audience capabilities.

Kitazawa virtually devoted the later part of his life to advancing the development of, and shining academic light, on the genre of manga. He established the Manga Studio in 1932 and served as the first president to the Manga Association of Japan in 1942. Later, his wife even had their home transformed into the Municipal Museum of Manga prior to his death in 1966 [2].

Besides Kitazawa’s actions, ‘cinematic techniques’ pioneered by Western cartoonists from the early 19^th century also started appearing in Japanese cartoons. Characters were drawn head-to-toe, and “rarely in close-up or unconventional viewpoints”, which gave the impression of actors on a stage. Japanese comic artists such as Tagawa Suiho, artist of popular works such as Norakuro, a serial aimed at children, were beginning to replicate and use these types of techniques. However, by 1930, many cinematic details, made famous later (as we shall see), were still only seen in American comics and movies [1].

Another great inspirational work of this time period was the weekly cartoon magazine started in 1877, Marumaru Shimbun [5]. Inspired by Paris, France’s Punch, and not the Osaka-founded inspired duplicate [4], founder Nomura Fumio and his collective of well-known artists were perhaps projecting the speed at which Japan was stylistically advancing and absorbing western-styled materials [5]

Founded by Nomura Fumio, the comics of the publication were done by well-known artists Kobayashi Kiyochika, Taguchi Beisaku, and Honda Kinkichiro. These artists entertained readers with their political and social cartoons from 1877 to 1907. The publication included captions written in Japanese and English in order to expand readership, which was “welcomed by young intellectuals” [4].

As one example of later works by these artists, Honda Kinkichiro took what he learned in Marumaru Chinbun and developed Japan’s first narrative cartoon. Kinkichiro’s cartoon was s six paneled cartoon sold within magazine Kibidango, which was affiliated with the father publication [4]. 

IN THE NEXT ISSUE... 
Think you got the full picture? There's a lot more to take in.. In the next installment, I'll explore more of Japan's political stances of the day, as well as the effects it had on their comic industry. We'll also look further into another ancestor of the modern Japanese comic book, akahon, and begin exploring the impact of one of Japan's most iconic comic book artists...  STAY TUNED!

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References/Sources:

[1]Gravett, Paul. Manga: Sixty Years of Japanese Comics. New York, NY: Collins Design, 2003. Print.
[2]Koyama-Richard, Brigitte. One Thousand Years of Manga. Paris: Flammarion, 2007. Print.
[3]LaFeber, Walter. The Clash: U.S.-Japanese Relations throughout History. W.W. Norton & Company. New York, NY. 1997. Print.
[4]Okamoto, Rei.”Images of the Enemy in the Wartime ‘Manga’ Magazine, 1941-1945.” Illustrating Asia, John A. Lent. Honolulu, HI: University of Hawai’I Press, 2001. Page 204-220. Print.
[5]Schodt, Frederik L. Manga! Manga!: The World of Japanese Comics. Tokyo: Kodansha International, 1983. Print.