Category “Lesser Known” Manga Artists
In the spirit of translative promiscuity, letting no one way of doing things become an ossified norm, I thought this week I might make use of a selection of translated single page manga from Rakuten’s oeuvre to illustrate an argument in that way that used to be my weekly habit not so long ago.
There is quite a bit to unpack in this week’s offerings, so I’ll leave my commentary for next week. For now, I hope you enjoy the [comic]!
When thinking about how to approach this translation, it occurred to me that I am somewhat blessed in having Rakuten’s own tri- and bi-lingual manga to work from, to see how he works multiple sets of text into his [comics] (often haphazardly), so as to free myself, as he does, from a slavish devotion to sense in order to work from the perspective of effect. The original of this text is, of course, entirely in Japanese, yet its translation by my own hand would not be out of place with any of Rakuten’s bilingual manga.
On their surface, Ippei’s film stories might be read as quaint domestic comedies, fodder for the much maligned and quite often stereotyped pedestrian predilections of bored housewives, and a superficial understanding of women’s magazines in prewar Japan would certainly buttress that reading. However, the historical print milieu in which Ippei’s manga quite often found itself was neither decidedly middle brow nor exclusively for women, even if the print matter where they appeared was a woman’s magazine. In fact, given what is readily apparent about the kinds of stories regularly published in newspapers and magazines, it is entirely possible that Ippei’s manga aspired to a certain high literary status.
It became clear that what I needed to do was not replicate Ippei’s text in one of its extant forms nor one purely of my own invention but rather relate to it in a manner analogous to how his own eiga shōsetsu do not quite resemble other contemporaneous examples of the “form.” I had to remember for myself and, more importantly, show how Ippei’s manga represent an aesthetic attitude, not just a visual format, an orientation that has as much to say about how we might approach translation as how we might regard [comic] form.
Pre-war manga, like pre-war modernism, requires us as readers to shed most if not all our presumptions about what Japanese [comics] are, to rethink them from the ground up in a manner than is neither clichéd nor dwells obsessively on well worn tropes, as so much thinking about manga as style does nowadays.
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I had, of course, intended to finally talk about Hasegawa Machiko this week, but I must momentarily defer yet again, for as I was laying out today’s post, it occurred to me that there were a couple of aspects of the two examples of Tsurumi Shunsuke’s manga criticism I posted last week and the week […]
Almost entirely by accident, I seem to be constantly running into “new manga” of late, and not simply new manga in the sense of new titles but entirely new conceptions of manga, be it the Franco-Japanese hybrid of la nouvelle manga or this week’s topic, Okamoto Ippei’s How to Draw the New Manga (Atarashiki manga no kakikata-shū). This “collection” comprises […]