Tuesday, September 13 2011
Sometimes, rarely, a work is so good (so well-conceived, so well-executed) that it simply breaks our traditional expectations of comics literature. And this breaking allows us to glimpse the true, rare promise of what the industry can achieve. Davids Lapham and Aja's Wolverine: Debt of Death is this work.
Thursday, January 20 2011
Sean Michael Wilson and Chie Kutsuwada team up to present a manga-style introduction to Yamamoto Tsunetomo's Hagakure: The Code of the Samurai
Thursday, September 16 2010
Why are images of schoolgirls so predominant in Japanese popular culture? Brian Ashcraft and Shoko Ueda offer their take on the subject in Japanese Schoolgirl Confidential.
Monday, August 30 2010
The latest volume in Open Court's Popular Culture and Philosophy series casts a philosophical eye on the world of manga.
Thursday, November 19 2009
Perhaps more so than any other artists, Kazuo Umezu and Hideshi Hino defined the genre of horror comics in Japan, an influence that extends to the West, and also to the world of J-horror films.
Wednesday, November 18 2009
Where Kazuo Umezu is somewhat more traditional, Hideshi Hino strives to find beauty or at least to nuture a sort of awestruck fascination with horrific images and narrative elements.
Tuesday, October 20 2009
Nash offers a study of kamishibai's influence on modern manga, and how Japanese comics differ from American ones (as well as answering a common question: "What's with the wide eyes?").
Tuesday, August 4 2009
One is an acknowledged master of the modern short story, and the other is an influential figure in the world of alternative Japanese comics.
Saturday, August 1 2009
They lived on opposite sides of the planet, at roughly the same time, and never met. In their lifetimes (one is now dead) each became an acknowledged and influential master in his chosen form of storytelling, and even though their media, social contexts and biographies were worlds apart, the early work of each artist bears striking similarities: they shared a melancholy, darkly humorous, and peculiarly bleak vision of character, story, and life.
Tuesday, April 28 2009
The scope, detail and physical detail of the book is a massive leap forward from the four-panel gag strips with which Hiroshi began his career.