Say hello to new things such as the smokeless Popeye and other around the world innovations!
Friday, 30 December 2022
Germanic Authors
Monday, 26 December 2022
Baruuba’s Adventures: Villains
Thursday, 22 December 2022
Sunday, 18 December 2022
Tida Wanorn: Characters
Wednesday, 14 December 2022
The Wild Man of Aceh: characters
Saturday, 10 December 2022
Tiger Boy: Characters
Mabon (マボン) (มาบอน): Mabon is a good natured bad boy who practices witchcraft. His friend is the more sly Govannan, who himself is married to Sheetha Kokonoe.
Goera (ゴエラ): Goera is most likely a wild man with psychic powers thanks to being experimented by Shigeo Kojima at a young age. He seldom speaks but is one of the most erudite characters in the whole Tiger Boy series.
The recurring characters
The White Skull (ホワイトスカル) (বগা মূৰৰ খুলি): Also known as Hibiki Moriyama (森山響), he is Yasuko and Kana’s father, who was brainwashed by a cult (once run by Hafgan as confirmed in his memo) led by the Horned Skull. He is heavily painted to look like a skull, hence the alias.
Agni (アグニ) (अग्नि) (অগ্নি): Agni is another perverted youth, but with fluffy black hair and Brown Eyes (which imply that he is a Boro). He was probably about thirteen when he first met Jun.
Vayu (ヴァーユさん) (वायु) (বায়ু): Vayu is a character who also appears in both Wolf Boy and Kenya Boy as Sheetha Kokonoe’s husband. In Tiger Boy, he is a rather hairy anti villain escaping from a mysterious cult, which is run by a dude who’s probably the White Skull’s former hero, the Horned Skull.
Surya (スーリヤ君) (सूर्य) (সূৰ্য্য): Surya first appeared as a dark haired Anglo Indian young adult.
Manyu (マニウ) (มายู) (मन्यु) (মন্যু): He first appeared in Tiger Boy as a perverted, hairy brute of a teenager. He was probably 15 in when he first met Jun.
Madan (マダン) (मदन) (মদন): Madan is the traitorous temple guard who thankfully has escaped Halfgan’s reign of terror. He turns out to be Shachi’s father near the end of Tiger Boy.
Hafgan (ハフガン) (ฮาฟกัน): Hafgan was a really terrible dude whose son is the slightly sympathetic Horned Skull, aka Medraut.
The Horned Skull (กะโหลกมีเขา) (শিংযুক্ত মূৰৰ খুলি): Also known as Medraut (メドラウト) (เมดรัต), he is Hafgan’s son with a Feral Wizard cousin named Ushas.
The Beasts
Fumiko (ふみこ): A Water Leaper owned by the notorious Medraut. She is rather loyal to him and is his moral pet.
Tuesday, 6 December 2022
Super Pulp Theatre: Instalments
Friday, 2 December 2022
Junglee Manchhe: Characters
Monday, 28 November 2022
Merchandising countdown
Thursday, 24 November 2022
Toei’s G-Men franchise
Sunday, 20 November 2022
The Kyuuta Ishikawa Tsukai Bunko collection
Wednesday, 16 November 2022
Disney’s Tarzan Reboot: sentences
Saturday, 12 November 2022
Disney’s Tarzan reboot: fruits and animals
The panda nut - Mgo Dan Sopu
Tuesday, 8 November 2022
Disney’s Tarzan reboot: characters from official ERB canon
Sunday, 30 October 2022
My Tezuka Productions fan arts
Wednesday, 26 October 2022
Disney’s Tarzan reboot: rules to follow
Thursday, 20 October 2022
Disney’s Cyberpunk Tarzan: deciphering a future masterpiece
Thursday, 6 October 2022
Tarzan illustrators
Wednesday, 28 September 2022
I wonder if there’s going to be a slippery slope for Disney’s Tarzan reboots?
Saturday, 24 September 2022
Disney’s Tarzan: Body Chart
Tuesday, 20 September 2022
The Big P Productions Timeline
Friday, 16 September 2022
Forgotten Pulp Heroes that deserve adaptations
Monday, 12 September 2022
A few Anime and Manga industry notes
Here are some notes from the greatest anime and manga industry talents.
Most constant super couples and love teams
Go Nagai and Junko Higo.
Leiji Matsumoto and Miyako Maki (ups and downs).
Yoshihiro Togashi and Naoko Takeuchi (ups and downs).
Kōji Morimoto and Atsuko Fukushima.
Hideaki Anno and Moyoco Anno (ups and downs).
Hayao Miyazaki and Akemi Ota (ups and downs).
Yoichi Kotabe and Reiko Okuyama (1963-2007).
Mamoru Nagano and Maria Kawamura (disappointingly screwed up, isn’t it).
Azure Konno and Ayami Kazama.
Most constant siblings
Noboru, Tetsuji and Satsuko Okamoto (the former two died in 2021): do note that these siblings are just three out of painter Toki Okamoto's slightly under a dozen offspring.
Masashi and Seishi Kishimoto.
Yasutaka and Go Nagai: do note that these guys are just two out of five brothers, as their two older brothers and younger brother are much lesser known.
Thursday, 8 September 2022
Jenny Dolls
Sunday, 4 September 2022
The future that not even George Orwell could tell you about
Wednesday, 31 August 2022
Pop culture mockery of the week: Bad Sinetrons
Tuesday, 23 August 2022
Disney’s Tarzan reboot: cast of characters
Friday, 19 August 2022
Disney’s Tarzan casting candidates (past and present)
Monday, 15 August 2022
The hunt for some of the best Kamishibai compilations ever made
Sunday, 7 August 2022
Sheena: the plot line
Saturday, 30 July 2022
How the Jungle Book came to Taiwan
English Translation created via: http://tysharon.blogspot.com/2015/09/blog-post.html
In 1962, The Oriental Publishing House of Taiwan published a Traditional Mandarin version of "The Jungle Book", translated into the language from English (via Japanese) by Liu Yuen Hsiao. Liu Yuen Hsiao said in "Writing Ahead" that this story was written by Mr. Rudyard Kipling, a great British writer; but in fact it was not based on the English version, but instead on a Japanese version ("ジヤングル ブック") written by Yoichiro Minami, published by Kodansha in 1951. The Japanese version of the book title uses the katakana phonetic derivation ‘Janguru Bukku’, which is very special.
The story is set in India, and the protagonist is Mowgli, a boy raised by wolves. Mowgli is said to mean "frog" in the wolf language, because the wolf mother thought he was naked like a frog, so she named him "Mowgli". The kid grew up with wolves and some kind jungle friends like Baloo the brown bear and Bagheera the panther. There are also a few enemies for him, like the tigers and the monkeys. Later, he was expelled by the jungle animals and returned to his native human society, but he didn't adapt well yet. After some adventures, he finally decided to return to human society under the persuasion of his jungle friends.
This story is quite romantic, the jungle society is also very civilized and orderly, and the friendship is sincere and touching. It was my favourite book when I was a child. Liu Yuen Hsiao said in "Writing Ahead": When I came to the UK five years ago, I stopped by to visit the London City Boy Scouts' camp. When I chatted with them, I told them that I had also read "The Jungle Story", and they were greatly surprised and shouted. He got up and said, "Ah! You have also read... the Chinese version, you have also read... It". After a while, he seemed to wake up and said, "By the way, Mowgli is an Indian boy! You are Taiwanese Chinese, as both Taiwan and India are in Asia, no wonder you like Mowgli too!".
In fact, it was Yoichiro Minami who actually went to the UK, not Liu Yuen Hsiao, who was merely a bragging translator. What those London teenagers said: "Oh, you and you're from Japan...", a boy said with a twinkle in his eye, but then another one immediately said, "Yes, Mowgli is an Indian boy, so you from Japan like Mowgli too!".
Taiwan now also has the "Mowgli Youth Association", which holds the "Mowgli Summer Camp" every year to let everyone experience the natural life. I saw the new live action Disney movie trailer a few days ago, and the beauty is lovely, but Mowgli (as with the 1967 animated Disney movie) has a red loincloth around his waist (and also unmentionable parts), which makes me feel that something is not quite right. A child who grew up in the jungle should be completely naked, like the cover and illustrations of the Japanese version; after all, his wolf brother doesn't wear pants.
Yoshimasa Ikeda (1893-1980) was Yoichiro Minami's real name. He used his alias to translate the Literary Masterpieces, and his own real surname (albeit with Nobumasa as the given stage name) to translate the Jungle Book and etcetera. His indirect influence on Taiwanese children's middle grade literature is rather large. Liu Yuen Hsiao (1917-) is one of the most important translators of Taiwan's Oriental Publishing House. During the Japanese occupation period, he went to Japan to study at university, and after the war he founded the Chung Hsiao Japanese remedial class, and he still taught Japanese a few years ago, which is quite legendary.
Friday, 22 July 2022
Tezuka’s Jungle Kingdom: Characters
Thursday, 14 July 2022
My reasonable translation of a great review about Life In The Mountains: Mountain Literature
Credited to someone else.
NHK TV "Kokoro no Jidai" "Life in the Mountains: Mountain Literature"
Toshikatsu Ue's "Life in the Mountains: Mountain Literature", which aired on January 27 and February 2 2019, was rebroadcast on October 13 and 19, and once again received a great response. The January and February broadcasts are introduced in this column (10). The rebroadcast of this time was announced at the beginning of October, just before. It happened to coincide with the publication of Ushioni no Taki, the 9th volume of Ue-san's new collection of folklore novels (distributed on October 21st), so we were really happy with the rebroadcast.
In Kokoro no Jidai and Life in the Mountains: Mountain Literature, Ue talks about his journey from non-fiction to novel.
"I wrote about my own experience working in charcoal making and forestry, and at the same time, I heard stories from older people about things I didn’t experience, and recorded them in my notebook. That's why I wrote a book about it, but when I started writing novels, I was able to use what I had heard and recorded in my novels. Now, when you introduce a person with a unique personality, create the people around you, or write a love story. My grandfather, my grandmother, my father and my mother, and myself, the world after the Meiji era, or rather the events and circumstances of the world, are all related to me by blood. I've been thinking about the Meiji, Taisho, and Showa eras."
And in the last scene, Mr. Ue declares: "In about two years (note: the program was recorded in the fall of 2018), I will finish writing this 10th volume (collection of folklore novels), and if I still have the energy and strength left, I will write more, this time about charcoal burning. I've been a charcoal burner for generations, so I'd like to write a full-length novel about the life of a charcoal burner from my ancestors to the present, intertwined with the changes in society. Yes, I will write a story about charcoal burning. No one has written it. It will also be the history of the mountains of Kishu, Kumano."
Next year, in 2020, the 10th volume, the final of the collection of folklore novels, and in 2021, a long novel is planned. Now, we escort runners must do our best not to fall behind. Lastly, I would like to talk about German literary scholar Osamu Ikeuchi. Mr. Ikeuchi, who loved hot springs in mountain villages, passed away on August 30th. Previously, Mr. Ikeuchi reviewed Nagare Segaki in the October 9, 2016 issue of Sunday Mainichi in his column "I want to read it now." Rest in peace.
Sunday, 10 July 2022
A wonderful review on Kamishibai
Wednesday, 6 July 2022
The cast of Golden Bat
Saturday, 2 July 2022
Kamishibai survivors unite!
Tuesday, 28 June 2022
The Yoichiro Minami Catalogue
Friday, 24 June 2022
Baruuba’s Adventures: Characters
Monday, 20 June 2022
How do certain companies get away with misleading marketing?
Thursday, 16 June 2022
A Light Novel Connoisseur’s Creaky Summary on Light Novels
From the connoisseur’s site: https://lightnovel.jp/blog/archives/2015/0301.html
The "origin of light novels and the formation after that" that I wrote a long time ago has been published in 2008, so I'd like to reorganize it a little. Roughly speaking, it is said that light novels were born in the 1970s under the influence of easy to read science fiction paperbacks, and then became what they are now under the influence of anime, RPGs, and bishoujo games.
It seems that middle grade novels for primary school boys (and later on, young adult novels for teenaged boys) had been popular in magazines such as "Shonen Sekai (created in 1895)" and "Shonen Club (created in 1914)" before world war 2. However, it declined in the 1950s, largely to be replaced by the mangas, mostly represented by Osamu Tezuka. So, although these pre-war/interwar/early post-war novels are one of the origins of light novels, they seem to be a little different if they are direct ancestors.
Rather, the direct ancestors of light novels are likely to be short, easy to read science fiction paperbacks, which have formed a boom since the 1960s. In the early 1960s, science fiction writers such as Sakyo Komatsu, Yasutaka Tsutsui, Taku Mayumura, Kazumasa Hirai, and Ryu Mitsuse appeared one after another, and it seems that easy to read science fiction paperbacks in Japan will have a big boom in the latter half of the 1960s. A then-new breed of Japanese science fiction writers (who appeal to teens and young adults) would appear as the first writers who supported the birth of Light Novels in the 1970s.
Yasutaka Tsutsui's "The Girl Who Leapt Through Time" has a big impact on the eve of the birth of light novels, and was serialized in two Kadokawa Shoten Magazines for youths, Chugaku Sannen Course and Ko-Ichi Course in 1965-66 and made into a drama in the NHK Shonen Drama Series in 1972. Also, in 1965, Taku Mayumura's "Mysterious Transfer Student" was also serialized in the Chuunibyo Course. This was also made into a drama in the NHK Shonen Drama Series in 1975, and then recorded in Akimoto Bunko and Kadokawa Sneaker Bunko. Even if you look at the publication, it is for boys/girls, and it is truly a pioneering work of light novels.
In the 1970s, the number of novels for boys/girls increased, and finally, a paperback label for boys/girls appeared. In many cases, the birth of light novels was marked by the launch of Akimoto Bunko, Cobalt Bunko, and Sonorama Bunko, or just before that. In the early days, Kazumasa Hirai, Taku Mayumura, Ryu Mitsuse and others were active, and eventually Motoko Arai, Saeko Himuro, Haruka Takachiho, Baku Yumemakura, Hideyuki Kikuchi, Yuichi Sasamoto have all appeared, and these writers led the light novels of the 1980s.
Since the birth of Sonorama Bunko, there have been novelizations of anime shows and films, but it was during this period that light novels became an otaku's reading material. The movie adaptation of "Space Battleship Yamato" in 1978 produced a large number of anime fans, and the novelization of anime shows+movies and the animations of light novels would be actively carried out targeting those anime fans. However, the anime boom rapidly diminished in the late 1980s.
In the late 1980s, RPG culture swept light novels. Introducing "Record of Lodoss War" and "Slayers". Until then, light novels, which were filled with erotica and violence, became all about Isekai fantasies at one point. At that time, aiming at an area of otaku content that was blank after the anime boom ended, I felt that Kadokawa and Fujimi created the boom, by pushing hard on the still new tabletop RPG and computer RPG. Until then, Sonorama Bunko and Cobalt Bunko took several years to establish the direction of the Bunkobons, while Fujimi Fantasia Bunko was aimed at fantasy for otaku from the beginning.
Since the peak sales of "Slayers!" was in 1996 and the animated adaptation of "Sorcerous Stabber Orphen", another masterpiece of different world fantasy, was made in 1999, it can be said that light novels somewhat erroneously equal Isekai until at least the latter half of the 1990s. I think it was a middling situation. Also, I think it's probably because of the time that the light novels had a "lighthearted" image due to the influence of "Slayers!" and the work was itself created by Satoru Akahori.
In 1998, "Boogiepop", "Full Metal", "Marimite", and other works that led the next era would appear. Even in the era of Isekai, there were masterpieces of that genre such as "St. Elsa", "The Irresponsible Captain Tylor" and "Yamamoto Yoko", but to change the image of light novel equalling Isekai, I had to wait for them to appear and gain popularity.
In addition, since 2000, the influence of bishoujo games, mostly centering on Leaf and Key's works, would also come out. "I don't need tears in heaven" based on "Moe" was released in 2001, and "Infinity Zero" was released in 2002, where the influence of Key can be seen. In 2004, Noboru Yamaguchi's "Zero no Tsukaima", based on a bishojo Game, appeared. Yuyuko Takemiya, also from another bishoujo game "Our Tamura-kun", was also made in 2004. Since "Zero no Tsukaima" first appeared, the number of writers from bishojo games has increased, and the moe anthropomorphism of light novels has become remarkably uncomfortable for some readers.
Light novels, which weren't really talked about until the 1990s, became the focus of public attention in the mid-2000s critique book boom, resulting in an animated rush like the light novel bubble. Well, I've been blogging since 1995, but in the 1990s there was no light novel community on the internet. In the first place, the name "light novel" had not been established, and no one was paying attention to light novels so much that it didn't bother me.
It would change around 2000. The number of works that are talked about around Dengeki Bunko, such as "Boogiepop", is increasing, and it is difficult to talk about novels around here without a name, so "Light Novel" was originally used in Nifty Serve Local of PC communication. It is a format that came to be called by the name. Maybe it was like that.
The name "light novel" attracted attention, and in 2004, light novel critique books were released one after another, and from around 2005, a large number of animated adaptations would be made. Looking at "Ranobe TV Animation-Matsu Diary", except for the second term, there were 2 in 2004 → 6 in 2005 → 17 in 2006. The number of animated adaptations has increased dramatically. Among these massy animated adaptations are "Shakugan No Shana" in 2005, "Haruhi Suzumiya" and "Zero Man" in 2006, and due to their success, light novels are still being animated in large numbers. Really, "Haruhi Suzumiya" was a terrifyingly massive box office hit.
And there are two major recent trends in light novels. It will be the influx of online novels represented by Narō-kei and the penetration and spread of light novels represented by Media Works Bunko and Shincho Bunko Nex. In the olden days, there was "The Irregular at Magic" as a book of online novels, but "Sword Art Online", "Maoyu Maoyu Hero", and "The Irregular at Magic High School" have attracted attention. Is it from around 2010 when it comes out? Since the first issue of Hero Bunko in 2012, the number of so-called "Narō-kei labels" has increased, and it seems that it has become quite noticeable recently. Also, maybe there is an influence of Narō-kei, compared to the 2000s, it seems that fantasy has regained some rights and "moe" has become more modest once again.
Regarding the spread of light novels, as a result of the general recognition of light novels in the previous critique book boom, writers such as Honobu Yonezawa and Hiro Arikawa crossed the border of light novels from around 2005, and Kazuki Sakuraba in 2008. Kazuki's Naoki Prize was a big event. However, although Media Works Bunko was launched in 2009, the following labels did not appear immediately, yet "Biblia Koshodou no Jiken Techo" and "Coffee Shop Taleran no Jikenbo" became big hits, and finally Fujimi L Bunko and Shincho Bunko Nex would follow in 2014.