A sweeping yet intimate portrait of World War II’s legacy in Japan Showa 1944-1953: A History of Japan continues Eisner award-winning author Shigeru Mizuki's historical and autobiographical account of Japanese life in the twentieth century. In this volume, the tail-end of the Pacific War and its devastating consequences upon the author and his compatriots loom large. Two rival navies engage in a deadly game of feint and thrust, waging a series of ruthless military campaigns across the Pacific islands. From Guadalcanal to Okinawa, Japan slowly loses ground. When the United States unleashes the atomic bomb–then still a new and now enduringly terrible weapon–it is the ultimate, definitive blow. The catastrophic fallout from both explosions surpasses the limits of popular imagination. Mizuki's own life is irrevocably changed in the shadow of history. After losing an arm during his time in service, the author struggles to forge a path into the future. Should he remain on the island of Rabaul as an honored friend of the local Tolai? Or should he return to the rubble of Japan and return to his earliest artistic inclinations? This penultimate installment of a landmark series is a searing condemnation of war, told with the deft hand of Japan's most celebrated cartoonist.

Tegneserie - graphic novel. A autobiographical and historical account of Showa-era Japan

Tegneserie - graphic novel. A autobiographical and historical account of Showa-era Japan

A master cartoonist and war vet details Japan's involvement in World War II Showa 1939-1944: A History of Japan continues award-winning author Shigeru Mizuki’s autobiographical and historical account of Showa era Japan. This volume covers the final moments of the lead-up to World War Two and the first few years of the Pacific War; it is a chilling reminder of the harshness of life in Japan during this highly militarized epoch. In Showa 1939-1944, Mizuki writes affectingly about the impact on the Japanese populace of world-changing moments including the devastating Second Sino-Japanese War, the attack on Pearl Harbor, and the first half of the Pacific War. On a personal level, these years mark a dramatic transformation in Mizuki’s life, too – his idyllic childhood in the countryside comes to a definitive end when he’s drafted into the army and shipped off to the tiny island of Rabaul in Papua New Guinea. His life becomes a constant struggle for survival, not only against the constant Allied attacks but because he must face the harsh discipline of the Japanese army officers. During his time in Rabaul, Mizuki comes to understand the misery and beauty of the island itself—a place that will permanently mark him and haunt him for the rest of his life. Translated from the Japanese by Zack Davisson.

Following the end of World War II in Asia, the Allied powers repatriated over six million Japanese nationals and deported more than a million colonial subjects from Japan. Watt analyzes how the human remnants of empire served as sites of negotiation in the process of jettisoning the colonial project and in the creation of new national identities.

The beloved mangaka adapts one of his country—and teh world's—great works of supernatural literature Shigeru Mizuki—Japan’s grand master of yokai comics—adapts one of the most important works of supernatural literature into comic book form. The cultural equivalent of Brothers Grimm’s fairy tales, Tono Monogatari is a defining text of Japanese folklore and one of the country’s most important works of literature. This graphic novel was created during the later stage of Mizuki’s career, after he had retired from the daily grind of commercial comics to create personal, lasting works of art. Originally written in 1910 by folklorists and field researchers Kunio Yanagita and Kizen Sasaki, Tono Monogatari celebrates and archives legends from the Tono region. These stories were recorded as Japan’s rapid modernization led to the disappearance of traditional culture. This adaptation mingles the original text with autobiography: Mizuki attempts to retrace Yanagita and Sasaki’s path, but finds his old body is not quite up to the challenge of following in their footsteps. As Mizuki wanders through Tono he retells some of the most famous legends, manifesting a host of monsters, dragons, and foxes. In the finale, Mizuki meets Yanagita himself and the two sit down to discuss their works. Translated with additional essays by Mizuki scholar and English-language translator Zack Davisson, Tono Monogatari displays Mizuki at his finest, exploring the world he most cherished. Tono Monogatari was translated by Zack Davisson, an award-winning translator, writer, and folklorist. He is the author of Yurei: the Japanese Ghost, Yokai Stories, Narrow Road, and Kaibyo: The Supernatural Cats of Japan and translator of Shigeru Mizuki's multiple Eisner Award-winning Showa: a History of Japan and famous folklore comic Kitaro. He also translated globally renowned entertainment properties such as Go Nagai's Devilman and Cutie Honey, Leiji Matsumoto's Space Battleship Yamato and Captain Harlock, and Satoshi Kon's Opus. In addition, he lectured on manga, folklore, and translation at colleges such as Duke University, UCLA, and the University of Washington and contributed to exhibitions at the Henry Art Gallery, The Museum of International Folkart, Wereldmuseum Rotterdan, and the Art Gallery of New South Wales.

Meet one of Japan's most popular characters of all time—Kitaro, the one-eyed monster boy Meet Kitaro. He’s just like any other boy, except for a few small differences: he only has one eye, his hair is an antenna that senses paranormal activity, his geta sandals are jet-powered, and he can blend into his surroundings like a chameleon. Oh, and he’s a yokai (spirit monster)! With all the offbeat humor of an Addams Family story, Kitaro is a lighthearted romp in which the bad guys always get what’s coming to them. Kitaro is bestselling manga-ka Shigeru Mizuki’s most famous creation. The Kitaro series was inspired by a kamishibai, or storycard theater, entitled Kitaro of the Graveyard. Mizuki began work on his interpretation of Kitaro in 1959. Originally the series was intended for boys, but once it was picked up by the influential Shonen magazine it quickly became a cultural landmark for young and old alike. Kitaro inspired half a dozen TV shows, plus numerous video games and films, and his cultural importance cannot be overstated. Presented to North American audiences for the first time in this lavish format, Mizuki’s photo-realist landscapes and cartoony characters blend the eerie with the comic. Translated from the Japanese by Jocelyne Allen.