{"id":46040,"date":"2025-03-17T05:47:21","date_gmt":"2025-03-16T20:47:21","guid":{"rendered":"https:\/\/kochihen.replan.ne.jp\/?p=46040"},"modified":"2025-03-17T05:47:21","modified_gmt":"2025-03-16T20:47:21","slug":"%e3%80%90%e3%83%9e%e3%83%b3%e3%82%ac%e5%a4%a9%e6%89%8d%e5%b0%91%e5%b9%b4%e3%81%b8%e3%81%ae%e6%89%8b%e5%a1%9a%e6%b2%bb%e8%99%ab%e3%81%ae%e5%b0%8e%e3%81%8d%e3%80%91","status":"publish","type":"post","link":"http:\/\/kochihen.replan.ne.jp\/?p=46040","title":{"rendered":"\u3010\u30de\u30f3\u30ac\u5929\u624d\u5c11\u5e74\u3078\u306e\u624b\u585a\u6cbb\u866b\u306e\u5c0e\u304d\u3011"},"content":{"rendered":"

\"\"<\/a>
\n\"\"<\/a>
\n\"\"<\/a>
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English version\u2b07<\/p>\n

[Osamu Tezuka’s guidance to the manga boy genius].
\nThe potential for the development of various new cultural areas in the age of ageing. The theme of \u2018re-experiencing and reliving\u2019 post-war manga culture is fascinating. …<\/p>\n

\u3000After the end of the Pacific War in 1945, Japanese society underwent a major turning point. In January 1947, soon after the defeat, Tezuka Osamu published his monumental work on Japanese manga culture, New Treasure Island, which became a bestseller.
\n\u3000It was around 1955 that Shotaro Ishinomori, who was born in 1938 (Showa 13), was puffing out the wings of his imagination in his own room in this birthplace. The boy encountered the works of Osamu Tezuka, who would eventually also serve as his matchmaker, and he became a direct contact from Tezuka Osamu, who had discovered his abundant talent. The exhibition at his birthplace also displayed materials from this period. The top photo is a shot from the Manga Class, which Tezuka Osamu published in Manga Shonen magazine from 1952 to 1954, with the aim of training his younger students.
\n\u3000The illustrations and handwritten instructions on how to create manga, in Tezuka’s very own handwriting, show the atmosphere of the early days of manga culture in the post-war period. It is clear that Tezuka, who continued to give cultural agitation to manga-loving boys all over the country, nurtured many successors. In this sense, Tezuka’s position as the \u2018mainstream\u2019 of post-war manga culture has become firmly established.
\n\u3000I myself became very interested in manga when I was in junior high school, and even drew some of my own works. This was my very first attempt, but I managed to complete a 16-page work. I remember that my friends who were manga enthusiasts were impressed by how I managed to draw it all the way through. Soon after completing this work, my father had it boiler-burned. At the time, I was so depressed with sadness that I even imitated running away from home, but I felt my father’s \u2018love\u2019 in part, and soon after that my manga artist ambition was sealed off by myself. This was around 1965, so there is a 12-3 year gap from the early days of manga culture.
\n\u3000Because of this experience, I have special feelings towards Ishinomori and Tezuka, but I never had any regrets because I felt that I had sealed them off myself. Therefore, I did not go deep into the above-mentioned facts and circumstances until I visited the birthplace of Shotaro Ishinomori as part of the research for the \u2018Writers and Living Space\u2019 e-book and unearthed some of the surrounding facts. When I look at this kind of historical excavation again, it is very stimulating and I feel as if I am tracing a different landscape of my own life. Perhaps.
\n\u3000To have this kind of opportunity to look back on life in one’s old age is like being reunited with one’s first love after a long time by chance, with waves rippling inwardly (laughs). In the age of 100 years of life, this kind of reliving life may be an interesting cultural theme area.
\n\u3000<\/p>\n","protected":false},"excerpt":{"rendered":"

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