1945年（昭和20年）の太平洋戦争の終結以降、日本社会は大きな転換期を迎えていく。敗戦後間もない1947年1月に手塚治虫は日本マンガ文化の記念碑的作品「新宝島」を出版し、ベストセラーとなった。
　1938（昭和13）年生まれの石ノ森章太郎がこの生家の自分の部屋で空想の羽を膨らませていたのは、1955（昭和30）年前後の時期。やがて仲人も務めてくれることになる手塚治虫の作品に出会った少年は、その豊かな才能を見出した手塚治虫から直接コンタクトを受ける存在になっていた。この生家の展示にはそういう時期の資料類も展示されていた。いちばん上は、手塚治虫が後輩たちを育成する目的で1952-1954年に掛けて「漫画少年」誌で掲載した「漫画教室」のひとこま。
　いかにも手塚的な挿絵と自筆で漫画制作の「手ほどき」が語られていて、まことに戦後のマンガ文化草創期の雰囲気をまざまざと見せている。全国のマンガ大好き少年たちに文化的アジテーションを贈り続けた手塚という存在が、多くの後継人材を育成したことがわかる。そういう意味で戦後マンガ文化の「主流」位置付けが定着したのだろう。
　わたし自身は中学生頃にマンガに強く興味を持って自分でも作品を描いたりしたことがある。これはまったく初めての取り組みだったけれど、なんとか16Pの完成作品とした。マンガ愛好の友人たちから「よく最後まで描けたな」と感心された記憶がある。この作品は完成後すぐに父親からボイラー焼却処分された。そのときは悲しみに落ち込んで家出のまねごとをしたりもしたけれど、父の「愛」も感じられた部分もあって、そのマンガ家志向はほどなく自ら封印した。・・・1965（昭和40)年頃のことだから、こうしたマンガ文化初源期からは12-3年のズレがある。
　そういう体験を持っているので石ノ森や手塚には特殊な感情もあるのだけれど、自ら封印したという思いがあって未練を持つようなことはなかった。なので今回「作家と住空間」電子本の派生取材でこの石ノ森章太郎生家を探訪し、周辺事実を掘り起こすまで上に書いたような消息・事情には深入りしてこなかった。あらためてこういう歴史発掘をして見ると、非常に刺激的で、自分のもうひとつ違った人生風景をなぞっているような気がしてくる。ひょっとして。
　高齢期にまで至ってこういう人生の見返りの機会を得られるのは、内心でいろいろにさざめく波濤があって、まるで偶然久しぶりに初恋のひとと再会する心境に似ている（笑）。人生100年時代、このような人生追体験ということも興味深い文化テーマ領域かも知れない。

English version⬇

[Osamu Tezuka’s guidance to the manga boy genius].
The potential for the development of various new cultural areas in the age of ageing. The theme of ‘re-experiencing and reliving’ post-war manga culture is fascinating. …

　After 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.
　It 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.
　The 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 ‘mainstream’ of post-war manga culture has become firmly established.
　I 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 ‘love’ 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.
　Because 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 ‘Writers and Living Space’ 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.
　To 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.
　

Posted on 3月 17th, 2025 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

　さてマンガ作家としての石ノ森章太郎のロケット的なデビューへの助走期、高校卒業までの「こころの痕跡」を探る機縁。と思ったのがロケットランチャー・発射機ともいえる部屋の様子とデスク環境。「作家と住空間」というテーマにとっては、いかにもコアな領域と言える。
　もちろん作品などの創造過程自体はかれ石ノ森の脳味噌の中から発酵し表出してくる部分なので、きわめて「個人的」な部分であり余人からうかがい知れることは限られてくる。しかしその部分にもっとも「肉薄」できるのは、その作家の遭遇していた周辺環境、住のありようであることは紛れもない。それがわたしたちに体感可能な状態で残され、公開されていることは稀有なことだろう。同じ日本人としてほぼ同時代を体験し事跡を知っている人間としては、深く刺激的。
　で、この石ノ森少年が囲まれていたデスク環境を丹念に記憶に刻印し分析的に直視していた。ルポルタージュというコトバの実感そのままに視認チェックしていた。
　まず興味深かったのが、このデスクはどうも「既製品」を購入したものではないという感覚。デスク面の特異な寸法感覚、足回り側面の木による面構成などからどうも造作特注品、大工仕事なのではという感想を持った。デスク表面にも無垢材が張られているようだ。塗装の剥げ具合には、作家の「手ざわり」痕跡のような雰囲気まで感じられてならなかった。また、このデスクには一般的に付属する引き出しなどの収納装置が付設されていなかった。シンプルに「作業平面」だけを骨太に造作構成した様子がうかがい知れたのです。
　さらに興味深かったのが、築100年を越すという和風住宅なのに、この部屋にだけ「出窓」が造作されていること。そしてさらにその出窓には写真のように水道蛇口とボウルまでもが装置されていた。・・・デジタル化以前の創生期のマンガ制作では作画表現に墨を使うけれど、それを洗い流すために、この個室に特別に造作された環境のように受け取れた。そう考えると、デスク表面にうっすらと墨の残滓が木表面に展着した部分もその痕跡と認められる。
　オイオイ、であります（笑）。家長である父親はこの「跡継ぎ」長男に対して、かなりその才能開花のための環境を増築造作して「与えていた」ことが浮かび上がってきてしまう。あらら、謹厳な公務員としてマンガ家を志望した息子に反対した話はどこに行ったのか、とオモシロく感じてしまった。なんも、かわいい息子の純粋な志望に対して建築的な特別環境を構築して大いにその志望を深く支えていたのではないか、というように思われてしまった。
　最終的には息子の志望を認めて送り出した父の、そしてそれを夫婦で意思決定していった母の心情が、なんとも言えずしみじみと「伝わって」くるように思えた。親の盲目の深い愛。

English version⬇

[Carpentry construction? The boyhood desk environment that nurtured his dreaming]
The revelation of the talents of my beloved ‘heir’ son. And endless worry about my child’s future destiny. The architectural environment of a peculiar manga boy. …

　This is an opportunity to explore the ‘traces of the heart’ of Shotaro Ishinomori as a manga artist in the run-up to his rocket-like debut and up to his graduation from high school. The room and desk environment of his room can be seen as a rocket launcher. This is a core area for the theme of ‘artists and living space’.
　Of course, the creative process itself, including the works themselves, is a very ‘personal’ part of Ishinomori’s brain, and what can be learned from him is limited. However, it is undeniably the surrounding environment that the artist encountered and the way he or she lived that can be most closely related to this part of his or her work. It is a rare thing that these are preserved and shown to the public in a way that allows us to experience them. As a Japanese person who experienced the same period and knows the traces of it, it is deeply stimulating.
　In the book, the Ishinomori boy’s desk environment is painstakingly etched in his memory and viewed directly from an analytical point of view. I was checking the visualisation of the term ‘reportage’ as it really is.
　The first thing that was interesting was the sense that this desk had not been purchased ‘off-the-shelf’. The unusual dimensions of the desk surface and the wooden surface structure of the side of the undercarriage gave me the impression that it was a custom-built, carpentry work. The surface of the desk also seems to be covered with solid wood. The peeling paintwork even gave the impression of traces of the artist’s ‘handiwork’. The desk was not fitted with storage devices such as drawers, which are generally attached to desks. It was evident that only a simple ‘work plane’ had been constructed in a robust manner.
　What was even more interesting was the fact that this room was the only one with a bay window, even though it is a Japanese-style house that is over 100 years old. And on the bay window, there was even a water tap and a bowl, as shown in the photo. … In the early days of manga production, before digitalisation, ink was used for drawing expression, and it seemed to me that this private room had been specially built as an environment for washing it away. Considering this, the part of the desk surface where ink residues were spread on the wood surface can also be recognised as a trace of this.
　Oui, it is (laughing). It emerges that the father, who is pretty much the patriarch of the family, had ‘given’ this ‘heir’ eldest son an environment for his talent to flourish by building an extension. Oops, I wondered wryly where was the story of his opposition to his son who, as a respectful civil servant, aspired to be a cartoonist. It seemed to me that he had been deeply supporting his cute son’s aspirations by building a special architectural environment for his son’s genuine aspirations.
　The feelings of the father who finally acknowledged his son’s aspirations and sent him off, and of the mother who made this decision as a couple, seemed to be indescribably and deeply ‘felt’. The blind and deep love of a parent.

Posted on 3月 15th, 2025 by 三木 奎吾
Filed under: 住宅取材＆ウラ話 | No Comments »

　さて石ノ森章太郎生家の探訪取材。この家は建築後100年前後と伝えられているとの説明。大正の末期から昭和の初め頃の建築と言うことになる。1926年前後。
　世界情勢としては日露戦争のあとロシア革命が勃発しソ連が成立したての時期。日本は日露戦争に勝利したあと、複雑な国際政治外交の権謀術数の世界にアジアの有力国、対露戦勝国として参入する。そういった時代に生きていた日本人のひとつの間取り、家という社会の基本構成要素のありようが表現されている。
　登米市の中田町が現在名だけれど、当時は「石森町」という地域名。石森と書いて「いしのもり」と呼称するのが地域の習慣だったので、石ノ森章太郎はごく自然に最初は「石森」とペンネームを表記していた（本姓は小野寺）けれど、全国的にはふつうに「いしもり」としか発音されないことに違和感を持っていたのだそう。画業30年を経過した段階でそのことを変えたいと祈念し、正式に「石ノ森〜いしのもり」と「ノ」を入れてネーム更新したのだという。地域伝統社会へのリスペクト。
　作家としてのかれは、地名を誇らしくペンネームとするほどに郷土へのこだわりが強かったということ。少年期の様子などを探索すると手塚作品に衝撃を受けてマンガ家一本道のように思えるのだけれど、別な側面から見ると地域文化や長男として「家長」的な立場認識に、色濃く影響されていたように思われる。
　上の図は説明懸垂幕にあったので一部に「ゆがみ」が反映している「間取り図」。間取りとしては１階に店舗が通りに面して広く取られ、それぞれ床の間付きの大きな和室３室が展開している。いちばん奥に店守りの祖母と叔母の居室兼用の最上位和室があり、真ん中には姉と章太郎の弟・妹、子どもたちが寝起きする和室。そしていちばん手前側が「茶の間」家族のだんらん・食事空間が座卓としてある。席順も記されているように「格」重視の日本人的な家族認識習慣が垣間見える。「世継ぎ」である石ノ森章太郎だけには２階に出窓付きの洋室個室が与えられて、横に家長である両親の隣室があてがわれている。
　石ノ森章太郎が高校卒業時にマンガ家を志望すると言ったとき、謹直な公務員であった父は許さないと言った。そのとき、姉である由恵さんが援護して親を説得し、マンガ家志望の弟の素志を遂げさせた。姉弟の共同戦線に折れざるを得なかった父親の心事に思いをいたすと面白い。父親としてはたぶん章太郎だけの主張であれば、強硬に否認する可能性も高かったのではないだろうか。ところが父親は娘には弱い（笑）。病弱でもある最愛の娘が弟に味方して叛旗を翻す事態に、オロオロさせられただろうことは想像できる。日本の「家」の実像。

English version⬇

[Floor plan of Shotaro Ishinomori’s birthplace
After the victory in the Russo-Japanese War, the period was a whirlwind of change in the complicated international politics. The space layout expresses a sense of ‘home’ that was typical of the period. A sense of patriarchal responsibility for the continuation of the family. …

　Now, an exploratory interview at Shotaro Ishinomori’s birthplace. The house is reported to be around 100 years old. It was built between the end of the Taisho era (1912-1926) and the beginning of the Showa era (1926-1989).
　The world situation was that the Russian Revolution broke out after the Russo-Japanese War and the Soviet Union had just been established. After winning the Russo-Japanese War, Japan entered the complex world of international political and diplomatic intrigue as a powerful Asian country and victor against Russia. The work expresses one of the layouts of the Japanese people who lived in those times, and the way in which the basic components of society, the house, were constructed.
　Nakada-cho in Tome City is the current name of the area, but at the time the name of the area was Ishimomori-cho. It was local custom to write Ishimori and call it Ishinomori, so Shotaro Ishinomori naturally used the pen name Ishimori at first (his real name was Onodera), but he was uncomfortable with the fact that it was usually pronounced only as Ishimori throughout the country. After 30 years of painting, he prayed to change that and officially updated his name to ‘Ishinomori – Ishinomori’ with a ‘no’. Respect for local traditional society.
　As a writer, Kare was so strongly attached to his hometown that he proudly used the name of the place as his pen name. When we explore his boyhood, it seems as if he was impacted by Tezuka’s works and became a manga artist in one way or another, but from a different perspective, it seems that he was strongly influenced by the local culture and his perception of his position as the ‘patriarch’ as the eldest son.
　The diagram above is a ‘floor plan’ reflecting some ‘distortion’ as it was on the explanatory banner. The layout consists of a shop on the ground floor facing the street, with three large Japanese-style rooms, each with an alcove. At the far end is a top-level Japanese-style room that doubles as a living room for the shop keeper’s grandmother and aunt, and in the middle is a Japanese-style room where the elder sister, Shotaro’s younger brother and sister and their children sleep and wake up. At the very front is the ‘chanoma’ (tea room), where the family gathers and eats together at a table. The order of seating is also marked, which gives a glimpse of the Japanese custom of recognising family members with an emphasis on ‘rank’. Shotaro Ishinomori, the ‘heir’ of the family, is given a private Western-style room with a bay window on the second floor, with the room next to his parents, who are the patriarchs, allocated to him.
　When Shotaro Ishinomori said he wanted to become a manga artist upon graduating from high school, his father, an honest civil servant, said he would not allow it. At that time, his older sister, Yue, backed him up and persuaded his parents to let him fulfil his ambition to become a manga artist. It is interesting to reflect on the father’s feelings about having to break down in the face of the sister and brother’s joint front. The father probably would have been more likely to strongly deny the claim if only Shotaro had insisted on it. However, fathers are weak against their daughters (laughs). It is imaginable that he would have been horrified by the situation in which his beloved daughter, who was also sickly and weak, sided with her brother and rebelled against him. The reality of the Japanese ‘family’.

Posted on 3月 13th, 2025 by 三木 奎吾
Filed under: 住宅取材＆ウラ話 | No Comments »

　石ノ森章太郎の「生家」取材シリーズです。わたしの場合、特定テーマについて気付くことを書いていくときに、この「毎日更新」のブログという機会設定はちょうどいいと感じています。取材現場では写真撮影と、そのときに「感受したこと」とが同期してその本然的興味のおもむくままにアングルとテーマを決定していく。住宅という空間を記録する、記憶するにはそういうプロセスが肉感的でふさわしい。もちろん住宅を記録するのには一定の作法があり、その部分については個人的に師事したと認識している写真家から言われたコトバをいつもアタマのなかで復元させながら、しかし自分なりにイメージ構成に取り組んでいる。
　そしてそこで得られた「体感」を大事にしながらデスクに復帰してから、写真を整理整頓する。この整理整頓作業では、その場で感じていたことが純粋化されたり、抽象化されたりする。この作業が実は文章化のスタートにもなっているように思っている。住宅取材ということで生きてきた人間としての体験的純化なのでしょう。
　ただ、そのたびになにかしら新規な体験をさせられることがある。「え、こんなことがあるんだ」
　そういう種類の発見が上の写真。この日本人形は石ノ森章太郎の実のお姉さん（由恵さん）が作られたものとわざわざ説明字句が添えられていた。作家の肉親がその人となりを自己開示していることに、不意を突かれた。
　そう言われて気がつくと、弟さんは説明書類などで貴重なコメントを多数寄せられていて、人間と住空間との相関関係を探索する者にとって興味深かった。しかし、このお姉さんの作品は素晴らしく直接こころをえぐってくる。
　人形は顔がいのち、というコマーシャルが日本人形のメーカーさんの金言としてアタマにこびりついているが、この人形の表情には深くとらわれた。お姉さんも一緒に写っている家族写真を参照すると、この人形の顔立ちにご自分の表情が反映されていると感じられた。人間がなにかを造形するという営為は、やはりそこに作リ手の人間性が深々と投影されるのだということが、直感させられる。
　そしてこのような人格が弟であるマンガ作家・石ノ森章太郎が持っているだろう、ある本然と通底しているに違いない、という中身を感じることも出来たのだ。
　すごく直接に響いてくるモノがあって強く「打ち解け」させられていた。

English version⬇

[Dolls made by Shotaro Ishinomori’s own sister].
The writer’s immediate family speaks of his true humanity. I was taken by surprise and hit directly, and was completely tricked. From there, the artist’s inner life is seen again. …

　This is a series of interviews with Shotaro Ishinomori’s ‘birthplace’. In my case, I feel that this ‘daily update’ blog is just the right setting for me to write about what I notice about a particular theme. At the interview site, the photography and what I ‘perceived’ at the time are synchronised, and I decide on the angle and theme according to my natural interest. Such a process is a sensual and appropriate way of recording and remembering the space of the house. Of course, there are certain rules for documenting houses, and I always try to reconstruct in my mind the words of a photographer whom I recognise as my personal mentor, but in my own way I work on the composition of the image.
　Then, after returning to my desk, I organise the photographs, valuing the ‘experience’ I have gained from this process. In this organising process, what I was feeling on the spot is purified and abstracted. I feel that this process is actually also the start of the writing process. It is probably an experiential purification as a person who has lived through the process of housing coverage.
　However, every time I do it, there is something new to experience. ‘Oh, I didn’t know this was possible.’
　That kind of discovery is shown in the photograph above. This Japanese doll was made by Shotaro Ishinomori’s own sister (Yue-san), with an explanation attached. I was caught off guard by the fact that the artist’s immediate family had disclosed their personalities.
　When I was told this, I realised that the younger brother had made many valuable comments in the explanatory documents, which was interesting for those exploring the correlation between people and their living spaces. However, this sister’s work is wonderfully and directly gripping.
　The commercial saying that the face is the life of the doll is stuck in my mind as the golden rule of the makers of Japanese dolls, but the expression on this doll’s face captured me deeply. When I referred to a family photo of the doll with her sister, I felt that her own expression was reflected in the doll’s facial features. It is intuitive that in the act of human modelling something, the creator’s humanity is deeply projected onto the work.
　I could also sense that this kind of personality must have a certain underlying nature that his younger brother, manga artist Shotaro Ishinomori, must have.
　There was something that resonated directly with me and made me ‘open up’ to him strongly.

Posted on 3月 11th, 2025 by 三木 奎吾
Filed under: 住宅取材＆ウラ話 | No Comments »

　もう少しで電子書籍「作家と住空間」が上梓されるのですが、そこで探訪した作家群の取材以降も、折に触れて全国各所で探訪を続けています。基本的にはその作家の「住んでいた」住宅そのもの、あるいはその残滓が感覚できる空間～作家記念館などを探訪するワケですが、そうするとごく最近の人、まだ生きていてその評価がいまだ定まっていない作家などは、そういう住宅保存とかの段階には至っていない。
　勢い、死後であってその評価が定まっている作家人物に対して取材するということになる。
　そういった意味では、わたしのちょっと上の年代というのがもっとも若い年代ということになる。わたしの幼少期～青春期はマンガ一色の文化模様。いわゆる文学としては三島由紀夫や大江健三郎、司馬遼太郎とかがあったけれど、文化としてはマンガがもっとも熱い領域だった。手塚治虫が超絶的な作品を生産してきた頃、それにはるかに憧れた全国の少年たちが、まるで梁山泊に集う英傑のようにトキワ荘と呼ばれるアパートに集結し、相互に刺激し合いながら、物語を紡ぎ出していた。そういう年代、わたしなどからは10数年上の世代として石ノ森章太郎がいる。
　たぶん作家の住空間保存の動きとしては「もっとも新しい」世代に属するのだろう。わたしにとっては「ちょっと兄貴」年代だろうか。先日の東北行脚で仙台にほど近い宮城県登米市郊外のそのふるさとの地を訪れることが出来た。
　・・・やはり圧倒的な「同時代感」が住空間各所から立ち上ってきて、いたたまれないほどだった。わたし自身も過ごしていた幼少年期・昭和30-40年代頃の共有していた時代性が住空間の至る所から感じられて、ちょっと立ち去りがたいほどの感銘を受け続けていた。大量生産型の無機質感を印象させるという、それ以降の常識感覚とは違って、簡易な住宅壁面建材として当時一般的だった「ベニヤ板張り」からすら、ある強い「時代感」を感じていたのだ。「おお、ベニヤ壁かよ」とその年季の入った様子に心をえぐられ続けていた。ヤバい。ベニヤ板をこころの底で愛していたのか、オレ。
　中学時代、石ノ森などの後続年代として友人たちとマンガ青年を夢見ていたことが自分自身の「原点風景」として復元してきて、「明るい慟哭」とでも言える心理で過ごしておりました。
　

English version⬇

[A sense of ‘depth’ in the artist’s exploration of his living space
The original landscape of my boyhood, when my friends and I yearned to follow in the footsteps of Shotaro Ishinomori and others as manga artists. It is like being reunited with that mental image, or looking directly at the cancer cells from the neck up. …

　The e-book ‘Writers and Living Spaces’ will be published soon, and I have continued to visit various places in Japan from time to time since the interviews with the writers I visited in the e-book. Basically, we visit the houses where the artists ‘lived’, or spaces where we can feel the residues of their works, such as writers’ memorials, etc. However, we have not yet reached the stage of preserving such houses for very recent writers who are still alive and whose reputation has not yet been established.
　I would be interviewing artists who are posthumous and whose reputation has been established.
　In this sense, the people who are a little older than me are the youngest generation. My childhood and youth were dominated by manga. In terms of so-called literature, there was Yukio Mishima, Kenzaburo Oe and Ryotaro Shiba, but in terms of culture, manga was the hottest area. When Osamu Tezuka was producing his superb works, boys from all over the country, who admired his works, gathered in a flat called Tokiwaso, as if they were gathering at a Ryozanbaku, and while mutually stimulating each other, they spun out stories. Shotaro Ishinomori was a member of that generation, more than ten years older than myself.
　He probably belongs to the ‘newest’ generation in the movement to preserve the living space of artists. For me, he is a bit older than me. On a recent trip to the Tohoku region, I was able to visit his hometown in the suburbs of Tome City, Miyagi Prefecture, which is close to Sendai.
　I was also able to visit my hometown in the suburbs of Tome City in Miyagi Prefecture, close to Sendai, on a recent trip to the Tohoku region. I could feel the sense of the times that I myself shared in my childhood, around the 1950s and 1960s, everywhere in the living space, and I was continually impressed to the point where I found it hard to leave. Unlike the common sense of mass-produced, inorganic materials that have been used since then, I felt a strong ‘sense of the times’ even from the ‘veneer wall coverings’ that were common at the time as a simple building material for house walls. The plywood walls were a common building material in those days, and I kept feeling a strong sense of ‘age’ from them. It’s not good. Did I love plywood in the depths of my heart?
　In junior high school, when I was in the generation that followed Ishinomori and others, I dreamt of being a manga youth with my friends, and it came back to me as my own ‘origin landscape’, and I spent my time with a psychology that could be described as a ‘bright wail’.
　

Posted on 3月 9th, 2025 by 三木 奎吾
Filed under: 住宅マーケティング, 日本社会・文化研究 | No Comments »