Адаптация рассказа Эдогавы Рампо (1894–1965) «Гусеница» («Имомуси») в одноименной манге Маруо Суэхиро
Discusses the works of Japanese manga authors of the 1970s – Takemiya Keiko and Hagio Moto, who created a new genre shounen-ai (boy’s love). This genre of manga is intended for female audiences and developed in Japan, but was experienced a considerable influence of European art, especially French literature and cinema.
After the dissolution of the Soviet Union, a foreign culture poured into Russia in a powerful stream. The books of previously banned writers are beginning to be published, and comic books are also being actively promoted, including Japanese manga, about which former Soviet citizens heard for the first time. The spread of manga (and anime) abroad begins only in the mid-1980s, but already in the 1990s its first samples have reached Russia. Therefore in 1995 the first volume of Nakazawa Keiji's "Barefoot Gen", dated to the 50th anniversary of the atomic bombing of Hiroshima and Nagasaki, was published on Russian. But a year earlier another manga was released, today it can be considered the very first manga translated into Russian. It is symbolic that this was manga "Black Jack" by Tezuka Osamu. Thanks to Tezuka Osamu manga was developed into a huge industry during the postwar period and later was able to compete with American comic books and French comics band desine. Tezuka was a doctor by education and in this manga he combined his medical knowledge with the profession of mangaka. The main character Black Jack became a sort of Tezuka Osamu alter-ego and gained a great love of the readers. However, the existence of such a character, unlike, for example, American Mickey Mouse, was hardly known in Russia, so the first issues of Japanese comics were not in great demand. Despite this, in the narrow circle of domestic fans of Japanese animation and manga (otaku) the need for such kind of cultural products was brewing. In the late 1990s, with the development of computer technologies, amateur translations of manga on the Web, including the Russian-speaking segment of the Internet, are widely spread. There are exist informal publishers who publish an unlicensed manga (piratka) on paper. Subsequently, some of them are retrained into official companies, which will mark the appearance of the first Russian publishing houses translating manga in the early 2000s. In this regard, it is important to trace the contents of these works and the specifics of their publication, as well as the experience of publishers, who decided to translate Asian comics into Russian.
The article illuminates a literary genre kaidan, which in Japanese means "stories about the extraordinary". The characters of such stories are usually fantastic creatures called yokai, whose visual image came to us thanks to the woodblock prints of the Edo period artists, and was later popularized in modern Japanese pop culture with a light hand of manga author Mizuki Shigeru. This theme is quite extensive, but in this article only talks about two aspects – the story of Mimi-nashi Hoichi and the motive of the eyes in mangas by Mizuki Shigeru, Hino Hideshi, Takahashi Yusuke, Maruo Suehiro and Hirano Kota.
This article analyzes Japanese comics called “Daughter of Twenty Faces” (Nijyuu Mensou no Musume), created by Ohara Shinji and published in manga magazine “Comic Flapper” from 2002 to 2007. This manga based on Edogawa Ranpo’s novel “The Fiend with Twenty Faces” (1936). The object of our research is a character nicknamed “Twenty Faces”, who embodies the archetype of “outlaw” and undergoes some changes.