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in the case of the former, as illustrated in Manga Kamishibai, the Caped Crusader was worked into the medium as it tried to compete with imported American TV programming. If this volley of reinterpretations sounds a bit like Chip Kidd's Bat-Manga or the pattern laid out in Roland Kelt's Japanamerica. On this genre - jidai geki - a period drama set in feudal Japan, Nash draws attention to "the wordplay of George Lucas' jedi, who resemble medieval Japanese Knights." In its next chapter, the book looks at period adventures, including the exploits of Tange Sazen, the one armed, one eyed samurai later adapted by Osamu Tezuka, who may have also inspired Tezuka's Dororo, and later tales of disfigured samurai, such as Blade of the Immortal. The green suited super-hero launches into an adventure in which he "takes on a mad captain of a sea-monster-like submarine a la Jules Verne," eventually confronting a foe "more like Gumby than Captain Nemo." Also noted, "in a fascinating bit of transcultural borrowing, the letters slant away from the viewer as they did in the old Flash Gordon serials, a trick picked up by George Lucas for the opening credit of Star Wars." Nash snaps together a chain of parallels in his opening look at Prince of Gamma, described as an "interstellar hero by way of J.M. Manga Kamishibai opens with works that broadcast pulp sensibility with a sort of cross pollination of Eastern and Western pop culture. Definitely something to gift or ask for in the upcoming season. As a 304 page 250 illustration coffee table/art book style hard cover, Manga Kamishibai is a bit more expensive, and I do have some reservations about the book, but I still think it’s one of the best holiday items in the anime/manga field. As reproduced in Manga Kamishibai, with their exploding colors and marked by attention commanding design, the accusation does not seem entirely irrational.Īround this time last year I mentioned that I adored Yokai Attack, and that the book was going to be on my holiday gift list for a number of friends/family. Generations before Nintendo was making video games and sugary cereals were funding cartoons, critics were calling kamishibai too over stimulating for the young minds of its audience.
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Relied upon to command and hold the attention of an audience some distance away (like theatre, the performer might have to play to the back row), those painted cards served as a sort of narrative billboard sequence. With their voice and a canvas the size of what would now be a small TV, the Kamishibai performer would have to attract and enthrall an audience of children effectively enough to eke out a living from selling slightly marked up candy.
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Manga Kamishibai introduces the medium, relates its 20th century rise and fall, and reproduces the images in a way that is gorgeous to look at and compelling to read.Ĭollected in full color for Manga Kamishibai, the story frames remain positively arresting. Though kamishibai still exists through the work of a few remaining performers, through cultural preservation efforts and as an educational tool for elementary school students, its precipitous decline since the rise of television, kamishibai has long invited the label "dead art." Primarily practiced from the 1920's to the 1950's, travelling story tellers would set up a butai (miniature wooden proscenium) and narrate stories illustrated with processions of painted cards. Kamishibai or "paper theatre" is a form of graphical and performance art.