{"title":"Kashihon | Gekiga","description":"","products":[{"product_id":"ruthless-gunman-pg-48-by-joya-kagemaru","title":"Ruthless Gunman pg 48 by Joya Kagemaru","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003esize : 19.2 x 28.2 cm\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003emedia : pencil \u0026amp; ink on paper\u003c\/span\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eKagemaru made his debut in 1957 with 'Monster Baron' (kashihon)\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eHis manga career spanned over 5 decades and he published a total of 247 works!\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOne of his greatest successes is undoubtably 'Waru' (Bad) [Wal] on a screenplay by Hisao Maki.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e'Waru' was published in 'Weekly Shonen' followed by several album releases and a series of 12 movies !\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eHis more imaginative titles include; Desire School, Piston Horiguchi, Giant Samurai Flame, Zero Racer ... but he also drew many adaptations of successful books such as 'Funeral Bell' and 'Moby Dick'\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis page from 'Desert Wolf' was published in Weekly Shonen and published along with the story 'Ruthless Gunman' by Tokosha (1968) \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e","brand":"Joya Kagemaru","offers":[{"title":"Default Title","offer_id":47965389881672,"sku":null,"price":200.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0799\/6974\/7272\/files\/scan20240118_0475.jpg?v=1705578700"},{"product_id":"very-further-by-takao-saito-golgo-13-rare","title":"Very Further by Takao Saito (Golgo 13) | RARE !","description":"\u003cp\u003ePublished in 1963\u003c\/p\u003e\n\u003cp\u003eSize : 15.5 x 7.3\u003c\/p\u003e","brand":"Takao Saito","offers":[{"title":"Default Title","offer_id":47966002151752,"sku":"","price":250.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0799\/6974\/7272\/files\/scan20240118_0491.jpg?v=1705588060"},{"product_id":"departure-from-darkness-pg-19-by-tatsuo-okuda","title":"Departure from Darkness pg 19 by Tatsuo Okuda","description":"\u003cp\u003ePublished in Manga Punch (1972)\u003c\/p\u003e\n\u003cp\u003eSize : 25.3 x 35.3 cm\u003c\/p\u003e\n\u003cp\u003eMedia : pencil, ink \u0026amp; white gouache on paper\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eRyuo Okuda a.k.a. 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font-size: 0.875rem;\"\u003e| \u003cspan style=\"font-size: 0.875rem;\"\u003eMedia : pencil, ink \u0026amp; blue watercolor on paper\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"artworkdescription-text\" data-mce-fragment=\"1\"\u003e\n\u003cstrong style=\"color: #000000; font-size: 0.875rem;\"\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"artworkdescription-text\" data-mce-fragment=\"1\"\u003e\n\u003cdiv class=\"artworkdescription-text\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cstrong\u003eTakaharu Kusunoki drew this at the age of 17 !\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"artworkdescription-text\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cstrong\u003eThe story of a streetlight coming to life :-)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"artworkdescription-text\" data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\n\u003cdiv class=\"row-fluid\" data-mce-fragment=\"1\"\u003e\n\u003cdiv class=\"span12\" data-mce-fragment=\"1\"\u003e\n\u003cdiv class=\"\" data-mce-fragment=\"1\"\u003e\n\u003cdiv class=\"artworkdescription-text\" data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Takaharu Kusunoki","offers":[{"title":"Default Title","offer_id":48238774288712,"sku":null,"price":175.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0799\/6974\/7272\/files\/scan20240329_0920b.jpg?v=1711775987"},{"product_id":"kunoichi-ninja-scroll-pg-32-mitsuo-higashiura","title":"Kunoichi Ninja Scroll | pg 32 | Mitsuo Higashiura","description":"\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: rgb(0, 0, 0);\" data-mce-style=\"color: rgb(0, 0, 0);\"\u003eSize : 19,7 x 27,2 cm | Media : pencil \u0026amp; 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Motomitsu, 1935-96), real name Katsuyo Motomizu (本水克世)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eHe was active as a mangaka, editor, and scriptwriter. 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In 1959 he moved to Tokyo, where he specialized in social manga illustrating the struggle of life, the difficulties in understanding woman, the differences between the politicians and the salaryman ...\u003cbr\u003eHe worked for various newspapers, including the Sankei Shimbun before he suffered a cerebral infarction in 1980 and was repeatedly admitted to and discharged from hospital until his passing away in 1986. \u003cbr\u003e\u003cstrong\u003eHe won the 1975 Japan Cartoonists Association Award for excellance and originality for his unseen use of shadow (The Song of the Pendako)\u003c\/strong\u003e\u003cbr\u003eHe furthermore \u003cstrong\u003epublished\u003c\/strong\u003e short stories \u003cstrong\u003ein\u003c\/strong\u003e different weeklies and monthlies such as \u003cstrong\u003eWeekly Manga Times, Manga Story and Manga heaven\u003c\/strong\u003e where he had a longer running manga called 'Dog shit at Iseya Inari' (1960-1986) and also this \"record of a drunk\" published in the early years of Manga Heaven (1960's) ... Manga Heaven is also the place where he befriended Shigeru Mizuki\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c!----\u003e","brand":"Takeo Iwata","offers":[{"title":"Default Title","offer_id":50396194275656,"sku":null,"price":225.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0799\/6974\/7272\/files\/mamoru_3.png?v=1746789696"},{"product_id":"fearless-man-tokyo-top-companys-thriller-series-42-toshiro-sato-pgs-38-39","title":"Fearless Man || Tokyo Top Company's Thriller series #42 | Toshiro Sato | pgs 38\u002639","description":"\u003cp\u003eSize : 16 x 24 cm (x2)\u003cbr\u003eMedia : pencil \u0026amp; ink on paper | Very good condition\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong data-end=\"232\" data-start=\"142\"\u003eDouble-page spread from \u003cem data-end=\"182\" data-start=\"168\"\u003eFearless Man\u003c\/em\u003e, part of Tokyo Top Company's \u003cem data-end=\"222\" data-start=\"212\"\u003eThriller\u003c\/em\u003e series.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"122\" data-end=\"373\"\u003eToshiro Sato (1936–2018), who also worked under several pen names including Yoshiro Sato, Ryuichiro Kita, and Taro Mikami, was an important figure in the gekiga movement, the dramatic, cinematic style of manga that reshaped the medium in postwar Japan.\u003c\/p\u003e\n\u003cp data-start=\"375\" data-end=\"593\"\u003eLike Takao Saito, Sato combined precise, realistic artwork with slow-burning narratives driven by espionage, geopolitics, and psychological tension. His storytelling was cool, controlled, and notably ahead of its time.\u003c\/p\u003e\n\u003cp data-start=\"595\" data-end=\"981\"\u003eHe began his career in the late 1950s with the Tokyo Manga Group (Aizu), publishing short stories in the rental manga (kashihon) market through publishers such as Akashiya Shobo and Hibari Shobo. In 1959, through fellow artist Shogo Hirata, he met Osamu Tezuka and went on to study under him, later assisting on major works including \u003cem data-start=\"929\" data-end=\"947\"\u003eAmbassador Magma\u003c\/em\u003e, \u003cem data-start=\"949\" data-end=\"962\"\u003eThe Phoenix\u003c\/em\u003e, and \u003cem data-start=\"968\" data-end=\"980\"\u003eBlack Jack\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp data-start=\"983\" data-end=\"1199\"\u003eAlthough he contributed to shōnen publications like \u003cem data-start=\"1035\" data-end=\"1048\"\u003eShonen Club\u003c\/em\u003e, Sato remained primarily active in the rental manga sector, producing numerous thrillers for Tokyo Topsha as well as entries in the \u003cem data-start=\"1181\" data-end=\"1191\"\u003eKengoden\u003c\/em\u003e series.\u003c\/p\u003e\n\u003cp data-start=\"1201\" data-end=\"1483\"\u003eFrom the late 1960s into the 1970s, he broadened his scope, publishing in youth magazines under various names and eventually turning to subjects such as biography, history, and fairy tales. Among his later works are \u003cem data-start=\"1417\" data-end=\"1440\"\u003eThe Tale of Babe Ruth\u003c\/em\u003e, \u003cem data-start=\"1442\" data-end=\"1455\"\u003eGolden Mask\u003c\/em\u003e, and \u003cem data-start=\"1461\" data-end=\"1482\"\u003eAlice in Wonderland\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp data-start=\"1485\" data-end=\"1601\"\u003eSpanning multiple genres and generations, Toshiro Sato’s career left behind a powerful legacy of bold, mature manga.\u003c\/p\u003e","brand":"Yoshiro Sato","offers":[{"title":"Default Title","offer_id":50396651749704,"sku":null,"price":175.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0799\/6974\/7272\/files\/Sato_1.png?v=1746796637"},{"product_id":"keepsake-clock-pgs-10-11-yoko-koyama-homerun-comics-1968","title":"Keepsake Clock | pgs 10\u002611 | Yoko Koyama | Homerun Comics (1968)","description":"\u003cp\u003e\u003cstrong\u003ePublished in album by Homerun Comics (1968)\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch4\u003eSize : 17.7 x 25.4 (x2) | Media : pencil \u0026amp; ink on paper | very good condition\u003c\/h4\u003e\n\u003cp\u003eYoko Koyama (1937-) is a Japanese mangaka who worked mostly in the field of shōjo manga and is known for her characteristic drawing style and storytelling\u003cbr\u003eSome of her best-known works such as 'Karatachi no Koji', 'Banzai! Lady President' and 'Mother, Don't Cry' stand out by her sensitive portrayal and emotional plot development.\u003c\/p\u003e\n\u003cp\u003eYoko Koyama was active as a mangaka in the Shōjo genre for decades! Until 1965, most Shojo manga were drawn by men and Yoko was one of the first women to break this monopoly.\u003cbr\u003eShōjo (少女, literally translated ‘girl’ or ‘young woman’) is a movement or genre within manga and anime aimed at girls, this as a counterpart to shõnen which focuses more on boys.\u003c\/p\u003e\n\u003cp\u003eFun fact; Yoko Koyama is also a well-known ukulele player \u003cbr\u003e\u003c\/p\u003e","brand":"Yoko Koyama","offers":[{"title":"Default Title","offer_id":51869302554952,"sku":null,"price":225.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0799\/6974\/7272\/files\/yoko_koyama.png?v=1761657462"},{"product_id":"biography-miki-ibara-a-k-a-miki-thorn","title":"Biography | Miki Ibara a.k.a. Miki Thorn","description":"\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003ch3 data-start=\"247\" data-end=\"273\"\u003e\u003cstrong data-start=\"251\" data-end=\"273\"\u003eMiki Ibara (いばら美喜) a.k.a. Miki Thorn (1928-1983)\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-start=\"275\" data-end=\"375\"\u003e\u003cstrong data-start=\"275\" data-end=\"289\"\u003eReal Name:\u003c\/strong\u003e Noboru Fujisaku (藤咲 昇)\u003c\/p\u003e\n\u003cp data-start=\"275\" data-end=\"375\"\u003eMiki Ibara was a Japanese mangaka active from the \u003cstrong data-start=\"432\" data-end=\"459\"\u003e1950s through the 1970s\u003c\/strong\u003e, known for his work in the \u003cstrong data-start=\"487\" data-end=\"523\"\u003erental-manga (kashihon) industry\u003c\/strong\u003e, a parallel publishing circuit that allowed artists to explore darker, more adult-oriented themes. \u003cbr\u003eAfter completing secondary school in Mito, he briefly studied at Musashino Art University but left for financial reasons. In the 1950s, he supported himself by drawing street portraits in Tokyo before turning to manga.\u003c\/p\u003e\n\u003cp data-start=\"851\" data-end=\"1299\"\u003eIbara’s work is firmly associated with the \u003cstrong data-start=\"894\" data-end=\"918\"\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003egekiga movement\u003c\/span\u003e \u003c\/strong\u003e, which sought to give manga a more \u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong data-start=\"954\" data-end=\"994\"\u003eadult, realistic, and cinematic tone\u003c\/strong\u003e\u003c\/span\u003e. He collaborated with publishers such as \u003cstrong data-start=\"1036\" data-end=\"1060\"\u003eHibari Shobō (ひばり書房)\u003c\/strong\u003e and \u003cstrong data-start=\"1065\" data-end=\"1087\"\u003eRippū Shobō (立風書房)\u003c\/strong\u003e, specializing in horror and dramatic stories.\u003c\/p\u003e\n\u003cp data-start=\"851\" data-end=\"1299\"\u003eIn 1962, he joined \u003cstrong data-start=\"1153\" data-end=\"1188\"\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003eSaitō Production\u003c\/span\u003e (さいとう・プロダクション)\u003c\/strong\u003e, founded by Takao Saitō (1936–2021), where he worked alongside artists such as Shinji Nagashima (1937–2005).\u003c\/p\u003e\n\u003cp data-start=\"1301\" data-end=\"1513\"\u003eHis stories are notable for their \u003cstrong data-start=\"1335\" data-end=\"1421\"\u003edark atmosphere, graphic violence, and exploration of social and familial fatality\u003c\/strong\u003e, blending psychological drama with horror visuals. Some of his best-known titles include:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli data-start=\"1516\" data-end=\"1571\" style=\"color: rgb(255, 255, 255);\"\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong data-start=\"1516\" data-end=\"1543\"\u003e刀の錆 (Rust of the Sword, 1964)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"1574\" data-end=\"1612\" style=\"color: rgb(255, 255, 255);\"\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong data-start=\"1574\" data-end=\"1610\"\u003e怪談!!黒猫 (Ghost Story!! Black Cat)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"1615\" data-end=\"1660\" style=\"color: rgb(255, 255, 255);\"\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong data-start=\"1615\" data-end=\"1658\"\u003e化け猫少女 (Bakeneko Shōjo \/ Demon Cat Girl)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"1663\" data-end=\"1702\" style=\"color: rgb(255, 255, 255);\"\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong data-start=\"1663\" data-end=\"1700\"\u003e恐怖の修学旅行 (The School Trip of Fear)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli data-start=\"1705\" data-end=\"1745\" style=\"color: rgb(255, 255, 255);\"\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong data-start=\"1705\" data-end=\"1743\"\u003e悪魔の招待状 (Invitation from the Devil)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-start=\"1747\" data-end=\"2307\"\u003eAmong his most remarkable works is \u003cstrong data-start=\"1782\" data-end=\"1836\"\u003e面よごし (\u003cspan style=\"color: rgb(255, 255, 255);\"\u003eFaceless Eyes\u003c\/span\u003e, 1966, Tokyo Top Company) in the 'Bad Guy'\u003c\/strong\u003e series inspired by Georges Franju’s French film \u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cem data-start=\"1879\" data-end=\"1901\"\u003eLes Yeux Sans Visage\u003c\/em\u003e\u003c\/span\u003e and Gothic \u003cspan style=\"color: rgb(255, 255, 255);\"\u003eHammer\u003c\/span\u003e adaptations, the story depicts an aristocratic family afflicted by a genetic disease that disfigures its members. \u003cbr\u003eTo maintain a human appearance, they remove the skin of their victims’ faces to use as masks. \u003cem data-start=\"2128\" data-end=\"2143\"\u003eFaceless Eyes\u003c\/em\u003e demonstrates how Ibara adapted Western horror cinema into the Japanese gekiga style, combining striking visual storytelling with a carefully developed narrative.\u003c\/p\u003e\n\u003cp data-start=\"2309\" data-end=\"2754\"\u003eAlthough Ibara was not a founding member of the gekiga movement, his rental-era horror and dramatic works are considered part of the \u003cstrong data-start=\"2442\" data-end=\"2507\"\u003esame historical and stylistic milieu that gave rise to gekiga\u003c\/strong\u003e, bridging the postwar rental-manga scene with the mature storytelling that defined the genre. He also appears indirectly in \u003cstrong data-start=\"2632\" data-end=\"2652\"\u003eShigeru Mizuki’s\u003c\/strong\u003e autobiography, reflecting his presence in the small, interconnected world of postwar manga artists.\u003c\/p\u003e\n\u003cp data-start=\"2756\" data-end=\"2973\"\u003eMiki Ibara remains an \u003cstrong data-start=\"2778\" data-end=\"2854\"\u003eimportant figure in the history of adult-oriented manga and early gekiga\u003c\/strong\u003e, notable for merging horror, jidaigeki, and psychological drama into visually and narratively sophisticated stories.\u003c\/p\u003e","brand":"Miki Ibara","offers":[{"title":"Default Title","offer_id":52109757546824,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0799\/6974\/7272\/files\/ibara_thumb_ce499bd9-b78a-45f1-80ac-7e37f5a1a68f.png?v=1764669179"},{"product_id":"biography-mitsushi-asaoka","title":"Biography | Mitsushi Asaoka a.k.a. Asaoka Koji, Mitsushi Asahigaoka and Koji Asahioka","description":"\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eMitsushi Asaoka (1938-?) a.k.a. Asaoka Koji, Mitsushi Asahigaoka and Koji Asahioka\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eAsaoka is known as a versatile creator not only for his work as a mangaka but also as a writer, a journalist, a screenwriter and an all-round designer.\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003cbr\u003eHe belongs to the generation of manga artists who began in the \u003ci\u003ekashihon\u003c\/i\u003e market before entering the major weekly magazines of the 1960s.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eHe started his career in the late 1950s, publishing through rental-library publishers such as Ikkosha, Bun’yosha, Tokyo Top-sha, Akebono Shuppan, and Geibunsha … all companies specializing in crime, suspense, and hard-edged drama. \u003cspan style=\"color: rgb(255, 255, 255);\"\u003eAccording to Mandarake, Asaoka produced over\u003c\/span\u003e \u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cb\u003e80 rental-book titles\u003c\/b\u003e\u003c\/span\u003e during this period. Early works such as \u003ci\u003eHell Fireworks\u003c\/i\u003e (1959) and \u003ci\u003eReturn the Blood\u003c\/i\u003e already show the dark, adult tone associated with the \u003cb\u003egekiga\u003c\/b\u003e movement.\u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eHis stories often explore \u003cb\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003eordinary people caught in difficult situations\u003c\/span\u003e:\u003c\/b\u003e war survivors, workers in dangerous situations, criminals on the run, or families torn apart.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eHe liked to place his characters in settings drawn from real postwar Japan: construction zones, military bases, struggling rural towns, or neighborhoods affected by poverty and crime. The \u003cb\u003epsychological tension\u003c\/b\u003e between his characters and the harsh environments they inhabit really stand out.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eAsaoka’s style is marked by realism, emotional depth, and a strong interest in the political and social atmosphere of mid-20th-century Japan, placing him among the notable creators of the gekiga generation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eIn the 1960s, Asaoka expanded beyond the rental circuit and published in major magazines, including \u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cb\u003eWeekly Shonen Jump\u003c\/b\u003e\u003c\/span\u003e. Although some of his works are now difficult to locate, he remains an important figure for readers interested in early adult-oriented manga and the evolution of gekiga.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cb\u003eSelected Works\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cul style=\"margin-top: 0cm;\" type=\"disc\"\u003e\n\u003cli class=\"MsoNormal\" style=\"mso-list: l0 level1 lfo1; tab-stops: list 36.0pt;\"\u003e\n\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eShoot Down the Enemy Aircraft\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e \u003c\/span\u003e(\u003ci\u003eKasou Tekiki o Ute\u003c\/i\u003e)\u003cbr\u003eA multi-volume drama about an aviation accident and the fate of two brothers.\u003cbr\u003e\u003c\/span\u003ePublished around 1962 by Tokyo Top-sha.\u003c\/li\u003e\n\u003cli class=\"MsoNormal\" style=\"mso-list: l0 level1 lfo1; tab-stops: list 36.0pt;\"\u003e\n\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eStrait of Escape\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e (\u003ci\u003eToubou Kaikyo\u003c\/i\u003e)\u003cbr\u003eThe story of a fugitive caught up in major civil construction projects in modern Japan.\u003cbr\u003e\u003c\/span\u003ePublished in the 1960s by Bun’yosha.\u003c\/li\u003e\n\u003cli class=\"MsoNormal\" style=\"mso-list: l0 level1 lfo1; tab-stops: list 36.0pt;\"\u003e\n\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eJohn F. Kennedy: Glory and Tragedy of the American Dream\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003cbr\u003eA biographical manga about the U.S. president.\u003cbr\u003e\u003c\/span\u003ePublished around 1964 in a special biography volume.\u003c\/li\u003e\n\u003cli class=\"MsoNormal\" style=\"mso-list: l0 level1 lfo1; tab-stops: list 36.0pt;\"\u003e\n\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eHuman Trafficking\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e (\u003ci\u003eHitogai\u003c\/i\u003e)\u003cbr\u003ePublished under the name \u003cb\u003eKoji Asahioka\u003c\/b\u003e.\u003cbr\u003e\u003c\/span\u003eTokyo Top-sha, 1965.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e","brand":"Mitsushi Asaoka","offers":[{"title":"Default Title","offer_id":52119235395912,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0799\/6974\/7272\/files\/asaoka.png?v=1764766451"},{"product_id":"whirlwind-kid-1-2-page-by-osamu-kishimoto-1961","title":"Whirlwind Kid | 1\/2 page by Osamu Kishimoto (1961)","description":"\u003cp\u003ePublished in 1961\u003c\/p\u003e\n\u003cp\u003eSize : 25 x 18.5 cm | pencil \u0026amp; ink on drawing paper\u003c\/p\u003e","brand":"Osamu Kishimoto","offers":[{"title":"Default Title","offer_id":52208799023432,"sku":null,"price":250.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0799\/6974\/7272\/files\/Misao_puss_in_boots_1.png?v=1766076761"},{"product_id":"yakuza-wolf-mito-tsukimiya-home-run-comics-tokosha","title":"Yakuza Wolf | Mito Tsukimiya | Home Run Comics (Tokosha)","description":"\u003cp data-start=\"281\" data-end=\"555\"\u003e\u003cem data-start=\"281\" data-end=\"297\"\u003eSize : 24,7 x 35,3 cm \u003cbr\u003eMedia : pencil \u0026amp; ink on paper\u003cbr\u003eVery good condition\u003c\/em\u003e\u003cem data-start=\"281\" data-end=\"297\"\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-start=\"281\" data-end=\"555\"\u003e\u003cem data-start=\"281\" data-end=\"297\"\u003ePublished by Home Run Comics (Tokosha) in 1969\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-start=\"281\" data-end=\"555\"\u003e\u003cem data-start=\"281\" data-end=\"297\"\u003eMito Tsukimiya \u003c\/em\u003ewas an artist of extraordinary range, producing works that spanned \u003cstrong data-start=\"369\" data-end=\"423\"\u003esensual themes, the bizarre and occult, and gekiga\u003c\/strong\u003e. His popularity was so big that even his \u003cstrong data-start=\"463\" data-end=\"492\"\u003ejidaigeki (period dramas)\u003c\/strong\u003e were regularly granted \u003cstrong data-start=\"516\" data-end=\"552\"\u003ededicated special-feature issues\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp data-start=\"562\" data-end=\"833\"\u003eIn his depictions of swordplay, the \u003cstrong data-start=\"598\" data-end=\"621\"\u003epower of the inking\u003c\/strong\u003e is immediately apparent. \u003cbr\u003eEach expression is charged with a forceful hand, and the \u003cstrong data-start=\"724\" data-end=\"760\"\u003epressure of the line work itself\u003c\/strong\u003e draws the eye, making even a simple scene particularly compelling\u003c\/p\u003e","brand":"Mito Tsukimiya","offers":[{"title":"Default Title","offer_id":52214242279752,"sku":null,"price":275.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0799\/6974\/7272\/files\/Mito.jpg?v=1766143268"},{"product_id":"pleasant-boy-gori-ippei-katsumi-shimomoto-weekly-shonen-magazine-pg-4-1968","title":"Pleasant boy Gori Ippei | Katsumi Shimomoto | Weekly Shonen Magazine pg.4 (1968)","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003cstrong\u003eSize : 24,4 x 34 cm\u003cbr\u003eMedia : pencil \u0026amp; ink on paper\u003cbr\u003eVery good condition\u003c\/strong\u003e\u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003eShimomoto Katsumi\u003c\/strong\u003e\u003c\/span\u003e (1941‑) is a Japanese mangaka who produced relatively few works and had only a short career as a commercial manga artist. \u003cbr\u003eHowever, he is a prominent figure among gekiga artists, has influenced many mangaka, remains well-known within the Japanese manga community, and continues to maintain connections with other creators.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eShimomoto made his debut in 1965 with short stories published by Mebae Shobo (Osaka). He later published several kashihon (rental book) works through Central \u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003ePublishing in Nagoya and Tokyo-sha in Tokyo. \u003cbr\u003eDuring this period, \u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003ehe was part of the Kokubunji gekiga artist scene\u003c\/strong\u003e\u003c\/span\u003e and, although he was not a founding member,\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e \u003cstrong\u003ehe was closely connected to Gekiga Kōbō, the group founded by Yoshihiro\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"font-family: 'Arial',sans-serif; mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003eTatsumi in 1959.\u003c\/strong\u003e\u003c\/span\u003e \u003cbr\u003eThe Gekiga Kōbō was a small collective in which artists exchanged ideas and worked collaboratively in pursuit of gekiga as a distinct style from mainstream children’s manga. \u003cbr\u003e\u003cbr\u003eIts founding members included Tatsumi, Takao\u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"font-family: 'Arial',sans-serif; mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eSait\u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ascii-font-family: Aptos; mso-hansi-font-family: Aptos; mso-bidi-font-family: Aptos; mso-ansi-language: EN-GB;\"\u003eō\u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e, Masaaki\u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"font-family: 'Arial',sans-serif; mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eSato, Masahiko\u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"font-family: 'Arial',sans-serif; mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eMatsumoto, Sh\u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ascii-font-family: Aptos; mso-hansi-font-family: Aptos; mso-bidi-font-family: Aptos; mso-ansi-language: EN-GB;\"\u003eō\u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eichi\u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"font-family: 'Arial',sans-serif; mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eSakurai, Fumiyasu\u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"font-family: 'Arial',sans-serif; mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eIshikawa, Kei\u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"font-family: 'Arial',sans-serif; mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eMotomitsu, and Susumu\u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"font-family: 'Arial',sans-serif; mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eYamamori. \u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003eShimomoto associated with Tatsumi, Takao Saito, Masaaki Sato, and Shintaro Miyawaki during this period.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eIn 1968, Shimomoto moved from rental books to mainstream magazines, \u003cstrong\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003eserializing \u003ci\u003ePleasant Boy Gori Ippei\u003c\/i\u003e in \u003ci\u003eWeekly Shonen Magazine\u003c\/i\u003e\u003c\/span\u003e \u003c\/strong\u003e(Kodansha). He also published in \u003ci\u003eBessatsu Magazine\u003c\/i\u003e and \u003ci\u003eShonen King\u003c\/i\u003e, though he eventually paused commercial manga work, as weekly magazines did not suit his style.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eShimomoto regularly participates in manga-related events and exhibitions and is proud that, despite his age, he still has a large fanbase and many friends in the Japanese manga community. Kokichi Igarashi, Kora Mikijiro, Masakazu Sakurai, Masaaki Sato, Yoshihiro Tatsumi, Toshio Uchiki, Shigeru Mizuki, and Shintaro Miyawaki are just a few of the names easily linked to Shimomoto.\u003c\/span\u003e\u003c\/p\u003e","brand":"Katsumi Shimomoto","offers":[{"title":"Default Title","offer_id":52215750328648,"sku":null,"price":250.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0799\/6974\/7272\/files\/shimomoto.jpg?v=1766155169"},{"product_id":"biography-kenji-ogiwara-a-k-a-kenji-hagiwara-1921-1990","title":"Biography | Kenji Ogiwara a.k.a. Kenji Hagiwara (1921–1990)","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003eKenji Ogiwara\u003c\/strong\u003e\u003c\/span\u003e a.k.a. \u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003eKenji Hagiwara\u003c\/strong\u003e\u003c\/span\u003e (1921–1990) was a Japanese mangaka born into a family whose ancestors had been \u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003esamurai of the Matsumoto\u003c\/strong\u003e\u003c\/span\u003e domain. He grew up in \u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003eAsakusa\u003c\/strong\u003e\u003c\/span\u003e, known for its dense artisan culture, and as a child, he developed an interest in history, becoming familiar with classical Chinese texts, which provided him with a strong foundation in historical knowledge.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eHe briefly studied at the Kawabata Art School before enrolling at the Croquis Institute. There he met kindred spirits who would later become notable mangaka, including \u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003eSusumu Nemoto, Eijirō Shiota, Toshiko Ueda, and Tamotsu Nagai\u003c\/strong\u003e \u003c\/span\u003e(no relation to Go Nagai). \u003cbr\u003eIn 1939, Nagai invited Ogiwara to join his group of young manga artists, \u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003ethe Manga Assault Team\u003c\/strong\u003e\u003c\/span\u003e. Ogiwara joined, but \"felt uncomfortable with the name\" and persuaded the members to change it to \u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003eManga Kyōdan\u003c\/strong\u003e\u003c\/span\u003e (Manga Association), marking the start of his professional path. He contributed to the magazine \u003cspan style=\"text-decoration: underline;\"\u003e\u003cem\u003eManga\u003c\/em\u003e\u003c\/span\u003e and other periodicals under this group.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eDuring World War II, Hagiwara served as a reporter with an \u003cstrong\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003eArmy press unit in\u003c\/span\u003e \u003c\/strong\u003ethe\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003e Burma\u003c\/strong\u003e\u003c\/span\u003e campaign. This experience exposed him to the realities of conflict and influenced his later interests in storytelling.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eIn the postwar decades,\u003cstrong\u003e \u003cspan style=\"color: rgb(255, 255, 255);\"\u003eHagiwara came to be regarded\u003c\/span\u003e\u003c\/strong\u003e, together with Yoshirō Katō and Taizō Yokoyama, \u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003eas one of the \"Postwar Three Musketeers\"\u003c\/strong\u003e\u003c\/span\u003e, a label reflecting both the scale of his work and the broad public reach of his manga during Japan’s postwar recovery. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eHagiwara himself humbly remarked,\u003cstrong\u003e \u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\"They should have been called the two Musketeers, but the media didn’t think 'two' sounded good, so they looked for someone extra and added me to make it a triumphant group. It forced me to improve myself so it was good for me.\"\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eHis stories frequently focused on ethos and historical reinterpretation, bridging traditional Japanese themes and bringing them to adult readers through newspapers, magazines, and other publications. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eIn 1951, he serialized Gunnai-kun in the evening edition of the Yomiuri Shimbun. In the 1960s, he serialized Nantoka Samurai in the evening edition of the Nihon Keizai Shimbun, and Clari-san in the evening editions of the Chunichi Shimbun, Tokyo Shimbun, Hokkaido Shimbun, and Nishinippon Shimbun.\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003eHagiwara’s storytelling blended dramatic action with cultural reflection\u003c\/strong\u003e. \u003c\/span\u003eAmong his most recognized titles are \u003ci\u003eHanasakeru Bushidō\u003c\/i\u003e (\u003ci\u003eThe Blossoming Way of the Warrior\u003c\/i\u003e), \u003ci\u003eMiyamoto Musashi\u003c\/i\u003e, and \u003ci\u003eNinjutsu Bushidō\u003c\/i\u003e, works that offered adventure and a new perspective on historic events. \u003cbr\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003eIn 1960, he was awarded the Bungei Shunjū Manga Award, one of Japan’s major manga honors, recognizing his influence on the medium and acknowledging his importance.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eIn 1970, Chikuma Shobō published the \u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003e\u003ci\u003eKenji Hagiwara Anthology\u003c\/i\u003e\u003c\/strong\u003e,\u003c\/span\u003e a collection that brought together a wide range of his works, including \u003ci\u003eOh! My Descendants\u003c\/i\u003e, \u003ci\u003eThe Revenge Chronicles\u003c\/i\u003e, \u003ci\u003eJapan's Unexpected Women\u003c\/i\u003e, \u003ci\u003eKawabata’s Prosperity Chronicles\u003c\/i\u003e, and several other stories, preserving his artistic legacy and making his work accessible again to a broader range of readers and collectors.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eHagiwara’s work was part of the \u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003epostwar manga\u003c\/strong\u003e\u003c\/span\u003e that expanded beyond child-centered entertainment into historical narrative and social reflection, \u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003epaving the way for \u003ci\u003egekiga\u003c\/i\u003e\u003c\/strong\u003e\u003c\/span\u003e and mature comics, \u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003emaking him one of the mangaka that defined adult-oriented manga\u003c\/strong\u003e\u003c\/span\u003e in the mid-20th century. He remained active through the 1960s and into the 1970s with serialized comics and independent book publications.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Kenji Ogiwara","offers":[{"title":"Default Title","offer_id":52364619710792,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0799\/6974\/7272\/files\/Ogiwara.png?v=1769166292"},{"product_id":"funeral-merchant-bullet-taro-yoshihiro-tatsumi-pgs-79-81","title":"Funeral Merchant | Bullet Tarō | Yoshihiro Tatsumi | pgs. 79\u003e81","description":"\u003cp\u003e3 consecutive pages from Funeral Merchant published in the Bullet Tarō series in 1962, \u003cspan\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\"\u003ea pivotal period in Tatsumi’s career.\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cspan lang=\"EN-GB\"\u003e\u003cbr\u003eTatsumi had already established himself as one of the main mangaka of the gekiga movement, yet his later ultra-minimalist and psychologically oppressive style had not yet fully emerged.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-GB\"\u003e\u003cspan\u003e\u003cstrong\u003e\u003ci\u003eFuneral Merchant\u003c\/i\u003e retains the feel of pulpy action storytelling, a noir-inspired atmosphere, cinematic pacing, and the raw energy of the gekiga boom.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-GB\"\u003e\u003cspan\u003e\u003cstrong\u003eMedia : pencil \u0026amp; ink on paper\u003cbr\u003eCondtion : very good\u003cbr\u003eSize : 16x25 cm (x3) approx\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"EN-GB\"\u003e\u003cspan\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Yoshihiro Tatsumi","offers":[{"title":"Default Title","offer_id":53234300649800,"sku":null,"price":475.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0799\/6974\/7272\/files\/tatsumithumb_1.jpg?v=1780646663"},{"product_id":"funeral-merchant-bullet-taro-yoshihiro-tatsumi-pgs-129-131","title":"Funeral Merchant | Bullet Tarō | Yoshihiro Tatsumi | pgs. 129\u003e131","description":"\u003cp\u003e3 consecutive pages from Funeral Merchant published in the Bullet Tarō series in 1962, \u003cspan\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\"\u003ea pivotal period in Tatsumi’s career.\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cspan lang=\"EN-GB\"\u003e\u003cbr\u003eTatsumi had already established himself as one of the main mangaka of the gekiga movement, yet his later ultra-minimalist and psychologically oppressive style had not yet fully emerged.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-GB\"\u003e\u003cspan\u003e\u003cstrong\u003e\u003ci\u003eFuneral Merchant\u003c\/i\u003e retains the feel of pulpy action storytelling, a noir-inspired atmosphere, cinematic pacing, and the raw energy of the gekiga boom.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-GB\"\u003e\u003cspan\u003e\u003cstrong\u003eMedia : pencil \u0026amp; ink on paper\u003cbr\u003eCondtion : very good\u003cbr\u003eSize : 16x25 cm (x3) approx\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"EN-GB\"\u003e\u003cspan\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Yoshihiro Tatsumi","offers":[{"title":"Default Title","offer_id":53234531729736,"sku":null,"price":500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0799\/6974\/7272\/files\/tatsumi_thumb_1.png?v=1780650530"},{"product_id":"the-hand-in-the-fog-mamoru-shoda-george-akiyama-pgs","title":"The Hand in the Fog | Mamoru Shōda | George Akiyama | pgs. 52\u002653","description":"\u003cp\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003eThe Hand in the Fog\u003c\/strong\u003e\u003c\/span\u003e published in Face#40 (1962) \u003cbr\u003e\u003cspan\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\"\u003eMamoru Shōda a.k.a. George Akiyama\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cspan lang=\"EN-GB\"\u003e\u003cbr\u003e\u003cspan\u003e\u003cstrong\u003eBefore becoming famous as George Akiyama\u003c\/strong\u003e, the future creator of \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eZeni Geba\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eAshura\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003ePatman X\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eHaguregumo\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e \u003cstrong\u003espent his formative years in the shadowy world of kashihon\u003c\/strong\u003e, Japan's postwar rental manga industry\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-GB\"\u003e\u003cspan\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003eRead all about it in :\u003c\/strong\u003e\u003c\/span\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003ch3\u003e\n\u003ca href=\"https:\/\/sultansofmanga.com\/products\/the-hand-in-the-fog-%E9%9C%A7%E3%81%AE%E6%89%8B-face-40-george-akiyama-essay\"\u003eThe Hand in the Fog\u003c\/a\u003e (霧の手) | Face #40 | George Akiyama | Essay\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-GB\"\u003e\u003cspan\u003e\u003cstrong\u003eMedia : pencil \u0026amp; ink on paper\u003cbr\u003eCondtion : very good\u003cbr\u003eSize : 16x25,5 cm (approx)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"EN-GB\"\u003e\u003cspan\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"George Akiyama","offers":[{"title":"Default Title","offer_id":53239662772552,"sku":null,"price":475.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0799\/6974\/7272\/files\/tatsumithumb_3.png?v=1780755727"},{"product_id":"the-hand-in-the-fog-mamoru-shoda-george-akiyama-pgs-1","title":"The Hand in the Fog | Mamoru Shōda | George Akiyama | pgs. 48\u002649","description":"\u003cp\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003eThe Hand in the Fog\u003c\/strong\u003e\u003c\/span\u003e published in Face#40 (1962) \u003cbr\u003e\u003cspan\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\"\u003eMamoru Shōda a.k.a. George Akiyama\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cspan lang=\"EN-GB\"\u003e\u003cbr\u003e\u003cspan\u003e\u003cstrong\u003eBefore becoming famous as George Akiyama\u003c\/strong\u003e, the future creator of \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eZeni Geba\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eAshura\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003ePatman X\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eHaguregumo\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e \u003cstrong\u003espent his formative years in the shadowy world of kashihon\u003c\/strong\u003e, Japan's postwar rental manga industry\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-GB\"\u003e\u003cspan\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003eRead all about it in :\u003c\/strong\u003e\u003c\/span\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003ch3\u003e\n\u003ca href=\"https:\/\/sultansofmanga.com\/products\/the-hand-in-the-fog-%E9%9C%A7%E3%81%AE%E6%89%8B-face-40-george-akiyama-essay\"\u003eThe Hand in the Fog\u003c\/a\u003e (霧の手) | Face #40 | George Akiyama | Essay\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-GB\"\u003e\u003cspan\u003e\u003cstrong\u003eMedia : pencil \u0026amp; ink on paper\u003cbr\u003eCondtion : very good\u003cbr\u003eSize : 16x25,5 cm (approx)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"EN-GB\"\u003e\u003cspan\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"George Akiyama","offers":[{"title":"Default Title","offer_id":53277820584264,"sku":null,"price":475.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0799\/6974\/7272\/files\/Takeda_thumb_2.png?v=1781284784"},{"product_id":"the-hand-in-the-fog-mamoru-shoda-george-akiyama-pgs-66-67","title":"The Hand in the Fog | Mamoru Shōda | George Akiyama | pgs. 66\u002667","description":"\u003cp\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003eThe Hand in the Fog\u003c\/strong\u003e\u003c\/span\u003e published in Face#40 (1962) \u003cbr\u003e\u003cspan\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\"\u003eMamoru Shōda a.k.a. George Akiyama\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cspan lang=\"EN-GB\"\u003e\u003cbr\u003e\u003cspan\u003e\u003cstrong\u003eBefore becoming famous as George Akiyama\u003c\/strong\u003e, the future creator of \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eZeni Geba\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eAshura\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003ePatman X\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eHaguregumo\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e \u003cstrong\u003espent his formative years in the shadowy world of kashihon\u003c\/strong\u003e, Japan's postwar rental manga industry\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-GB\"\u003e\u003cspan\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003eRead all about it in :\u003c\/strong\u003e\u003c\/span\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003ch3\u003e\n\u003ca href=\"https:\/\/sultansofmanga.com\/products\/the-hand-in-the-fog-%E9%9C%A7%E3%81%AE%E6%89%8B-face-40-george-akiyama-essay\"\u003eThe Hand in the Fog\u003c\/a\u003e (霧の手) | Face #40 | George Akiyama | Essay\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-GB\"\u003e\u003cspan\u003e\u003cstrong\u003eMedia : pencil \u0026amp; ink on paper\u003cbr\u003eCondtion : very good\u003cbr\u003eSize : 16x25,5 cm (approx)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"EN-GB\"\u003e\u003cspan\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"George Akiyama","offers":[{"title":"Default Title","offer_id":53277896376648,"sku":null,"price":500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0799\/6974\/7272\/files\/Takedathumb_1.png?v=1781285204"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0799\/6974\/7272\/collections\/mizuki_kashihon.jpg?v=1704886861","url":"https:\/\/sultansofmanga.com\/collections\/kashihon-gekiga.oembed?page=3","provider":"Sultans of Manga","version":"1.0","type":"link"}