{"product_id":"hideo-shinoda-from-tezukas-desk-to-doraemons-invention-classroom","title":"Hideo Shinoda, from Tezuka's Desk to Doraemon's Invention Classroom","description":"\u003ch1\u003e\u003cspan\u003eHideo Shinoda (1939–2022)\u003c\/span\u003e\u003c\/h1\u003e\n\u003ch2\u003eInside Doraemon's Classroom\u003c\/h2\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFew manga characters have achieved the cultural importance of \u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003eDoraemon\u003c\/strong\u003e\u003c\/span\u003e, one of Japan's most beloved and recognisable characters. Created by Hiroshi Fujimoto (1933–1996), better known as Fujiko F. Fujio, Doraemon is a robotic cat sent from the 22nd century to help Nobita, an unlucky, rather lazy schoolboy who constantly gets himself into trouble. \u003cbr\u003e\u003cbr\u003eEquipped with a seemingly endless supply of futuristic gadgets stored inside his four-dimensional pocket, Doraemon attempts to solve Nobita's everyday problems, usually with unexpected and hilarious consequences.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003eThe manga first appeared in December 1969 and quickly became one of the greatest successes in Japanese manga history, eventually expanding into television animation, feature films, educational publications and an enormous variety of merchandise.\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe long-running television adaptation began in 1979, followed by the first theatrical animated film in 1980. Since then, Doraemon has remained an almost permanent presence in Japanese popular culture, recognised by generations of children and adults alike. His popularity extends far beyond Japan, with the character becoming particularly famous throughout Asia.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003eIn 2008, the Japanese Ministry of Foreign Affairs appointed Doraemon the country's first Anime Ambassador, using the character to promote Japanese popular culture internationally.\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp data-pm-slice=\"1 1 []\"\u003e\u003cspan style=\"color: rgb(204, 243, 79);\"\u003e\u003cstrong\u003eAlthough Doraemon was Fujimoto's creation, several other artists contributed to the character's expanding world. \u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-pm-slice=\"1 1 []\"\u003e\u003cspan style=\"color: rgb(204, 243, 79);\"\u003e\u003cstrong\u003e\u003cbr\u003eOne of the most important was \u003cspan style=\"color: rgb(255, 255, 255);\"\u003eHideo Shinoda (1939–2022)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"color: rgb(204, 243, 79);\"\u003e\u003cstrong\u003e, a veteran Japanese manga artist whose career connected him directly to several of the most influential figures in Japanese manga history.\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cem\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cbr\u003eHideo Shinoda, from Tezuka's Desk to Doraemon's Invention Classroom\u003c\/span\u003e\u003c\/em\u003e\u003c\/h2\u003e\n\u003ch4\u003e\n\u003cspan\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/h4\u003e\n\u003cp\u003e\u003cspan lang=\"EN-GB\" style=\"font-family: 'Georgia',serif; mso-ansi-language: EN-GB;\"\u003eAfter completing his education, Shinoda moved to Tokyo in 1958 and, at the age of eighteen, became an assistant to Osamu Tezuka. He was, in fact, among Tezuka's first four dedicated assistants.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"font-family: 'Georgia',serif; mso-ansi-language: EN-GB;\"\u003e\u003cbr\u003eHis arrival in Tokyo came with a remarkable connection to his new mentor. \u003cspan style=\"color: rgb(204, 243, 79);\"\u003eShinoda moved into Namiki House, where he occupied the exact room previously used by Tezuka.\u003c\/span\u003e A researcher who knew Shinoda personally even revealed that Tezuka had left behind his drawing desk and apartment deposit for the young artist.\u003cbr style=\"mso-special-character: line-break;\"\u003e\u003c!-- [if !supportLineBreakNewLine]--\u003e\u003cbr style=\"mso-special-character: line-break;\"\u003e\u003c!--[endif]--\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"font-family: 'Georgia',serif; mso-ansi-language: EN-GB;\"\u003e\u003cspan style=\"color: rgb(204, 243, 79);\"\u003eNamiki House occupies an interesting place in manga history. Built in 1953, it had served as Tezuka's home and workplace after his departure from the famous Tokiwa-sō apartment building. \u003c\/span\u003eThe historic Namiki House building survives today and was registered as a Tangible Cultural Property of Japan in 2018.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"font-family: Georgia, serif; color: rgb(204, 243, 79);\"\u003e\u003cbr\u003eWhile working for Tezuka, Shinoda frequently visited the nearby Tokiwa-sō, the legendary apartment complex that became home to an extraordinary generation of young manga artists, including Shōtarō Ishinomori, Fujio Akatsuka and the future Fujiko Fujio duo.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eShinoda's first visit took place around April 1958. As one of Tezuka's junior assistants, he was quickly welcomed into the circle of aspiring artists who regarded Tezuka as their great inspiration. He became particularly close to \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eMotoo Abiko and Hiroshi Fujimoto\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, the two artists who had been working together under the name Fujiko Fujio since the 1950s.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(204, 243, 79);\"\u003eAfter working for Tezuka until around 1959, Shinoda established himself as an independent mangaka, making his professional debut with \u003cem\u003eAkebi-chan\u003c\/em\u003e in \u003cem\u003eNakayoshi\u003c\/em\u003e, published by Kodansha. \u003cem\u003eNakayoshi\u003c\/em\u003e also featured Tezuka's \u003cem\u003ePrincess Knight\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"color: rgb(204, 243, 79);\"\u003e, making it particularly interesting that teacher and former assistant appeared in the same magazine.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOver the following decades, he developed a successful career illustrating children's comics, humorous manga and educational publications, particularly for Shogakukan and Gakken.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHowever, his friendship with the Fujiko Fujio artists would become one of the defining relationships of his career. Even after the Tokiwa-sō period, Shinoda remained closely involved with both Fujimoto and Abiko, maintaining a particularly strong friendship with Abiko, with whom he also played amateur baseball.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDuring the early 1960s, the Fujiko duo established their workplace in Shimokitazawa, where Shinoda was regularly invited to help whenever he had time available. When they moved to the Ichikawa Building in Shinjuku in 1965, and subsequently established Fujiko Studio in 1966, Shinoda continued to collaborate with them.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003eAlthough never formally employed by Fujiko Studio, Shinoda was given his own permanent desk at the studio.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003eThis unusual arrangement reflected the close friendship and professional trust between the artists. Shinoda was considered a reliable collaborator who could assist with important assignments, contribute to ongoing productions and take responsibility for entire manga stories when necessary.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003eShinoda himself was very particular about this distinction. When asked whether he had been an assistant at Fujiko Studio, he reportedly explained that he had simply been helping his friends when invited. He considered himself a disciple of Osamu Tezuka, not of Fujiko Fujio.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003eHis strong personality and demanding approach to manga production also earned him a rather colourful reputation. According to an anecdote within the Fujiko community, he was referred to as the\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003e\"Drill Sergeant of Fujiko Studio\"\u003c\/strong\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e \u003c\/span\u003e(\u003c\/span\u003e\u003cem\u003e\u003cspan\u003eFujiko Studio no Oni-Gunsō\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e), although the nickname is not firmly documented as an official studio designation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003eHis contributions extended to various manga associated with Fujiko Fujio A, including \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eKaibutsu-kun\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e (\u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThe Monster Kid\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e) and \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThe Laughing Salesman\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, alongside numerous illustrations, promotional drawings and adaptations of Fujiko characters.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(204, 243, 79);\"\u003e\u003cbr\u003eIn 1965, Shinoda's relationship with Fujimoto and Abiko went considerably further than occasional assistance when he began collaborating on \u003cem\u003eBokunchi no Tako-kun\u003c\/em\u003e (\u003cem\u003eOur House's Little Octopus\u003c\/em\u003e), published from 1965 to 1967 under a joint Fujiko Fujio and Hideo Shinoda credit.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(204, 243, 79);\"\u003eAnother important collaboration was \u003cem\u003eBerabō\u003c\/em\u003e (1968–1969), for which Fujimoto drew and inked the main characters, while Shinoda handled the additional characters and finishing work. Some of the extra characters were even designed and named by Shinoda.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"color: rgb(204, 243, 79);\"\u003eThis demonstrates that his contribution was not limited to reproducing artwork prepared by another artist. He was actively participating in the creative development of the manga.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003eIn late 1969, Fujimoto found himself increasingly occupied with the simultaneous launch of \u003cem\u003eDoraemon\u003c\/em\u003e and \u003cem\u003eMojacko\u003c\/em\u003e. To ease his workload, Hideo Shinoda was entrusted with illustrating seven chapters of Fujimoto's existing series \u003cem\u003eUmeboshi Denka\u003c\/em\u003e, published in 1970.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003eFujimoto prepared the rough storyboards, character arrangements and dialogue, while Shinoda completed the detailed pencil drawings and final inked pages.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003eIn the following years, Shinoda became increasingly involved in official productions featuring Fujiko Fujio's characters. In October 1976, \u003cem\u003eDoraemon's English Classroom\u003c\/em\u003e began appearing in Shogakukan's Sixth Grade Magazine. This educational series, illustrated by Shinoda, continued until March 1984.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003eDuring the same period, he also contributed Doraemon manga material to \u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003e\u003cem\u003eTelevi-kun\u003c\/em\u003e (1977–1978), followed by one of his most remarkable collaborations with Fujimoto: \u003cem\u003eDora Q Perman\u003c\/em\u003e, a special crossover manga published in \u003cem\u003eCoroCoro Comic\u003c\/em\u003e in August 1979, bringing together three of Fujiko Fujio's most famous creations: Doraemon, Obake no Q-Tarō and Perman.\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003eFor this crossover, Fujimoto prepared the rough storyboards, including the panel arrangements and character positions. Shinoda then developed these into finished pencil drawings before inking the complete manga.\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eInterestingly, Shinoda did not consider his role to be that of a simple imitator. In an interview published in 2003, he explained that attempting to reproduce Fujimoto's drawing style too closely made his artwork stiff and less expressive.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eInstead, he preferred to draw the characters in his own recognisable style, maintaining their personalities while preserving his own artistic identity. He regarded the resulting artwork as his interpretation of Doraemon, rather than an exact imitation of Fujimoto.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis individuality is particularly noticeable in his illustrations of Doraemon, whose expressions and movements often differ subtly from those in the original manga.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003eOne of Shinoda's longest-running and best-known contributions to the Doraemon universe was \u003cstrong\u003e\u003cem\u003eDoraemon's Invention Classroom\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003eWith \u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cem\u003eDoraemon's English Classroom\u003c\/em\u003e already under his belt, Shinoda began working on this new series, which first appeared in Shogakukan's Fifth Grade Magazine in April 1978. It continued until the March 1989 issue, an uninterrupted run of almost eleven years. Between April 1986 and March 1989, the series also appeared in Shogakukan's Sixth Grade Magazine.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan style=\"color: rgb(204, 243, 79);\"\u003eInvention Classroom\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e\u003cstrong\u003e\u003cspan style=\"color: rgb(204, 243, 79);\"\u003e was built around an unusual and very entertaining concept: children from all over Japan were invited to submit their own inventions and ideas for new gadgets. Shinoda would then transform these inventions into short manga stories featuring Doraemon.\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn the stories, Doraemon introduces the inventions, explains how they are supposed to work and evaluates their usefulness. His reactions are often surprisingly critical, and many of the inventions lead to comical situations or unexpected complications.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003eSome inventions were practical attempts to solve everyday problems, while others were completely absurd, reflecting the imagination of their young creators.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003eThe manga regularly identified the children responsible for the inventions, mentioning both their names and the Japanese prefectures where they lived. This gives the stories a particularly charming documentary quality, preserving not only the drawings but also the imagination of individual Japanese schoolchildren during the period.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe inventions covered an enormous range of subjects, including household appliances, school equipment, security systems, transport, energy-saving devices, clothing and other unusual gadgets intended to make everyday life easier.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003eThe series was written and illustrated by Hideo Shinoda, with Fujiko Fujio, specifically Hiroshi Fujimoto, credited as supervisor.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe extent of Fujimoto's direct creative involvement in individual episodes has not been established. Unlike \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eDora Q Perman\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e or \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eUmeboshi Denka\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, where his contribution to the storyboards is documented, there is no comparable evidence that he personally supplied the scenarios or layouts for \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eInvention Classroom\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNevertheless, the official supervisory credit and Shinoda's established working relationship with Fujimoto place the series firmly within the authorised Doraemon publishing universe.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003eThe enormous popularity of Doraemon during the late 1970s made the character particularly suitable for this educational concept. In the regular manga, Doraemon constantly produces extraordinary inventions from the future. In \u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003e\u003cem\u003eInvention Classroom\u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003e, the situation is almost reversed, with ordinary Japanese children presenting their own inventions to Doraemon for examination.\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDespite its 11year publication history, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eDoraemon's Invention Classroom\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e was collected into only two tankōbon, both published in 1985. Together, they contain approximately 380 pages of material. Consequently, a substantial proportion of Shinoda's work on the series has never been collected in book form.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003eIn May 1979, Shinoda also took over \u003cem\u003eFujiko Fujio's Introduction to Manga\u003c\/em\u003e, a feature in which children submitted their own manga drawings and stories for Shinoda to evaluate and discuss.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003eBy this time, Shinoda had become one of the most active collaborators working with Fujiko Fujio's characters. Between 1979 and 1984, he was simultaneously responsible for three long-running educational series: \u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003e\u003cem\u003eDoraemon's English Classroom\u003c\/em\u003e, \u003cem\u003eDoraemon's Invention Classroom\u003c\/em\u003e and \u003cem\u003eFujiko Fujio's Introduction to Manga\u003c\/em\u003e.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlongside these regular assignments, he also produced special Doraemon manga, illustrated encyclopedias and other educational publications. His involvement continued well into the 1980s, including a new series of \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eObake no Q-Tarō\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e manga published between 1985 and 1987.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: rgb(204, 243, 79);\"\u003eLooking back on this important period of his career, Shinoda was clearly more than an illustrator of children's entertainment. He was also an artist who actively encouraged children to develop their own creativity.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: rgb(204, 243, 79);\"\u003eHe produced numerous educational manga for Gakken, including works on science, nature and history. His earlier publications included \u003cem\u003eKodomo Manga Gakkō\u003c\/em\u003e (\u003cem\u003eChildren's Manga School\u003c\/em\u003e, 1967), for which Fujimoto and Abiko provided the cover artwork while Shinoda created the instructional content.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan style=\"color: rgb(204, 243, 79);\"\u003eIn 1995, Shinoda began teaching at Ogaki Women's College, eventually becoming a professor and vice-president. He retired from the college in 2011.\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 255, 255);\"\u003e\u003cstrong\u003eHis career remains particularly interesting because of his close association with two generations of Japanese manga history. Having begun his professional life under Osamu Tezuka, he subsequently worked alongside Fujiko Fujio during the development of some of Japan's most successful manga franchises.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThrough collaborations such as \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eBerabō\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eUmeboshi Denka\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eDora Q Perman\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, as well as his own long-running \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eDoraemon's Invention Classroom\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, Shinoda made a significant contribution to the history of Japanese children's manga.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(204, 243, 79);\"\u003e\u003cstrong\u003eNote: Original manga artwork drawn by Fujiko F. Fujio himself is exceptionally difficult to find on the collectors' market. Approximately 50,000 of his original drawings are preserved by the Fujiko F. Fujio Museum in Kawasaki, where they are carefully stored and selectively exhibited. Consequently, original published Doraemon artwork created by the small circle of professional artists closely associated with Fujimoto is an interesting alternative for collectors seeking original art connected to this historic series.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Osamu Tezuka","offers":[{"title":"Default Title","offer_id":54529893728584,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0799\/6974\/7272\/files\/Doraemonessay.png?v=1794057932","url":"https:\/\/sultansofmanga.com\/products\/hideo-shinoda-from-tezukas-desk-to-doraemons-invention-classroom","provider":"Sultans of Manga","version":"1.0","type":"link"}