Edit: Nah I take it back fuck off "functioning adult" normal person retarded translator.
Last edited:
I hope you share your own information. Just make sure you back it up into a text document.Through Google! Found this thread specifically while doing some research on older eroge/galge titles and was incredibly impressed with the amount of information and quality at which it was formatted. At the moment I'm something of an internet nomad, I have no place to really call home or place my own information, but I probably use twitter the most out of everything, and even then it's quite sparing. Do you know anyone else looking into lolicon from a more academic standpoint / be comfortable with sharing information? I think it'd be nice to have a chat sometime; I wish there was a forum dedicated specifically to translation and obscure media consumption that hasn't been run over by the Youtube-comment-section "lost media" types, if that makes sense.
From the outside looking in, to say there's some turbulence surrounding this forum is generous if people as high profile as Null are involved. To be honest, the whole culture war debate doesn't really concern me all that much, so this forum overall isn't particularly of interest upon scanning through a good number of threads, but I definitely might stick around to post / journal about my hobbies or whatever I find interesting. My intent lies solely in consuming academic media / archives related to the topics that interest me, particularly info regarding otaku subculture and its increasingly harder to find, more controversial underbelly. I find dragging ankles through the mud and obsessing over the takes of people who will never understand this kind of thing to be extremely redundant at best and at worst actively damaging to the preservation of otaku culture; 10 years ago the lolita complex flew under the radar, but due to people throwing fuel on the fire and politicizing the damn topic even so much as uttering it will land you in social prison.
Recently found out I'm being followed by a French academic called Julien Bouvard (Julien's Papers).Also it mentions centrism and right wing. So were politics involved in this niche area?
Including this since it's been proofread by Kera and also contains corrections that were provided in the back of Vol.15.世界同時革命宣言とロリコン
亜庭じゅん
世界同時革命宣言!
突然、こんな活字がとび込んで来た。何!?一瞬戸惑い、啞然とする。
え!?まさか!!
タネを明かせば、少年ジャンプに載った、ヤング・ジャンプの広告のコピーがこれだ。映画「レイダース」の公開にひっかけてのスピルバーグ・インタビューがヤング・ジャンプに独占掲載されるというだけの話。全く、大げさだ。世界に雄飛するヤング・ジャンプというつもりだろう。
しかし、それにしても――。
世界同時革命宣言!!
この言葉を、軽々と使えるとは信じられない。広告コピーの原則がアイ・キャッチであり、人目を引くために、シュールレアリズムもまっ青の言葉が、価値と思い入れをはぎ取られ、その持つ意味の重層性までトコトン利用されると知ってはいても、それでもなおかつ、ただ単に効果のために選ばれたとは、信じられない重さが、この言葉にはある。
世界同時革命宣言—81年も終わりに近づいた時、突如よみ返った10年前の夢のキー・ワード。党派の政治的差異をいっさい、ぶっ飛ばして言えば、70年代の底にくすぶり続けていたのは、唯一、幻となったこの言葉だった。60年末から70年へかけて、ぼくらの頭の上に、巨大な祭りの司祭のように、この言葉は振りかかり、おそらく、永遠にその日は来ないものと知りながら、それでも、夢の命脈をこの言葉に託した、巨大な祭りの幻は、誰かれとなく、ぼくらを召集していった。
思い出にふけっているのではない。思い出になるような物なら、とっくに捨て去られていただろう。昔見た夢では決してないのだ。その当時から、それは、未来の幻、失なわれた明日として、未来から現在を逆照射する意識の磁場であった筈だ。ぼくらの参戦したのは、幻の市街戦であり、幻であるが故に、それは、いっそう大きな拡がりを、ぼくらにもたらした筈だ。まるで、「まんが」的にコートームケイな、その未来への世界像を、まさしく「まんが的」である故に、ぼくらは、一つの、しかし決定的な世界像として受けて入れたのだ。
その突然の復活。しかも、その時期にだ。
このコピーを書いた人間が誰かは勿論しらない。しかし、彼の心中に、ひょっとしたら、まだ同じ世界の姿が宿ってはいないだろうか?一つの世界像の示唆として、この言葉を、もう二度、送り直してみたいという想いが、そのコピーの中に現われてはいないだろうか?ヤング・ジャンプや少年ジャンプの読者に「世界同時革命宣言」が、どれ程のインパクトを持ち得るか、そんな事はわからない。それでも、進行する時代の流れの対極に、最後に姿を見せるのは、その言葉しかない。増幅しつつある、目の前の風俗への反発と挑発として、時代が形成しつつある物語に、対抗する物語としての「世界同時革命宣言」。それはまるでそれから始まる、物語と物語の争闘の予告篇のような気配を予感させる。
一方にあるのは、再び生まれ出ようとする「世界同時革命」の物語、もう一方にあるのは、世界への扉を失った「あらかじめ失われた子供たち」の物語だ。ぼくらが、まずしなければならないのは、この二つの物語の、夢幻基を振り出すことだ。
70年代とは、「世界」への夢が一つまた一つと閉ざされ、その物語の不備が暴かれていった時代だった。夢が夢であることを強いられ、物語が、虚構の中に閉じ込められていく過程で、市民権を得ると同時に、それ生命力を奪われたのは「世界」は彼方遠く、手の届かぬどこかへと、追いやられてしまった。
代わりに登場したのが、「あきらめ」である。70年代後半から80年にかけて、時代はこの奇妙な「あきらめ」を前提として、動いていく。手の届かぬ物は、まるで存在しないかの様に、あしらわれ、代わりにあふれかえる程の、手の届く物が出現する。支配的になるのは、日常はどこまでも延長するという「物語」であり、誰もそんな事は半分も信じていないのに、とりあえずそれがもっとも決断なくして受け入れられる「物語」だという理由だけで、「日常」の「物語」を受け入れていく。いや、受け入れざる得ないのだ。「あきらめ」が前提にある以上、他に採る途(みち=道=選択)はない。
「日常」の「物語」は、しかし、ただ単なる時間や空間の平版化ではない。むしろ「全世界」を断念する代償に、誰でも努力しだいで手に入る「小世界」をそれも多種多様な「小世界」を提供する。そしてこれらの「小世界」で埋めつくされた時、「全世界」の物語も、一つの「小世界」へと歪曲されて下落させられるのだ。ただ歪曲されるだけではない。それは、ダサイもの、古くさい物として、侮蔑の対象にすらなっていく。
まんがの世界で起きた大きな流れの変化、男の子の物語から、少女たちへの物語もまた、こうしたことと無縁ではあるまい。戸川万吉の挫折を乗り込えられないまま80年代に突入した少年まんがは、急激に、「少女まんが」化し始めた。旧来の硬派路線を一部残しながら、しかし、その大勢はギャグと、A BOY GETS A GIRLに終始したしている。正確には、これに「SF」(かっこつきでだ!)を加えた三角形が、今少年まんがが語り得る「物語」の最大限だ。
女たちが支持した山口百恵の引退ときびすを接して、松田聖子が表面に帰り出た。ぶりっ子とロリコンの同時的なボッ発は、強弱の差はあれ、同じことを語っている。すなわち、演技のレッテル化だ。松田聖子のファンの誰もが、松田聖子が清純無垢な少女と信じてはいまい。ウス汚れた芸能界という神話は、芸能界の表面のきれい事が成立する保障であるかのように、徹底して浸透している。だが、だからこそ、松田聖子はぶりっ子するのだ。わずか皮一枚、その皮一枚のフィクションをお互い演じ合うのが、ぶりっ子タレントそのファンの関係だ。ぶりっ子の表面を楽しみ合う共犯関係—それはロリコンに至ってさらに徹底する。
83
ロリコンと言う名で呼ばれる少女への性願望は、いわゆるロリータ・コンプレックスではない。変態性欲の一症例としてのロリータ・コンプレックスが意識的に演じられる時、初めてロリコンになるのだ。ロリコンとは、皮一枚の仮面であり、もっと言うなら、逆差別用語なのである。少女、なかんずく、美少女への憧憬は、それ自体、不自然な物は何もない。まして、ロリコンを自称する人間が、せいぜい20代が上限だとすれば、そこにあるのは、当たり前の男と女の関係、いい所、遅手の男の少年っぽい願望にすぎない。だが、ロリコンと言うのは、そうした実際的な欲望に基いているのでは必ずしもない。むしろ、そうした現実的な性欲の「物語」に対抗する、想像上のアイデンティティの「物語」がロリコンなのだ。ロリコンは、従って、症例ではなく、想像力の体系へと転化する。美少女を核=キー・ワードとした「小世界」の「物語」がロリコンなのである。見逃がしてならないのは、ロリコンが、自ら「病気」を名のっている点だ。暴走族と異なり、ロリコンは行為ではなく存在に関わる、とでも言ようか。ロリコン族は、美少女を飼い育てる代わりに、ロリコンという名の病気を自らの内で飼育しているのである。病気とは保護膜の意味だ。自ら病気と称し、変態と号することでロリコンは、虚実一枚の差をスリ抜ける穴をうがつ。虚構のロリコン・ワールドを彼らは創り上げてしまうのだ。そうして創り出した「世界」から、彼等は出撃を開始する。第一段階は、ロリコン内部のヒラルキーの構成である。偏奇と瑣末にこだわりだし、偏奇の階層を編み出す。体系化とはこの事である。そこでは偏奇であればある程、畏怖の目で見られ、枝葉末節のディティールにこだわればこわる程エライ人になる。第二段階は、逆差別であり、これは、ロリコンのドラキュラ化として現像する。すなわろ、ロリコンは、美少女を愛でる者すべて、ロリコンの階層の中に捉え込もうと計るのだ。お前もロリコン、あなたもロリコン、みんなニコニコ、ロリコン一族が出現する。病気であり、変態であった物が、体系化を通して、自らの価値を手に入れ、逆転して、エリートへと転生する。そして第三段階が世界のロリコン化だ。隠語を作り、それなりの体系を持ち、外に対して身構えへの姿勢を保ちつつ、内部にロリコンだけの同胞関係が成立する。
この過程を見て、何かを思い出さないか?そう、これは、まるっきりまんが、ファンダム成立の、醜悪なパロディなのだ。ロリコンの頂点に祭り上げられているのが、手塚治虫の一面正統な後維者である吾妻ひでおときては、あまりに似すぎている。この相似を不定する必要はない。ロリコンは、まさしく、マンガ、ファンの決定的な弱い面を拡大して見せてくれるのだ。たかがマンガという意識と、でもマンガが好きという事実の間で引き裂かれたマンガ・ファンがマンガファンであるということへの、開き直りきれない弱さを、ロリコンは病気の一言をてこに、逆襲の武器に転じる。
美少女を好きかと聞かれて、嫌いだなどと答える男の子はどこかおかしいのだ。まして、そこらにゴロゴロいるガキのメスではない。とっかかりになるのは、吾妻ひでおや野口正之が、明白に色っぽさをベクトルに入れて描いた少女たちだ。絵の好みをヌキにすれば、元々色気を意味づけされて描かれた画像に対して、嫌いという返答をすることこそ、不健康だ。だが、ロリコンにとってそれでは困る。健康人が美少女を好きであってはならない。あくまでも健康な美少女好きは、下級ロリコンでなければならないのだ。だから彼等は言う。「あんたも好きね=病気や=ロリコンや!」。
この強引な規定のし直しが、ロリコンの最大の特質だ。まるで、ヤクザが居直ったような物だ。よくしたもので、こうゆうロリコンを理論づけて、彼等が欲しくてたまらないレッテルを次々と乱発し助長しているバカがいる。御本人はそれで天上高く舞っている。つもりだろうが、何のことはない。時代に迎合しているだけの話だ。とは言え、こうした情報ブローカーの下さるレッテルを有難がって誇らし気につけて回るバカがいる訳だから、この辺になってくるとどっちもどっちと言うしかない。救い難い状況だ。
問題は、しかし、ロリコンではない。ロリコンに走らせる程の、「物語」の欠落なのだ。「世界」の「物語」の欠如が、ありとあらゆる局面で断念を生み、この無意識の断念が、「物語」への飢餓を準備する。かろうじて、「気分はもう戦争」が、かすかにこの飢餓をいやしたものの、ここでも、優先する現実政治の選択可能性の前に、一つの断念が顔を出す。「綿の国星」が提出した生まれ変わりの物語は、新井素子の「いつか猫になる日まで」へと受け継がれたものの、猫も縁も、アッという間に、現実に舞い降りて、猫耳つけたニャンニャン娘の大群を生み出した。世界の一部—ごくかな?—がアズマ化していく御時勢に、一番戸惑っているのは、多分吾妻ひでおだろう。今のところ「列島198X年」は桃子さんに笑いとばされてかすんでいるが、これが、ハード・アクションに徹したらどうなったか。メロ・ドラマの大時代な所でミソを付けているものの、ここで岸信介風の長者が展開する国民への責任論は、それなりに納得させる力を持たない訳ではない。「198X年」がその本来の「物語」への自信の欠加から、メロ・ドラマを表面に押し出したことを、笑って済ませられる物ではない。
別の側面で手塚治虫の系譜を継ごうとする石坂啓がヤング・ジャンプに発表した、「戦争ってそういうものじゃない?」は、自らの「物語」を発見できないまま、ポーッとしている男の子たちが、いかに戦争へと流されていくかを描いている。ヤング・ジャンプのアリバイ工作と捉えてもいいし、古い反戦論だとあげつらったっていい。だが、そういう知ったかぶりが、ではどれだけ有効な戦略を、持ち得ているのか?あえて、泥くさく、ダサイことを、この時期にやってのけた石坂啓に、支持を表明すべきではないか?
「断念」の時代とは、「断念」の物語が支配する時代だ。自己の感性に忠実であるように、感情だけに忠実であるように、育てられた女の子たちは、最初から「世界」を与えられていない分、この「断念」から免がれやすいかもしれない。コミケットで軍服が流行り出した時、威圧感を感じるから止めろ!といった彼女達の感覚は健全だ。だが、その彼女たちも、一旦そうした「女の子」物語の枠を一歩でも出ようとするなら、たちまち「断念」の物語と向かわざるを得ない。女性まんがが、少女まんがの辺境の彼方に展開できず、後退を余儀なくされているのは、「女」達の「物語」を発見できないからだ。
まんがの創る「物語」が、こうした「断念」の「物語」に対抗し得るかどうか、それはわからない。むしろ逆に、今、まんがの語る「物語」は徹底して「まんが」自身に関わるものへと傾斜を深めている。読む方も「まんが」は「まんが」でしかないという同語反復に捉われたまま、「まんが」を「小世界」の中に閉ざし、のめり込もうとするばかりだ。だが、そうした「世界」の「小君主」達の乱立は、そのまま、「まんが」を物語りながら、「断念」の「物語」にとらわれていくことでしかないだろう。「面白ければそれでいい」とうそぶく人間に、ガンと一発喰らわせるには、彼がかつて経験をしたことのない面白さを味あわせるしか、おそらく途はない。徹底した「なまけもの」や「ぐうたら」や「元気なアホ」にすらなり切れないこの時代の中で、まんがの想像力すら、「カワイイ女の子」と「ギャグ」と「アニメSF」にしか向かい得ないのか?そのベクトルは、原因ではなく結果であるのは明らかだ。「原因」についてああだこうだというのは止しにしよう。肝心なのは、まさしく、ぼくらがいかなる「物語」を構築し得るか?なのだ。実際のところ問われているのは、ぼくらが何をやりたいのかだ。すべての「断念」を断ち切った時、「世界」がどんな姿をぼくらの前に現わして来るのか、それはどんな回路をつなぐのか?その「物語」をここで語り始めなければならない。
This story has been compiled in 'A Machine from the Sea' (海からきた機械):Lana-chan Cries So Much (ラナちゃんいっぱい泣いちゃう)
Thank you again for putting all this together I think the fact that this exist is already great, as a fan not only of anime and manga but also as a fan of history, I consider it very important to preserve this sort of stuff.
Also Im not finished reading through it all bit your last paragraph in one of your previous posts resonated with me. That sometimes people we disagree with or straight up dislike may still bring something useful to the conversation and we shouldnt let our emotions cloud or judgement.
I myself still struggle with that admiteddly
Surprised to find out there's fan translations for this serial in English. Though, I guess the original '男の娘' among '男の娘' (otoko no ko) character that popularised and defined the characters under that term before it was applied to Bridget from Guilty Gear, who changed its meaning somewhat, may be of more interest to a western anime fan than the plethora of other manga classics from the 1970s~1980s. ... I saw a term used on the western internet called 'tranime', and with the unfathomably weird Satanic Panic 2.0 going on these days, it's odd to know some of Hibari-kun's antics in the manga world are happening in reality.'Stop!! Hibari-kun!' (ストップ!! ひばりくん!) by Eguchi Hisachi (江口寿史).
The target audience of Weekly Asahi are normal people; most of the individuals interviewed are deeply tied to the industry. Fukuda Kazurou, the guy who wrote the article, still writes for Asahi Shimbun (Link). Despite him being ~40 years older now, I imagined he looks just as he did in the photograph when he wrote this article, confusing one manga series for another, misremembering a title's name, and eyeballing Tsukasa and saying she looks like she's 3~4 years old. When you said you were a boomer, I also imagined you looking like Fukuda...Interesting. So this would have been the "normies" (for lack of a better word) view of otaku and manga and its fans at the time right?
I find it a little funny that people were worried about boys being interested in romance, considering nowadays people are worried that boys aren't interested enough in it
I may need a bit of a refresher what is "vending machine" culture again? If you mean he did not personally knew the people of the lolicon boom then yeah I guess he would not have a bias about it, although wouldnt the same be true of most people researching the topic nowadays? Or have I misunderstood what you meant?
Something to always keep in mind in history, there is no such thing as an "unbiased source or interpretation" the trick is recognizing it and take into consideration when evaluating the work.
As for your question I was born in 93. So I guess I would be sort of an inbetween a millenial and a gen-z er I am an old fashioned person though so I have some boomerish tendencies and viewpoints.
No I did not read any books about manga or anime. I did watch some documentaries about cartoons and videogames that briefly touch on the topic,
Yonezawa Yoshihiro said:The Lolicon doujinshi manga anthology 'Lolita Syndrome' (美少女症候群) published by Fusion Product in 1982 became a huge hit, but around 1983, various types of tankoubon format magazines for things like SF, cyberpunk, fantasy, and horror began to appear
Judy Klemesrud said:A group of professional women yesterday denounced what they called ''the Lolita syndrome,'' which they described as ''the rapidly growing number of images that make sexual objects out of little girls and legitimize their sexual abuse.''
The 10 women - who included a pediatrician, a social worker and three authors - were brought together for a news conference sponsored by Women Against Pornography, a two-year-old group with headquarters at 579 Ninth Avenue, at 42d Street.
During the conference, Dorchen Leidholdt, a founder of Women Against Pornography, announced that tomorrow members of the group would begin picketing the Broadway play ''Lolita,'' which is now in previews and will open March 19.
''Everywhere you turn, you see these eroticized images of little girls,'' Miss Leidholdt said, gesturing at the several dozen magazine covers and advertisements showing little girls in seductive poses that had been taped to the wall for the conference. ''What worries us is that people are starting to regard these images as normal.''
The 10 women denounced the eroticized images of little girls in Calvin Klein jeans ads, in magazines such as Playboy, Penthouse and Hustler, in ads for cosmetics designed for little girls, in films such as ''Pretty Baby,'' and, especially, in the Broadway ''Lolita.'' The women said they had seen the play in a preview performance.
''The current production of 'Lolita' is a vehicle for an ideology that says it's all right to exploit youngsters,'' said Dr. Helen Rodriguez-Trias, a Manhattan pediatrician who has worked with many sexually abused children. ''The play trivializes, and thus legitimizes, the exploitation of children and violence against women at a time when conscious men and women are uniting to expose these evils.''
Dee Livingston, chairman of the Women's Issues Committe of the National Association of Social Workers, said ''Lolita'' ''gives encouragement and permission to men to engage in sexual activity with a child, denying that it can have damaging and hurtful effects.'' She added, ''We as social workers want to register our concern about the harmful, destructive message given by this play.''
''Lolita,'' which stars Donald Sutherland as Humbert Humbert and 24-year-old Blanche Baker as the 12-year-old Lolita, drew mixed reviews and large audiences during its recent tryout in Boston. The play was adapted by Edward Albee from the 1958 Vladimir Nabokov novel. Reply by Producer
Jerry Sherlock, the play's producer, said yesterday that he disgreed with the women's criticisms of the play. ''It's a wonderful black comedy about a relationship between a 37-year-old man and a 12-year-old girl,'' he said. ''It doesn't pander and it doesn't legitimize this type of relationship. And let's face it, there's nothing new about this kind of relationship: It existed in the past, it's still with us, and it will exist until the end of time.''
Among the other women who spoke at the conference was Florence Rush, author of ''The Best Kept Secret: The Sexual Abuse of Children,'' who said she had found that of the 3.5 million children born each year, 600,000 will have a sexual experience with an adult before their 14th birthday.
When Miss Leidholdt was asked what she thought would be the result of the conference and the picketing of ''Lolita,'' she said: ''I think women around the country will start speaking up about the sexual exploitation of children.''
Yonezawa Yoshihiro said:Meanwhile, Lolicon emerged the same time as the Azuma Hideo Boom. Something akin to a self-awakening or acknowledgement of the eroticism of Shoujo in manga, the concept that had originally been put forward was very close to what we now call 'Moe'. Rather than realistic Shoujo rape or paedophilia, it included various things like love towards a spiritual 'Shoujo', memories of ones own childhood, and the beauty of 'Shoujo' granted autonomy as a world. It was the act of freezing those moments of innocent real Shoujo through camera and video, which were devices that record time. That was established regardless of the act of SEX. It was believed to be a yearning for cuteness or a collection of 'beauty'.
For a brief moment, the Shoujo lives in a 'time' where she is neither a child nor a woman. Since it's something that is lost, there's no ulterior motive beyond an attempt to record that most ephemeral of things. The reason why Lolicon are particular about the 'Beauty of Shoujo' is probably because the being known as 'Shoujo' are the size of a being that gives birth. However, that was confused with the real criminality of sex crimes against Shoujo. On the other hand, the word known as 'Lolicon' gave birth to pragmatic ero-manga that were consumed as 'commercialised sex'. This generalisation and confusion regarding 'Lolicon' may be what would cause problems later.
If you're still here, are you certain Maenaka Koushi (前中行至) is a mangaka? As far as I'm aware, she's a light novel writer, who wrote for magazines like 'Shousetsu Junior' (小説ジュニア).dannyphantom said:The director was a female mangaka surnamed Maenaka, who also wrote Hiromi's trip to paradise and Hill of Light (Shueisha Publishing, none of her manga are online). Referenced in Yasushi Takatsuki - Lolicon: Japanese Girl Lovers And Their World (ISBN 978-4-86238-151-4).
But you do own that sort of nice sweater. Right? Right?No lol Im not that old nor am I asian
Look it up on Sad Panda. There's some issues there, and I do recommend browsing them to get an idea what constituted Lolicon back then.You probably mentioned already but are there any archives of the lemon people.
Someone who, in his words, should be castrated for messing with real girls.For the end of the post: what does your artist friend meant by "evil lolicon"
I don't know about 2024 because Kimi Rito, an older researcher who is friends with Kera, commented on the decline of normal ero-manga as Moe usurped its dominant position in the last couple decades, but most comic media in Japan uses a wide variety of art styles; gekiga was getting so popular that even Tezuka Osamu was converting to it. It's just hardly any of it is translated or localised into English. Like Ishii Takashi is a pretty big name in seinen manga, and his 'Angel Guts' serial hasn't been translated despite it being adapted into films.part of me wishes there were more gekiga style works
Anthologies (アンソロジー)?Do you know if there still magazine of that style going on? Not lolicon or shoujo only, I mean like an actual magazine that also include works of various artists under a common theme.
... I'm going to do a Who's Who article in the future regarding Manga Burikko's mangaka.Would you said that manga burikko is where the bulk of female artist published their works? Why?
That's good to hear; didn't want to have my mental image of you ruined.As a matter of fact I do have some nice comfy sweaters. I like wearing them in winter.
When someone is talking about a Lolicon teacher, they're not talking about a guy sitting at his desk reading manga with the words '3DPG' (3D Pig Disgusting) tattooed to his forehead. The common sentiment is that all Japanese men are terminally ill with Lolicon, and that doubly goes for male teachers.I still find it concerning that a word could either refer to an otaku that is fan of a niche type of fiction or to a child molester
I don't think it does, Comic LO is part of the long lineage of Lolicon Comic magazines (Lolicon Manga Wiki) following 'Comic Rin', which I'm more familiar with since Rin had artists like Lee and Nekogen; I don't know anyone who draws for LO, so I never bothered with it. But Akaneshoten, its publisher, has other magazines like 'Girls for M', which is supposedly a supplementary magazine to Comic LO with artists I am familiar with like Matanonki▼ (またのんき▼) (he favourited one of my Pixiv illustrations of his character).I guess the first that spring to mind is "comic LO", would that count as an anthology?
I didn't receive an e-mail notification of your post, so I haven't had time to prepare my thoughts beforehand. Apologies if I skip a question, or answer them poorly.- That's good to hear; didn't want to have my mental image of you ruined.
You know, now that you bring it up. I dont think I have a mental image of anyone I meet on the internet, to me you all are amourphous entities that look like your pfp
- manga otakus and idol otakus and the influence of the idol industry on anime and manga
Would it be fair to assume that both otaku groups have a sort of rivalry. Im speaking mostly from a western pov where different fandoms will often attack and deride each other, of course given how, in some cases, different japanese tend to behave online, I do not know if that is the case.
Also you do not seem to be a big fan of the Idol industry. Im not the biggest fan of it myself, nor the whole "idol culture" thing. But given that is thanks to that influence that we have stuff like "love live", "Idolmaster" and, arguably, the huge phenomenon that is the vocaloids, among others, I cannot say Im totally unhappy with their influence on anime and manga
-dannyphantom post about junior idols and lolita
of course is up to you if you want to talk about it, although Id suggest making a separate thread for it. If I'm gonna be honest, this is not a topic I care much to explore.
-comic LO
Interesting, is "comic LO" a relatively small name in the "lolicon and ero-manga sphere" I always assumed it to be one of the bigger names.
-comitek founders
I think, while "well-known" by the west, its not something that is explored in depth is sort of like a famous movie that everyone has seen some analysis of but few people have actually seen it.
- Aniwa Jun's Speech
1981 Spring Comic Market 17 Review Meeting
So back then comiket was entirely volunteer run? Also interesting that the topics Aniwa mentions as "points of concern" then are still, in some capacity, points of concern in the doujinshi scene.
"Cybele sells well. So they create Lolicon-type things for the purpose of them selling well, err, well, mumumu, but that (ero because it sells well) is going to lead to the rug being pulled out from under us. "
Im sorry I didnt quite understand this part what did he meant to say?
Fan-work vs original works, I believe that many artist start with fan-works and some move on to create thrir own stuff. This is very common with many pop-culture circles.
It seems the early 80s were a bit of a tumultuous time for comiket. Interesting discussion about the "purpose" of comiket, of course the most aparent intention is to provide artists a venue to sell their work, but it appears that a number of members also want it to foster a creative spirit among its attendants and those that are there simply to sell are undermining the "true purpose" of comiket.
Funny how a discussion of 40 years ago (geez its been 40 years since the 80s!!!) Its still a big point of contention among creatives now.
-My Impressions of... Back Then (Takamiya Seika [高宮成河])
I see, so initially comiket was mainly a "convention" where artists would promote and sell their original works, but as time went on more derivative works starting coming out which, in addition to the increase in the number of participants seemed to have caught the organizers unprepared
"Lolicon doujinshi is hardly original" I assume here they take it to mean thag most loli doujinshi was a "parody" of an existing property, is that right?
What do they mean "play" and "play with manga"?
Idealism in the face of realism. Thats a nice quote. But yeah I guess no organization or event can stay the way it started, specially if it becomes bigger and bigger.
Ok so Anijun decided to form a new event "MGM" to be exclusive for original work doujinshi creators
A bit o a stupid question butvwhat does MGM stand for again?
Interesting to see the early sumbling steps when everything was dangerous but also unique and exiting.
Manga Doujinshi Activities and 'Everyday Life' (Harada Teruo)
That was quite the nice read in a way I think it speaks true of anyone that wishes to pursue art outside of the stablished routes. I always had great respect for "amateur works" as I think this is the place where most innovation can come from as they are, usually, not worried about turning up a profit or following a trend. Even those that make fan-works have their own originality to it.
I found it quite touching how the author views doujin as connected together in their artistic pursuits.
Great post as always.
There's hardliners among Otaku, so there are some anime Otaku who are certainly the equivalent of '3D Pig-Disgusting'. But generally there's a huge overlap; many mangaka are into idols, and you have magazines like Young Animal who have Gravure idols plastered on the cover of their issues, and anime and video games promoting the careers of the idols who do their OP/ED songs. Cosplayers insert themselves into live steams for live service video games catering to anime Otaku. The issue with idols is that they often start as junior idols, so you have young girls—at the behest of their mothers—wearing bloomers in Akihabara trying to promote themselves to idol Otaku...Would it be fair to assume that both otaku groups have a sort of rivalry. Im speaking mostly from a western pov where different fandoms will often attack and deride each other, of course given how, in some cases, different japanese tend to behave online, I do not know if that is the case.
I'm not certain. Aniwa Jun might be thinking of one specific thing, or have multiple things in mind. Comiket nowadays has an adult and all-age side, but back in those days, everything was together. Cybele had a black cover because Azuma Hideo didn't want schoolkids to see the taboo-challenging R-18 content. But with Cybele's popularity, many other artists started creating their own ero-doujinshi, and some of these artists and buyers were also high school students, and with a good portion of these Lolicon-zines also infringing on copyright, there's potential problems both morally and legally if they continue to expand to the point the rest of society takes notice. Comiket wasn't necessarily a wholesome environment pre-Lolicon due to Yaoi, but with Yaoi, the event was still relatively small and manageable."Cybele sells well. So they create Lolicon-type things for the purpose of them selling well, err, well, mumumu, but that (ero because it sells well) is going to lead to the rug being pulled out from under us. "
Im sorry I didnt quite understand this part what did he meant to say?
Part of me believes this is why Kera wanted me to translate this speech and these articles since he has his own ideals regarding Comiket.Funny how a discussion of 40 years ago (geez its been 40 years since the 80s!!!) Its still a big point of contention among creatives now.
Manga Gallery Market (see: booklet cover [beneath source]). At the time of those articles, they were celebrating MGM's 100th anniversary. Comiket finally reached its 100th anniversary in recent years.A bit o a stupid question butvwhat does MGM stand for again?
I think I asked you a year or two ago when you asked about SF (Science Fiction) what you interpreted 'play' as based on the context of the articles in this thread. I didn't know if it's intuitive, though you didn't answer back then.What do they mean "play" and "play with manga"?
I've received an e-mail from DLSite yesterday informing their customers about their situation and their plans to look into new payment methods in the future. This has been going on for decades, though it's funny that JCB, which was considered to be the crappiest of credit card brands in Japan, is likely to gain the top spot simply due to American brands, like Mastercard and Visa, deciding they want to lose many of their customers over erotica. The Japanese will sway and bend, but they won't break to foreigners.Now if you allow me to go a little off-topic I wanted to know what is your take on recent developments regarding credit card companies and sites like dlsite and pixiv. I know you mentioned the dificulty artist have on making a profit already. Do you think this is gonna make it even more difficult?
Do any artist you know have expressed concern on this issue?
While 'Hey!Buddy' was mentioned in the Mr.Dandy article very early in this thread, I personally didn't know it had manga in it. I thought it was just a maniac photograph magazine that was converted to Lolicon due to Aoyama Masaaki. But learning that Nakajima Fumio, and even artists like Senno Knife, contributed manga to it, I'm forced to reevaluate my perception. Basically, I'll have to categorise it the same way as Kawamoto Kouji's 'Shoujo Alice', which is a photograph magazine with manga unlike 'Manga Burikko', which was a manga magazine with photographs.Nakajima: When it comes to Bishoujo Comics, mainly 'Lemon People'. I also did some works in 'Hey!Buddy' (Byakuya Shobo).
Both Kazuna Kei and Konoma Waho played an influential part in the western anime fandom experiencing hentai anime for the first time. Since Super Dimensional Legend Rall and Star Trap were localised into English. Friendofsandwiches—whom I mentioned in an early post as a geezer from Alaska whose comic shop was importing Lemon People back in the 1980s—also had a copy of Star Trap. I was able to learn this thanks to the kind individual who was helping me communicate with Friendofsandwiches (though he said he didn't know Japanese, so I didn't bother asking him about whether he knew Lemon People or Star Trap was Lolicon; his last response was also terse).Ohyo: By the way, you were involved in the production of Cream Lemon (くりぃむレモン) 5: super Dimensional Legend Rall (超次元伝説ラル)
Monthly Advertising:THE WAR OF INDEPENDENCE
As to America giving up sex, they’re suckers for statistics and reports, Kinseys and Masters and Johnsons. In this new study it appears that fifteen per cent of men and twice that number of ladies are undergoing ‘moderate to severe aversion to sex’. There is something very strange going on over there although I think it’s irrelevant to the aversion to sex—and I would suggest it may have something to do with the Lolita complex. If American films aren't about carving knives, they seem to concern nymphets: Brooke Shields (who sounds like a make of rubber good), Tatum O'Neal, and Jodie Foster, the girl who allegedly drives men to take pot shots at presidents. (There's democracy in action—when every ambitious lad born in the USA can one day have a crack at the president.)
I have a sneaking suspicion that the recent Broadway adaptation of Lolita by Edward Albee bombed because the heroine was played by a twenty-four-year-old woman. This is clearly not what the public want. Is Little Orphan Annie a sex-symbol?
No, I fancy what’s going on there—and what may well happen here next—is the extraordinary phenomenon of being ‘born again’. Religion is now Big Business. All Sunday on every television channel in America are programmes from what seem to be Pedestrian Shows from Earl’s Court. These are regaled by some holy heavy, backed by family, full orchestra and chorus, and all clad in white suits and Grecian robes, with an hour and a half of Elmer Gantry.* It is total show-biz, miracles are frequently performed on camera, and cheques—God bless you, send whatever you can—should be made out to J. Christ and addressed to Madison Avenue. And if you think it couldn’t happen here, I should warn you that I saw Billy Graham at Haringay Arena years ago and the effect was shattering. People were even kissing the feet of the solo trombonist.
Even Linda Lovelace, née Boreham, queen of the gamazons, empress of hard porn, appears to have been born again. Gone is the heroine of Deep Throat who gaily announced (never speak to the Press with your mouth full): ‘I was just playing myself; I was just enjoying myself. I don’t consider that a woman is being used by a man ever; she is there to please. I mean, I please, then I’m fulfilled.’ Now in her book Ordeal, she reveals that all this was said and performed under threat of being shot by her husband. If the queue to shoot Reagan doesn't cause reform in the gun laws, surely this will. At the same time as she professes her innocence, the book gives graphic details of what went on, rather in the style of those newspapers that print pictures of all sorts of things going on behind closed doors with the headline ‘Should Children be Allowed To See These Disgusting Scenes?’ or such.
If I had infinite wealth, I would like to fund a short anime OVA with a Moe-anthropomorphised version of Jodie Foster using Satanic subliminal messages through the television to inspire American Lolicon into forming a queue to take pot shots at Ronald Reagan so they can impress her. The OP will have Ronald Reagan running around as you view him behind the cross-hairs and scopes wielded by these lads as the Japanese CV playing Ronald Reagan sings the lyrics of a sappy anime song about love, friendship, and doing your best.By the way, the title of the article is 'Mature Actresses Lose Roles to New Lolita' (熟年女優がニュー・ロリータに主役の座を奪われる...!), and in it, Brooke Shields and Tatum O'Neal, and Yakushimaru Hiroko (薬師丸 ひろ子) and Itou Tsukasa (伊藤つかさ) in Japan, are heralding the arrival of the New Lolita Wave period.