Hopefully everyone has had a Happy New Year (and Lunar New Year).
While I finished a translation for Shimizu's article about Lolicon doujinshi, there's still a lot of stuff I need to research, and the possibility I would either need to cannibalise one of Shimizu's other articles on Lolicon doujinshi, or translate that as well. In the meantime, I decided to translate a roundtable talk between many familiar names in this thread regarding the topic of third-rate gekiga back in 1978. By now, you should have a better understanding of what Lolicon means in Japan, so the discussion about how to make third-rate gekiga better appeal to a new demographic of younger readers should be interesting.
Source: 「プレイガイドジャーナル 1978/08」
Name Cheat Sheet:
Kamewada Takeshi (亀和田武): Editor-in-chief of Gekiga Alice (劇画アリス) who had Azuma Hideo serialise 'Absurd Diary' (不条理日記) in it. (Wiki)
Takatori Ei (高取英): Wrote 'The Tsukuru' article translated in the first page of this thread. Editor-in-chief of 'Manga Erogenica'. Takatori and Kamewada are both responsible for the Third-rate Gekiga Boom. (Wiki)
Kawamoto Kouji (川本耕次): Editor of Kannou Gekiga, and Editor-in-chief of Shoujo Alice in addition to being a member of Labyrinth. Major player in the Lolicon Boom who appeared in the Fusion Product roundtable talk. (Wiki)
Labyrinth Members:
Aniwa Jun (亜庭じゅん): Goes by the name Haduki Ryou in this talk, one of the co-founders of Comiket alongside Yonezawa. (Wiki)
Yonezawa Yoshihiro (米沢嘉博): Goes by the name Aida Yutaka in this talk. Wrote several articles translated in this thread. (Wiki)
Takamiya Narikawa (高宮成河): Another founding member of Labyrinth alongside Jun and Yoshihiro. Doesn't have any pages dedicated to him despite being the one that edited Labyrinth's Wikipedia page and Jun's posthumous work. (Labyrinth's Wiki)
BS Manga Night Chat (14th Season: May 2000 3rd Night: Absurd Diary [Azuma Hideo]):
Japanese programme that thoroughly discusses one manga work for about an hour. Okada Toshio is often present. Check the wikipedia page for a list of all the manga and their authors (there's also mooks that transcribe the first 11 seasons, and a book for a selection of various nights). (Wiki)
Labyrinth 78 Compilation
Special Feature: Our Manga Part 3
Have You Seen Third-Rate Gekiga?
There is a word called seinen manga. This word scooped up the energy, which was only demonstrated in the works of shounen manga, to release that energy to a much broader audience. Unfortunately, it slowly lost its original potential, and could only establish itself by adjusting to the sensibilities of society. And within the established hierarchy, its first-rate branches (Big, Action, Young Comic) and second-rate branches (Goraku, Shuuman, etc.) have completely sunk and lost their fervour.
Week after week, the only thing delivered to us were nothing more than 500 yen meal sets along a conveyor belt. For those of us whose primary diet is manga, even if it's a meal set, we'll eat it, but it's inevitable we'll grow tired of the same old taste, and the initial freshness of shoujo manga's sugar candy and pudding à la mode will also fade.
In the midst of the mass stagnation of manga, third-rate gekiga has exploded within each individual through the enclosure of ero, far more interesting than the lacklustre entertainment delivered to us every week. I can hear voices saying third-rate is nothing more than ero-manga, but long, long ago, manga used to be third-rate in the world of expression, so I would like to remind you even shoujo manga was a ghetto within the realms of third-rate until a few years ago. Whether you read it or not is up to you, but it's time to discard the prejudice that you don't read it cause it's ero, manga can also depict ero and it's about time we began to acknowledge that is also our manga. (Takamiya Narikawa [高宮成河])
■Roundtable Talk: Third-Rate Gekiga Battle Royal of Manga
Introductions.
Kamewada Takeshi (Gekiga Alice Representative):
Editor of magazines that can only be purchased through vending machines. Participated in the editing of 'Manga Daikairaku' (漫画大快楽) and 'Manga Banban' (漫画バンバン), building a new age. Afterwards, he transferred to Alice Publishing, and is known for his agitation in the back cover arousing interest in every issue. His real photo finally appeared in a recent issue, causing a controversy, making him the face of vending machines in name and reality. 29 years old.
Takatori Ei (Manga Erogenica Representative):
He's been on this path for over a year, becoming the editor-in-chief of 'Erogenica' and forging his own path, dramatically increasing its circulation. In the doujinshi 'Coffee Time' (コーヒータイム), he writes shoujo manga critiques, attracting the attention of certain maniacs. Recently, he was drawn in and spoiled by the story of Nakajima Fumio (中島史雄) of returning to Osaka for a marriage interview, becoming the face of Third-rate Gekiga both in name and reality. 26 years old.
Kawamoto Kouji (Kannou Gekiga Representative):
A third-rate maniac since his schooldays, growing in momentum until he began editing third-rate gekiga. He's been editing 'Kannou Gekiga' for half a year and is currently publishing the Third-rate SF Shounen Magazine known as 'Peke'. A central executive committee member of the Third-rate Gekiga Kyouto-kai Gi (三流劇画共斗会ギ). He also draws Gekiga and wants to become the face of third-rate gekiga. 24 years old.
Labyrinth 78 Referees:
Haduki Ryou (葉月了)
= Aniwa Jun (亜庭じゅん)
Aida Yutaka (相田洋)
= Yonezawa Yoshihiro (米沢嘉博)
Takamiya Narikawa (高宮成河)
Takatori: "Right when I joined, I was taught by my current sempai these were created for middle-aged geezers or for manual labourers like truck drivers, those sorts. However, when there were no girls at my cram school, I went to the stands to read ero-manga instead of going to cram school, you see. Completely different from them, and it used to be the editors around me were much older, but it somehow dawned on me I'm doing this for young guys who are sexually unemployed."
Kawamoto: "In short, it wasn't about whether the contents were good or bad with these editors, you see; their criteria for serialisation was whether this person ever wrote a manuscript before, they selected people for such boring reasons."
Kamewada: "Yeah, put simply, they had no policy."
Kawamoto: "There were no editorial policies for magazines."
Kamewada: "The criteria editors have in the form of whether or not this'll sell is truly vague."
Kawamoto: "Simply put, what's been created till now is at the centre of it; for example, since they used blue on the cover and it sold, they think if you use blue, it'll sell..."
Everyone: "Hahaha."
Kawamoto: "Well, but this is the truth. That's why the cover of 'Kannou Gekiga' is all pink."
Haduki: "Like it sells through the editor-in-chief..."
Takatori: "That inside front cover is amazing, like Itasaka Gou (板坂剛) on the final page of 'Movie Art' (映画芸術).
Haduki: "So now they say the target audience is the younger generation."
Takamiya: "As previously stated, we've advanced from creating for factory workers and truck drivers......"
Takatori: "Well, there's more and more truck drivers, factory workers, and geezers, but they're changing the focus between 18 to 25 year-olds. Well, simply put, making it in the sort of form it can be an ingredient for masturbation. So, on one hand, a cram school student will read 'Erogenica', you see, and they'll be thinking 'c'mon, third time, c'mon fourth time, ahh, thank god!!'. On the other hand, you'll have the sort that's sexually hungry, unable to catch a woman, you see, and ero-gekiga calms their desires through masturbation, acting as a safety-valve for the system. But I think it'll be a double-edged sword in that they'll go straight to the bang as a way against the system that'll make the old establishment frown. That's the difficult part."
Kamewada: "I believe it's going both ways."
Takatori: "Well, you see, what I believe had the greatest impact were the middle schoolers that brought them to school. It was about 40 people, you see, and then came the letters with the exact same message from papa and mama."
Kamewada: "Right. They came with the exact same message."
Takatori: "They have their names written on the back."
Kawamoto: "That's cause the Communist Party's pulling the strings behind the scenes."
Takatori: "Yeah, it's true!"
Everyone: "What, what? Really?"
Kawamoto: "Err, it's Ishiko Jun* (石子順), Ishiko Jun."
※Ishiko Jun (Wiki); a movie and manga critic with deep ties to the Japanese Communist Party.
Haduki: "What!? Him!?"
Takatori: "Ishiko Jun in Yoyogi?"
Kawamoto: "That guy's organising that kinda stuff behind the scenes. You know, he did 'What's Happening to Children's Manga?', using it as a means to banish vulgar manga. He's relentless."
Takamiya: "He's really doing that?"
Kawamoto: "Since he's been so relentless, anyone that attracts his attention gets a letter. Likely written by Ishiko. It goes around, you see, he writes people a letter and then they finish it off by signing their name."
Aida: "Like a chain letter."
Takamiya: "If he's doing that, then there must be something like a sample."
Kawamoto: "That's cause you cannot make the same sentence without a sample. So, they all went for 'Comic Gang' (コミックギャング).
Takamiya: "For 'Gang'!? What's wrong with that?"
Kawamoto: "I don't know what was wrong. Probably something that shouldn't be in a gekiga. There doesn't need to be something erotic for there to be something wrong. He doesn't bother with manga that much, so why he's fussing about just gekiga is cause he has a problem with gekiga."
Takatori: "However, when you compare 'Shounen Magazine
*' and 'Shounen Champ' to the past, the eroticism has gotten incredible."
※Shounen Magazine (Wiki)
Kawamoto: "However, even if it's allowed in 'Shounen Magazine', it's not allowed in gekiga mags. For example, in the magazine 'OUT' published by us (Minori Shobo), there was a line about what would happen to this earth if the words 'Omeko' (Sex) and 'Okome' were mixed up. It was also in 30 or 40pt, huge typesetting, but there was absolutely no problem. If it was a gekiga mag, you would get called out for that."
Kamewada: "Even if you say pussy in a literary magazine, it's truly humiliating you can't do that in 'Jitsuwashi' (実話誌)."
Kawamoto: "That's why magazines guised as sex at first glance are subject to much harsher restrictions in terms of expression."
Haduki: "Being guised as sex makes it already a failure as far as the system itself is concerned."
Kamewada: "In regards to that, talking to mangaka, what gets me flying into a rage, you see, though it's a little different recently, Haku's saying he wants to draw shounen manga. What an unpleasant bastard, there's something that makes me doubt his character."
Kawamoto: "Do you know Otama Jakushi (小多魔若史)? There's a mangaka like that who used to work as an exclusive assistant for 'Jump'."
Aida: "I believe you're referring to Yanagisawa Kimio (柳沢きみお)."
Kawamoto: "Yeah, he didn't want to be tied with such a cheap exclusivity fee, so he jumped ship and is now drawing ero-manga. But when I met him, he's the opposite in that he never wants to draw shounen manga ever again. He's making a living on just ero-manga, so as long as it's an ero-manga, he'll draw it for shounen magazines, but he won't draw anything else."
Kamewada: "Ahh, that's an insight."
Takatori: "Same goes for Dirty Matsumoto (ダーティ松本); he's said even if you give him a million yen, he wouldn't draw in 'Big Comic' (ビッグコミック)."
Kawamoto: "I believe Muraso (Shunichi) (村祖俊一) also needs to say that much."
Kamewada: "That's why guys saying to calm down and do ero need to get out more."
Takatori: "Muraso can defend himself, but he draws in 'Big Comic', and he also draws in 'Shounen Magazine' and 'Erogenica'. So it's not like that. Though he doesn't draw much in 'Big Comic'."
Aida: "What about Hachuu Rui (羽中ルイ)?"
Takatori: "He's an exclusive for 'Manga Joe' (漫画ジョー)."
Kamewada: "He often used to say he 'really wants to draw shounen manga', but there's just something that oozes out of his ero-manga."
Takatori: "Hachuu Rui is a poet. He published a poetry collection in high school and is still writing them now. Well, his high school days were interesting. Poetry and violence, he boxed for 3 years, so it's like a fighting elegy. He's done it with Ya-san
* in Shinjuku. So he stuck a Shoujo in those scenes of violence and it drifted in and grown into magazine poetry."
※Ya-san: A Yakuza member.
Kamewada: "That guy's mentally homo. It got late when I was at Lemonsha (檸檬社) and the station was nearby. So when we went home together, he would say 'please stay at my house'. And while we were walking, he would only handle other men with just his right hand like during his boxing days."
Everyone: "Gyahahaha."
Kamewada: "He's no good."
Everyone: "Hahahaha."
Kamewada: "It's been a long time since I last walked out in the middle of the night. It's kinda scary."
Takatori: "Since he had 'that' sort of violence, I asked him if he wanted to try drawing a boxing manga, but it was still in the afterglow of 'Tomorrow's Joe' (あしたのジョー). So he said he would try it after that afterglow went away."
Kamewada: "What was unusual about what he drew in the past was that it was never normal sex. How do I put it? It would be stuff like slicing thighs with a cutter knife and inserting it. Then there's two women doing lez and suddenly a monster jumps out, wearing a fundoshi, and right when you're wondering what's going to happen to the girl, it grasps the girl's genitals and rips it apart. Like throwing a lump of meat at the reader, screaming this is bad."
Everyone: "Gyahahaha."
Takatori: "They don't draw 'em completely naked."
Takamiya: "The ones doing third-rate gekiga are a maladjusted bunch."
Kawamoto: "Right, its representative is Shimizu Osamu (清水おさむ)."
Kamewada: "When I was in charge of Lemonsha, the opening begins with two colours. There's a man eating an apple, forcibly giving an enema to a girl, and what's depicted is ridiculous beyond ridiculous. He drew the apple brown, you see, so it's like he's eating shit like it's delicious, super delicious. The editor-in-chief saw it and said, "Kamewada-kun, this is bad. This is drawn using brown. Please change it to white. That way, it'll look like piss.".
Everyone: "Gyahahahaha."
Kawamoto: "There's certainly a kind of degenerate. That's why they can draw all kinds of stories without getting bored."
Takamiya: "I think it's more than that. There's quite a few that take advantage of it to keep themselves partly awake."
Aida: "Drawing to keep themselves awake."
Takamiya: "What's interesting about third-rate gekiga is that there are quite a few interesting ways to take advantage of them. So, it doesn't matter if only a single naked lady appears. As a reader, I want to read interesting manga, but shounen manga is interesting, same goes for shoujo manga and third-rate gekiga, all of these included are our manga. So as for third-rate gekiga, I would like to hear about how you're doing your best in the future with our manga."
Kamewada: "For us, if we mess up, we could very well end up like 'Young Comic' (ヤンコミ), you see; strictly warned for those parts. So even if you think about wanting to do this or that, I feel a trend concentrated in the 'Young Comic' reader lobby should come on a regular basis, and with that, instead of going over there, they step over here. By making ero-gekiga into ero-gekiga, we're doing our best after all."
Everyone: "........."
Aida: "What about Takatori-san?"
Takatori: "So, in the end, how do I say this? 'Garo' (ガロ) is the opposite of a magazine for people in their 30s or 40s. So I had Kawasaki Yukio (川崎ゆきお) make Garo more into a Garo-ish gentle series, and by using Muraso of 'Big Comic', my wish is to have a shoujo mangaka draw ero. So if those parts all step into a bar, I feel like we would need neither 'Big Comic' nor 'Shounen Sunday. Is there an artist like that?"
Aida: "Isn't there someone already like that?"
Takatori: "Well, Takemiya Keiko's (竹宮恵子) amazing. But I'm not sure there's someone drawing shoujo manga with nudity and dicks, that I'm sure."
T/N: As a reminder, Takemiya Keiko is the one who did the perfect Lolicon Manga according to the Fusion Product roundtable talk moderator.
Haduki: "But that wouldn't matter from a man's perspective."
Takatori: "No, it's exciting from a man's perspective."
Takamiya: "Can you explain to me what the heck you mean?"
Kamewada: "I was talking to a friend earlier, but the commercialisation of stuff like pornography is completely different from other forms of expression, you see. We have artistic expression, and if you ask what kind of artistic expression, you have the readers that say it's remarkably fine, and the people examining it are in a way nullifying that. Pornography and stuff like that are standing out more and more. Well, it's certainly having a response. So that's why it's completely different from artistic expression. Whenever I hear about porno also being art, it's lukewarm."
Takamiya: "As a new editor."
Kawamoto: "From a general perspective, it feels like it won't be difficult. Meaning, as an artist."
Takamiya: "So it's the absolute lack of artists?"
Kamewada: "There's some. It's been about two years since Hachuu Rui came out."
Kawamoto: "That's why they draw ero. There's few people. For example, Noujou Junichi (能條純一) and Shimizu Osamu already understand to some extent what makes it strangely interesting, like they can see into the future. All that's left is for it to be accepted........."
Kamewada: "So when it comes to how to do it, there's many coming here with strong opinions, but in short, in third-rate gekiga, in ero-gekiga magazines, something may be done if there's 3 or 4 people working hard at it."
Kawamoto: "Also, so long as there are readers, there's a side that says it'll somehow work out. It's easy for artists when there are readers. Like it's impossible to have artists do it when everyone's walking around blind, fumbling about."
Takatori: "Err, there's guys hungry for gekiga dropping off, I believe graduating from somewhere like Nagoya, if a boss asks them what sort of foolish stuff they're doing, they would be like 'No, I'm becoming a mangaka'. So, when they go to Tokyo, they somehow eat."
Kamewada: "Everyone around our age are building houses. So please write down that third-rate gekiga are also building houses."
Kawamoto: "Well, it's because it's a third-rate gekiga that a house is built. The only ones that can handle 300 pages a month though a single person are third-rate gekiga."
Kamewada: "Agata Ui (あがた有為) built a house, Shimizu Osamu built a house."
Takatori: "Shimizu Osamu has an apartment
(mansion block)."
Kamewada: "Ah, right."
Takatori: "So it's still not a time to be that excited; everyone's drawing while poor, but if a newbie can bring it in, they look like they can do just fine. Everyone's drawing at home while going to university, so becoming successful or ghosts. That kind of thing is decreasing."
Kamewada: "Well, it's really surprising, but everyone is doing it from extreme poverty."
Takatori: "That's cause they're hungry, hungry."
Kamewada: "There's quite a few despite being from the same generation as me, same goes for Agata Ui, and Iida(Kouichirou)-kun's (飯田耕一郎) private life is kinda amazing. It makes you wonder why that is, but they're all actually more educated than some crappy university student, which is also surprising. Anyways, Aida-kun is also like that, but Agata Ui was working at a supermarket or something like that and was so tired, he couldn't walk straight at night, like 'aah, am I gonna be buried here?'."
Takatori: "In Shimizu Osamu's case, he ran away from home cause he didn't like being the son of a wealthy landlord."
Kawamoto: "That would give you the impression he would be an incredibly pure man, but it's interesting he turned out to be such a twisted human."
Kamewada: "I wrote about that as well (in a magazine), but we need to stimulate more critique."
Takatori: "Why are the ones reading those shoujo manga bastards? Tomohiko Murakami (村上知彦)."
Everyone: "Hahahaha."
Haduki: "Exactly."
Takamiya: "I'm always awake cause of the parts that are so serious."
Takatori: "Kawamoto Saburou (川本三郎) is doing gekiga, so I don't know. Kawamoto Saburou worries me. Kawamoto Saburou, Shimizu Akira, those two."
Takatori: "Poets are no good."
Kamewada: "That's why even the 'Manga Shugi' (漫画主義) folks also feel at their limit; after all, there was a time when those called art youths would critique jazz. There aren't any critiques with the same kind of power of jazz, something you can only talk about as an art youth, so there's still no criticism and method that is suitable for such things as gekiga. Even if you had a conscientious person like Gondou Susumu (権藤晋) (Takano Shinzou [高野慎三]) do it, it was stuff like 'take note of the sincerity placed in such childish lines'."
Haduki: "Yeah, it would be like that."
Kamewada: "Pretty petty if you ask me; from our perspective, it's not a joke. Being unable to write anything but that kinda thing is, after all..."
Kawamoto: "Probably cause he didn't read it. I met Gondou Susumu, you see, and spoke to him, and he didn't know a lick about third-rate gekiga."
Kamewada: "Then, of course, there's that. I'm speaking ill of him, but I thought that was stupid. Him neglecting to construct it as a theory and giving up."
Haduki: "So far, it seems he's writing just the sensations of the good parts."
Kawamoto: "In short, the fact no one speaks about anyone but Ishii Takashi
* (石井隆) I believe is the worst thing. Indeed, it may be Ishii Takashi, but I believe, speaking honestly, he's clearly a special case."
※Ishii Takashi (Wiki)
Kamewada: "Then again, geniuses are amazing.
Meaning there's no point in having 20 copycats breaking through a closed situation when you can have a genius break through. Ero-gekiga changed completely thanks to Ishii Takashi showing up. Even if you had 20 copies of Sakaki Masaru (榊まさる) show up, it wouldn't have happened. So you have Ishii Takashi, alone, who made it happen; otherwise you would have to wait who knows how many years for a genius. So when it comes to that, we have to hope for the emergence of a genius in the future to secure a place for that, and I'm also being picky, but I believe we could do better in that area. However, the current state of gekiga, and the critique surrounding it, is terrible."
Kawamoto: "Well, including critique as a practical problem, the beings known as readers aren't established. It's a situation where you don't know if they're there or not."
Kamewada: "So long as we keep coming to places like this, we'll never meet our readers."
Everyone: "Gyahahaha."
Takatori: "Well, err, if you go on a date over the phone, a lot of people will come."
Kamewada: "They won't come if it doesn't have that kind of thing. For example, even 'Daikairaku' sends the model's panties as a present. So a lot of 'em are coming. There's absolutely no letters to the editors besides that, so for example, you often have a reader's column, right? Those are a total sham."
Takatori: "Well, ours are all genuine; in our popularity votes, at least 20 maniacs come out of the woodwork every month. So every time we give out adult toy presents, I'm surprised by the lechers who aren't maniacs."
Everyone: "Wahaha."
Takatori: "They're already completely..."
Kawamoto: "But well, with just 'Erogenica' as the exception, the rest are mostly phonies. You can tell by looking at their names."
Kamewada: "That's why when I was at 'Daikairaku', I was always diligently writing letters."
Everyone: "Hoho—"
Kamewada: "And when we were close to our deadline, I would say 'you write half'."
Aida: "In that sense, you could say 'Erogenica' has created an environment for the reader to some extent."
Takatori: "We're creating it. Mostly because I'm hoping to meet my readers."
Aida: "The so-called 'Young Comic' reader's lobby..."
Takatori: "Well, there aren't any morons with big heads like that."
Kamewada: "Well, as for that, when it comes to 'Young Comic', the first thing I do when I buy them is read Ishii Takashi's 'Angel's Guts' (天使のはらわた) and 'Dokuro' (読ロ). Every time I read 'Dokuro' I would get harassed, so it turned into an unpleasant experience."
Takatori: "A while back, a reader said 'Manga Magazine' and 'Erogenica' were interesting and he wrote for a bit, and here I was surprised thinking this is not good."
Kamewada: "Speaking of which, when Shimizu Osamu came to our company for two to three days, that guy was also going ahahaha, saying 'You wrote about Alice in Erogenica'..."
Everyone: "Wahahaha."
Takamiya: "I'm thinking of creating something new, but there's always a situation where the lowbrows will come again and ruin everything, so it's hard getting around that..."
Kamewada: "True. Indeed, meeting specific readers would have a great impact, so it all boils down to this; I don't care if I'm wrong, so other than having a policy to set up a reader's column, I feel there's nothing else we can rely on. Unless you do a proper analysis of the data, there's many parts that'll fall out and get lost. That's why in the end, I feel this is the only way when it comes to this."
■Third-Rate Gekiga Creator Focus In
By Ijuuin Ranmaru (伊集院乱丸)
Dirty Matsumoto (ダーティ松本):
Published the Tankoubon 'Meat Slave Doll' (内の奴隷人形) and 'Crazy Nuisance Doll' (狂った微惑人形) from Kubo Shoten (久保書店), mainly in 'Hunter' (ハンター) and 'Pleasure No.' (悦楽号). In addition to his pen name based on 'Dirty Harry', he has earned himself the names 'Gekiga Hentai Devil', 'Gekiga Butcher' and 'Gekiga Sex-Killer'. True to those names, his men violently rape with pistols and penises and his women are thoroughly abused as playground equipment for their pleasure. In particular, the brutality of his anal torture and sandwich torture are the quintessence of his world of super violence.
Shimizu Osamu (清水おさむ):
Currently active in 'Alice' (アリス), Erogenica (エロジェニカ), and 'Comanche' (コマンチ). In his stories where the protagonist is a lady with long hair and sharp eyes with fluttering eyelashes, he's a creator who cannot help but draw scenes of extreme tragedy in which the neck, torso, and internal organs explode at least once in every work. He also goes crazy with the cruel and love-juice afterglow scenes depicted in his double-page spreads. In addition, the heroine's sassy violence as she approaches obscenity and ruin is also incredible.
Muraso Shunichi (村祖俊一):
In addition to 'Erogenica' and 'Pleasure Seven' (快楽セブン), with the pen name <Narukami Shun> (鳴神俊), he also draws in 'Big Comic' and 'Shounen Magazine'. Without the "filthiness" particular to ero-gekiga, his women being raped and his women being tortured during SM are always praised for their sublime beauty. In particular, the height of his pride, 'Harlot Marie' (娼婦マリー) from 'Erogenica', is so cruel in which the female student who despises herself becomes a drug addict and sells her body. Saying, "Know how I feel. Just try taking customers with yer pu**y...".
Agata Ui (あがた有為):
The best-selling ero-gekiga drawing in various places like 'Daikairaku', 'Comanche', 'Adams' (アダムズ), 'Olympia' (オリンピア), and 'Alice' (アリス). His females all have glamorous bodies whether they be schoolgirls, housewives, or OL. His stories include rape, SM, and Lez, but his tattoos are unique and his stories where they're raped by the elderly are rare even among ero-gekiga. Perhaps the fact they're so willing to open their bodies without resistance when they're being raped by men is the reason his works are so appealing.
Tsuchiya Shingo (土屋慎吾):
With themes where schoolgirls and young wives with plump bodies gradually go into heat as they're bullied by middle-aged geezers, he makes light of them as they're teased and forced into embarrassing poses. Furthermore, his depiction of a woman's shame and agony is excellent, especially their half-opened lips and tightly-closed eyes, arousing the reader's desire with his style of ero-gekiga. Currently active in the Nyotai Series of 'Daikairaku' and 'Alice'.
Genkai Tsutomu (玄海つとむ):
Drawing in places such as 'Daikairaku' and 'Alice'. The voltage of his depictions are quite good, but more than that, his stories and names
* (ネーム) are solid. His favourite theme is stepmother bullying, where a daughter becomes equal as a woman, and she and her adoptive mother engage in foul-mouthed swearing and resentment, like an unforgivable rivalry between women, such as seducing men and raping each other. Also, his women who are black around the eyes are incredibly strong and lewd, a perfect fit for his theme.
※Name(Manga Term) (Wiki). A blueprint for manga, panelled and with dialogues.
Hachuu Rui (羽中ルイ):
A best-seller that draws in many magazines, such as 'Joes', 'Comanche', 'Alice', and 'Daikairaku'. He specialises in works where schoolgirls are the protagonists. His stories about schoolgirls, drawn with clean lines, who are afraid of sex, but gradually grow to want it. The coolness of their reactions gives them a unique lyricism, which is why he is being called a sensual poet. He's especially good at masturbation and lesbian scenes, and with the transparency of the girl's upturned eyes, they make you feel the beauty in his obscene eroticism.
Nakajima Fumio (中島史雄):
Although centred in 'Erogenica', he not only has experience in 'Skat' (スカット) and 'Olympia', he also has experience as an assistant of Masaki Mori (真崎守) at one time in 'COM'. His '紫瞬記' series that deals in Shoujo stuff known as lemon sex, particularly a lesbian one between the Bishoujo Maya and her female teacher, stands out because it doesn't have the sloppy scenes other lesbian stuff do.
By depicting the twisted faces of Shoujo in a strangely glamorous way, he provokes the lust of Lolita Complex readers.
Iida Kouichirou (飯田耕一郎):
Became a mangaka after working as an editor at 'COM'. In addition to working in such magazines as 'Alice', 'Daikairaku', and 'Sensual Age' (官能時代), he draws gags under the pen name of 'Kouichirou' (耕一郎). His stories, mainly centred on the monoloques of girls, have a peculiarly dull mood, in the sense they're akin to a shoujo manga. He's a playful and addicting creator, rather than a creator who draws the reader in with powerful depictions. At any rate, his Shoujo, drawn with a tasteful and exquisite touch, are quite cute.
Miyanishi Keizou (宮西計三):
Active in 'Alice', 'Adams', 'Dokkiri No.' (ドッキリ号), and 'Special Young Comic' (増刊ヤングコミック). There are many 2-colour pages at the ends of his books with bold compositions and a sophisticated, grotesque art style in the likeness of French dramas, making his phantasmic and beautiful fantasies marvellous. Moreover, his sense at depicting the eyes, tongue, sweat, and wrinkles of clothing is worth a glance. Homo, transvestism, doll love, and so on. His child pornographic works with abnormal themes can be seen in 'Dreamer Pippyu' (夢想家ピッピュ).
'Showa Porn History':
This is Kawamoto Kouji's website and it has 22 chapters plus four extra autobiographies of information; far too much for someone like me to translate, but it goes into detail about everything involved in Third-rate Gekiga Boom, vending machine magazines, Labyrinth (the group Yonezawa is part of) and so on that has led to the Lolicon Manga Boom. In addition to further details about the contents of the above Playguide Journal article. The funniest part is that Ishiko Jun is also mentioned in the opening summary of the 3rd autobiography. It's been 30 years and his supposed trouble-making antics left that deep of an impression on Kawamoto Kouji. He has a large list of books in relation to manga critique, like this is the cover of the one mentioned in the above roundtable discussion.
"Series for Parents and Teachers #3: 'What's Happening to Children's Manga?' (子どものマンガをどうする) Papa, Mama, Sensei, Think Seriously!" by Ishiko Jun (石子順).
Cannot find any info for Ishiko Jun in English, and his Wikipedia page is rather sparse, but I'm curious how much of an effect he had on manga regulation and the rise of Otaku Bashing. Found a blog that shares some information about this book and Ishiko Jun, though with how he's presented, I cannot think of any western equivalents of him since most westerners I know that criticise manga for being too vulgar are far more ignorant than Jun is about the industry (Blog).