Manga Review: Showa: A History of Japan 1953-1989

Manga Review: Showa: A History of Japan 1953-1989 by Shigeru Mizuki

This is the final volume of Shigeru Mizuki’s history of Japan and his personal life during the Showa Era.  It mixes events that affected the entire country with stories of his struggles as a man and an artist.

Showa: A History of Japan 1953-1989

As noted in the introduction by Frederik L. Schodt, this volume covers more time than the previous three put together.  It covers Japan’s transition from a militarized country reeling from utter defeat, to a nation that was all about business.  Many of the events covered will be new to American readers (though manga and anime fans may see the roots of certain storylines in real life happenings.)

The book also chronicles the long years of poverty Mizuki endured as he struggled to earn a living as an artist.  Again, this is a warts and all portrayal, so we learn that his arranged marriage was by no means a love match, but something his parents insisted on.  Even when Mizuki finally makes it big with a hit manga, he learns that success is its own trap.  Now that people want his product, he has to keep putting it out on strict deadlines bang bang bang.

I learned a lot.  For example, while it’s been retrofitted into many historical dramas, kidnapping for ransom was a new crime in 1963, made possible by rising prosperity meaning rich people had enough cash to pay ransom.  The “paradox of prosperity” is discussed:  As rising prosperity made the inside of people’s houses more comfortable, the associated pollution made the outside of their houses less comfortable.

As Mizuki’s personal star rose, he had to take on assistants to help him produce all the work he was now obligated to put out.  Some of these assistants, like Ryoichi Ikegami, went on to become famous manga creators in their own right.  Others…did not.  A subplot in one chapter has an assistant vainly attempt to get his original work published to impress a potential marriage partner.

A couple of chapters are dedicated to daydreams Mizuki had, one where he takes a vacation to the afterlife, and another where he contemplates a company that facilitates extra-marital affairs (and admits that his long-suffering wife might also appreciate the idea.)  In real life, he reconnects with the New Guinea natives that had befriended him decades before.

The volume ends with a completely transformed Japan, and Mizuki’s wish that while the future is yet unwritten, the new generations will learn from the mistakes and suffering of the past.  Mizuki lived on into the second decade of the 21st Century, still working up until the end.

Once again, the primary narrator is Nezumi Otoko (Rat Man), and we meet the real life person who inspired his personality.  One chapter is instead narrated by a traditional storyteller who mentored Mizuki for a while.  Readers who are unused to manga conventions may find the art shifts uncomfortable.

In addition to the standard footnotes and endnotes, this volume ends with a number of color plates that demonstrate Mizuki’s art at its most detailed.  this is great stuff.

There’s some uncomfortable bits, including rape, cannibalism and suicide.  There’s also some toilet humor (which at one point turns dramatic.)

Like the other volumes in the series, a must have for manga and anime fans who want to know more about Japan’s recent history.  It would also be good for more general history students seeking a new viewpoint.  Highly recommended.

Manga Review: Showa 1926 1939 a History of Japan

Manga Review: Showa 1926 1939 a History of Japan by Shigeru Mizuki

This is the first volume of Shigeru Mizuki’s  massive history of Japan during the reign of Emperor Hirohito, the “Showa Era,”  It was a long reign, covering most of the Twentieth Century, from 1926-1989.  In addition to the larger story of Japan, it is also his autobiography, as Mizuki’s earliest childhood memories coincide with the beginning of that era.

Showa 1926 1939 a History of Japan

This volume opens several years earlier, with the Great Kanto Earthquake of 1923 which devastated Tokyo.  The repercussions of this, combined with fiscal mismanagement, created a financial crisis that crippled Japan’s economy.  The optimism and liberalization of the Taisho period took a huge hit.  Japan struggled along until 1929 and the worldwide effects of the Great Depression hit.

A combination of the Red Scare (the belief that Communists were about to take over), military successes and government incompetence led to the rise of right-wing organizations, especially military cliques.  Japan became ever more aggressive against its neighbors in Asia, setting up the puppet state of Manchukuo and grabbing ever more territory from China.

Japan became a rogue state, leaving the League of Nations when that body attempted to intervene in its conquests.  Only Nazi Germany and Fascist Italy recognized Manchukuo, and Japan’s alliance with those nations was about to drag it into World War Two.

This is a “warts and all” history, which covers events that many Japanese schoolkids might not be taught in official classes, or have glossed over for them.  There are many painful topics in here, so despite childish hijinks in the parts dealing with Shigeru’s early life, I would recommend it for senior high school students and up.

Warts and all is also how Mizuki depicts himself as a child and young man.  Naturally athletic but lazy, bright but unmotivated, sensitive but engaging in fights both as part of a gang and solo.  It will take the horrors of war (as depicted in the third volume) to force him into a responsible adult life.  Perhaps he got some of it from his father, who is shown as a Micawber-like optimist despite his economic woes.

There’s a lot of names and dates, so the end-notes are very helpful–you still might want to have Wikipedia open to assist with some of the more obscure bits and to cross-reference what else was going on in the world at the time.  Some bits come across as very dry, making the personal stories a relief.

The art may be jarring for those unused to Mizuki’s style; many pages are drawn directly from photographs in a realistic style, while others are done in a very loose, cartoony fashion.  It’s also kind of weird to have Nezumi-Otoko (Rat-man) as the narrator of the more serious history portion-he would not seem the most reliable of narrators.

Overall, not as interesting as the third volume, which features Shigeru’s most harrowing experiences, but well worth seeking out from the library.

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