#garo magazine

[dailydefunctmangamagazine]

Garo (ガロ) / Seirindō (青林堂) / Nov 1965 issue

[nobrashfestivity]

Covers for Garo Magazine, 1964-1974

[marginalia-6]

[weirdominate]

Pour it on his head, Chiharu. (Talk to My Back, by Murasaki Yamada; 1981-1984.)

[ironsaguaro]

I bought too many Manga Magazines in Japan

[avomagazine]

Every week, we bring you a treasure trove of captivating music videos from lesser-known, new and intriguing Japanese artists who deserve your support! Join us on this extraordinary musical journey as we shed light on the artists who often go unnoticed but leave an unforgettable impact. We also maintain a YouTube Music playlist!

This week we highlighted music videos from: 🍙 Carpenter’sBlue 🍙 Futures 🍙 台所きっちん (Daidokoro Kitchen) 🍙 Burst Blue 🍙 のろゐみこ (Noroimico) 🍙 CLAN QUEEN 🍙 短編画廊 (Tanpen Garo)

Find the article here.

Enjoy the music!

[artmialma]

 Seiichi Hayashi 林静 (Born 1945)

 Hayashi published his first comics work in Japan’s influential underground magazine Garo.

A prolific artist, he is also a film and commercial director, a children’s book author, an animator, and an illustrator.

[patricia-taxxon]

Have you read any of Usamaru Furuya' other manga? From what I can tell Picasso was something a departure for him. His earlier works like Palepoli (serialised in the alt-manga magazine Garo) and Garden have a lot more graphic experimentation. He was educated in fine arts and I think that definitely shines through.

I have not! I remember reading in the author's notes that it was intentionally made to fit into jump magazine.

And yes, his fine art background is so apparent, especially later on the heart artworks get so beautiful and interpretive. I also like how the imaginary world is fine art, pencil strokes and delicate shading, while the real world is hard edged anime.

[animefeminist]

Social Commentary, Horror Manga and the Left: From Ero-Guro to Junji Ito

Content Warning: gore and body horror

Horror manga has always had ties with revolutionary politics. Its beginnings, in fact, start with a Marxist-oriented magazine in the 1960s. Garo, an early gekiga magazine for avant-garde art, was one of the most important magazines for the development of horror manga. Its publication lasted almost 40 years (starting in 1964 and ending in 2002) and the earliest works of horror manga can be found in its pages, as well as a career starting point for the majority of early horror manga artists. Aside from this, horror manga has ties to the ero guro nansensu movement of the 1920s (arguably earlier if certain woodblock prints are considered “ero guro”), which has a clear revolutionary bent. Horror manga today may be more detached from this history, but there are still traces of this revolutionary ethos in modern works.

Garo, The Legend of Kamui, and Burakumin

Garo was an alternative magazine published in kashi-hon stores during the 1960s which became the center of the Japanese counterculture movement. At the time, manga’s main distribution channels were weekly magazines made to correspond to TV series, such as Astro Boy or Speed Racer. Because these magazines’ main demographic was children, stories catering to mature audiences had to find somewhere else to be published. This is where the kashi-hon’ya industry comes in; kashi-hon refers to a for-profit rental service for books (similar to the old video rental stores in the U.S.). These stores allowed for the publication of more mature stories and the rise of gekiga, a form of graphic novel that dealt with more explicit themes.

Garo was the most popular magazine distributed within this network. At its peak in 1970, 80,000 copies of the magazine were published. Its main artist, Shirato Sanpei, had notoriety because one of his stories, Ninja Bugeicho, received a film adaptation in 1967. Shirato was a Marxist known for his social commentary; Ninja Bugeicho itself is a story about a left-wing uprising among the peasant class.

Read it at Anime Feminist!

[dailydefunctmangamagazine]

Garo (ガロ) / Seirindō (青林堂) / Aug 1989 issue

[nobrashfestivity]

Kiriko Nananan

Cover of ‘Garo’ from 1994.

[bloodsadx]

thanks to everyone who has sent me asks and such saying i understand how to draw for being nice and stuff. i'm going to ramble about some influence/process stuff below if you want to read abt it

this might read as some kind of artistic statement or defense or something but i like to talk about this kind of thing just in case anybody can ever get anything meaningful out of my own thoughts and practices. i got to where i am after a lot of careful consideration and spending time thinking about what i like in other people's art, just like anybody else that makes art to any serious degree.

my "style" is very much a deliberate series of decisions that i have honed into being very fast for my own pleasure and enjoyment because i am very inspired by people like king terry/garo magazine/the heta-uma style, keiichi arawi, inio asano, hiroyuki imaishi, toru nakayama, phil elverum (as a cartoonist), gary panter (who was a friend of matt groening and wrote an essay about selling out that is worth reading and did a lot of stuff with RAW magazine which is one of my favorite things to think about), DIY/skatewear brand t shirt cartoons, early MSPA hussie stuff, etc. a lot of my favorite artists walk a line between constant high effort and low time investment art; often contrasting elaborately planned perspective grids or high resolution rendering with simple cartooning. asano and arawi i think are very clear and famous examples of artists that use 3d rendering and photography for backgrounds while drawing very deliberate and expressive characters on top of them. toru nakayama is really inspiring to me because he, like toriyama, has a very deep understanding of form AND cartooning and has a way of making extremely densely crafted cartoons which feel visceral and almost like plastic toys you can pick up and play with on the page. also just one of my favorite colorists. and i think hussie and arawi and imaishi are all fantastic character designers with very strong understandings of designing art styles that convey information very quickly and deliberately; i think bryan lee omalley and jamie hewlett were also big early influences on me for the same thing- they all have art styles with very clear line/negative space proportions, strong shape language, etc, and for a long time in my life i have sought to grasp a similar understanding of these things. and then i think phil elverum's fancy people adventures cartoons and just like skate brands and "shitty" DIY drawings and stuff (the album art for nana grizol's love it love it is like burned into my brain forever; seeing basquiat paintings and poems in a museum when i was 15 made me feel whatever and crazy and etc) are just something that serve as a constant reminder to me that some of the most effective art is art that is simply fun to look at, especially when it comes to making comic and cartoon art. simplicity and joie de vivre are very important to me as artistic concepts.

and i mean, i do fuck with crazy painter dudes and shit too; i was huge into goya when i was 14 and had a print of the witches sabbath taped to my wall until i was like 22, i fw waterhouse & bruegel the elder insanely. i am like a sponge for most kinds of art and i do a lot of art research all the time. most of my first book was heavily influenced by compositional techniques from pre-raphaelite painters and the iconography of egyptian & greek wall art and especially especially extremely crowded gothic art and the concept of horror vacui.

but anyway, im not really insecure about my art, i know how much effort and time and practice and research i've put in, i definitely know my strengths regarding cartooning and stuff, and i'm even more aware of where my work needs "improvement" in order to be "commercially viable." i've been in multiple positions in the past several years of taking art seriously where other people have been dismissive of my art and i've seen other people fail to capture the energy & simplicity that i am able to get in my own art, etc.

for people interested in my Process and the things that i work on to draw the way that i do, the way i have gotten whatever skills i have has been mostly through drawing the same things over and over and over (toenail, cavity, pimple, gunk, making different expressions and doing different poses); i draw in pen MOST of the time, and i have for a very long time, and i make few edits, and i focus on keeping energy and confidence in my lines; i do perspective studies, i've spent a lot of time doing gesture drawings and environmental studies inside and outside. i draw a lot of movie frames and do color studies of youtube videos and stuff like that. i remember reading some kind of criticism of post-KAWS/street art infiltration of commercial art that artists now are most rewarded for drawing literally the same thing over and over and over like their hands are printers and that the main thing artists are then allowed to do within that context is express themselves through minor variations within that key theme; i don't think im THAT rote but it has definitely informed my perpsective on what i do and what i am interested in doing. on some level i have designed my art to be easily reproducible by myself because i want to make comics and sometimes even to animate my characters and that requires me to be able to draw a lot of drawings relatively quickly. this is another reason why character designers and video game key artists are such massive influences on me, takehito harada and akiman and toshiyuki kusakihara being some huge ones i've spent a lot of time doing studies of i didn't mention previously.

and because the main way i make money at this point in my life is through screen printing & reproducing my drawings as items for sale, i spend a lot of time making my art Distinct, Eye Catching, and Iconic, to the degree of instant recognizability even on a t shirt or a sticker from far away, and i try to make my drawings strictly legible and generally focus on communicating ideas and emotions through big thematic and emotional gestures and strong colors that can be easily separated. this is one of the main reasons i havent developed as strong of a rendering/coloring habit; that kind of stuff is difficult to color separate for the purpose of solo DIY screen printing. but i've spent a pretty decent amount of time doing that stuff, and i spend time studying forms regardless, with the lines that i do use. a lot of my sketchbooks are me drawing literally the same thing over and over slightly differently until i have something that i feel is a strong enough cartoon to make into a shirt or patch or sticker design that satisfies a litany of criteria i have for what i consider strong cartooning.

anyway that was a very rambling post but i hope at least people get something out of it even if its just slight entertainment from me blowing hot air out of my mouth for 20 minutes.

[weirdominate]

Masterminding the house. (Talk to My Back, by Murasaki Yamada; 1981-1984.)

[ironsaguaro]

The Most Influential Comics Magazine! Garo!

[xinu1941-1966]

illustration：maki SASAKI 佐々木マキ

NEW MUSIC MAGAZINE　1974

#maki SASAKI #sasakiMAKI #佐々木マキ #japan #illustration

#Illustrator #GARO #ガロ

[canmom]

Animation Night 193 - Harpier cries: 'tis time! 'tis time!

PREVIOUSLY, in the dark halls of ANIMATION NIGHT, you have born witness to such horrors as these...

Animation Night 25: HORROR, featuring Kakurenbo, Vampire Hunter D: Bloodlust, Birdboy: The Forgotten Children, and many episodes of Yamishibai

Animation Night 77: Once More, Halloween, featuring Blood: The Last Vampire, Seoul Station, The Wolf House, and Shoujo Tsubaki - and more Yamishibai...

Animation Night 129: Thrice the brinded cat hath mewed..., featuring Hellsing Ultimate, The Secret Adventures of Tom Thumb, Mad God, Ujicha's Violence Voyager, and guess what? Yamishibai...

Animation Night 176: The Hedge-Pigge Whin'd, a rather scuffed production which, contra the writeup, ended up just showing the Darkstalkers OVA from 1997. And some Yamishibai of course.

And now, my friends, and now... the witching hour is soon to be upon us once more, and it is time we revelled in the darkness and terror, for tonight is hallow'een, easily the best festival in the western calendar.

Many thanks go to @glitch-critter and @muzothecat, who provided me some excellent suggestions for animated horror that I have yet to see. Not that reruns would be the end of the world, there's some excellent shit on the list above I would be immensely glad to see again.

To begin with, we have the recently-released The Birth of Kitarō: The Mystery of GeGeGe (幾多郎誕生：ゲゲゲの謎). Which provides an excellent excuse to get into the subject of Kitarou. So let's begin our dark and sordid tale... well, it's actually a pretty positive tale, but that's not really in the spirit of things.

GeGeGe no Kitarō is a truly classic manga series dating back to the 60s, created by Shigeru Mizuki. But it's actually older still: the earliest incarnation of Kitarō is in a kamishibai performance written/illus. by Masami Itō and Keiyō Tatsumi back in 1933, called Hakaba Kitarō (Kitarō of the Graveyard). It tells the story of a ghost boy called Kitarō who lives in a graveyard; like many kamishibai it was aiming at straight up horror. Here's a board from the original (photo by translator Zack Davisson, thanks wikipedia):

So, you know yōkai? You're reading this blog, so probably, but just in case, they are the various freaky spirits of Japanese folklore, from kappa and tengu to nekomata and chōchin-oiwa. And the reason why they are such a popular feature of modern popular culture (you all know what a kappa is, right?) is in large part due to this manga.

Shigeru Mizuki, born 1922, had a pretty wild life. He was drafted into the army in 1943 at age 21, and lost his left arm in a bombing the next year; during his recovery he made friends among the Tolai people of New Guinea. He came home after the war, and found work renting out an apartment building and drawing kamishibai on the side; gradually the kamishibai work took over. In 1953, his brother Sōhei moved in after being tried for war crimes (the timeline does not mention the outcome of the trial); in 1957 at age 35 he moved to drawing manga, debuting in rental manga with Rocketman.

Starting in 1960 at the behest of Mizuki's publisher, the Hakaba Kitarō manga adapted the story of the yamishibai, introducing a wider audience to ghost boy Kitarō with his floofy hair and little third eye on a stalk. It proved explosively popular (despite being at first deemed too scary for children), telling the stories of Kitarō's encounters with all kinds of yōkai. The state of English translations is a bit scattershot; some of it is available on mangadex.

In 1964, at age 42, Mizuki debuted in serialised manga in Garo magazine - a name you might find familiar, the avant-garde magazine which also published authors like Suehiro Maruo (ero-guro mangaka, the author of Shoujo Tsubaki) and Hiroshi Masamura (the guy who made the cat manga we looked into on AN188). There, he rebooted the Kitarō manga, starting once again with the story of the birth of Kitarō. Before long he jumped over to the much larger Monthly Shonen Magazine, and retooled Kitarō to be more kid-oriented. From then on it's Kitarō city - and the immense success of the manga gave him the chance to regularly return to the newly combined state of Papua New Guinea.

In 1968, Kitarō arrived in animation land, one of Toei's early projects. It quickly became one of those classic famous Toei anime, you know the type, the kind of thing that every Japanese person of a certain age would have seen on TV. Mizuki himself composed the OP, and it continued to get sequels throughout the ensuing fifty years, with the most recent being in 2018. This is an old and widely beloved anime so there is a lot of it: the 1968 series accumulated 65 episodes, the third series in 1985-88 is the longest at 115, but the others are no slouch either; even the 2018 series pulled out a mighty 97.

As such, it's... perhaps a little daunting! But...

The Birth of Kitarō is a prequel to the 2018 series... and rather than being a spooky-fun kids anime, it's intended as a genuine horror story aimed at adults, presumably adults who grew up watching Kitarō, returning to the earliest Garo-era tone of the manga. Set in the 50s, the story sees salaryman Mizuki arrive in a village in pursuit of a mysterious medicine, where he finds the village ruled by an old superstitious family. Naturally, before long, murders start happening. And a mysterious white-haired man is somehow involved...

Seems like the perfect way to get into Kitarō. I missed the chance to see this film at Annecy this year, but it's already out on nyaa, so let's jump on it.

So that's our first act. What of our second?

Junk Head is a stop-motion scifi film pretty much enitrely solo animated by Takehide Hori who, at age 40, heard about Makoto Shinkai's solo-animated film Voices of a Distant Star (AN44), and was inspired to spend the next seven years working on a stop-motion scifi epic of his own. It tells of a cyborg from a future where humans have lost the ability to reproduce, venturing into a strange underground realm full of freaky creatures that, I'm told, invite comparisons to the art of Giger, Bosch, Escher and Gorey, and the films of Švankmajer (whose Alice we watched on AN50), Gilliam, and the Quay Brothers. del Toro lauded it as a 'work of deranged brilliance'.

Which is to say this is exactly the kind of thing we like to show here on Animation Night. I can't believe I didn't hear of this film before. Sources are not exactly abundant, but I was able to find a hardsubbed 720p version with a few seeds on it, so that's what we'll be watching tonight.

Speaking of the Brothers Quay, who enjoy a remarkably in-depth and thorough wiki page, they have yet to appear on Animation Night, and it's about time we remedied that! A pair of identical twins from the Pennsylvania who moved to the UK in 1969 to study at the RCA, they got their start in illustration before making a turn to stop motion film using bits of dolls and various other materials in the vein of Švankmajer.

They are incredibly prolific as a pair, making shorts in nearly every year from 1979 to 2021 (bar a couple of hiatuses). Most of their films are without dialogue, set instead to the music of Leszek Jankowski and a great many other other composers. They are huge book nerds too, adapting authors from Lem and Kafka to Emma Hauck; honestly there's a ton to dive into here and I will for sure be returning to these guys on a future Animation Night. Tonight, however, our pick will be Street of Crocodiles (2021), a musical piece in which a puppet walks through a desolate realm of "mechanical realities and manufactured pleasures", widely celebrated as one of their best films.

Stop motion seems to be a theme tonight, huh? Somehow, stop motion is just spookier than traditional animation. That theme continues with The House, an anthology piece for Netflix depicting three different stories taking place in the same house. Animated in London, each piece brings in a different director, respectively Emme de Swaef and Marc James Roels co-directing the first, Swedish director Niki Lindroth von Bahr the second and Mexican-British actress turned director Paloma Baeza for the third.

The stories span a few hundred years, from the 1800s to a flooded post climate change future. In each case, the house is the stage for tales of obsession and misguided ambition leading to disaster, whether it should befall anthro rats, humans or anthro cats. Widely praised for its animation and general weirdness, I'm quite excited to see what this mix has in store.

And returning of course will be Yamishibai, the wonderful long-running series of ridiculous cutout-animated creepypasta horror in the vein of old-school kamishibai boards. You know we gotta. And hey, if we're feeling in a really good mood at the end of the evening, I might bring Shoujo Tsubaki out of the vaults too. We shall see.

Animation Night 193 shall begin, with its gruesome course of animated horrors, at seventh hour.... which is to say 7pm UK time, just over four hours from the writing of this post. Be there, or be forever haunted by the ghosts of frames unseen (unless you gotta go trick or treat or something, we understand). The place? Upon the heath... of twitch.tv/canmom!

Hoooohhooohohoohooohooohohoooooooooo!