Mangaka-san to Assistant-san to The Animation - Netflix

Posted on Wed 27 March 2019 in netflix

The story depicts the work-life of a perverted mangaka, Aito Yuuki, and his assistant, Ashisu Sahoto. Constantly pressured by his editor and lacking experience with girls, Aito asks Ashisu to act as a reference.

(Source: AniDB)

Mangaka-san to Assistant-san to The Animation - Netflix

Type: Animation

Languages: Japanese

Status: Ended

Runtime: 13 minutes

Premier: 2014-04-08

Mangaka-san to Assistant-san to The Animation - History of manga - Netflix

The history of manga is said to originate from scrolls dating back to the 12th century, and it is believed they represent the basis for the right-to-left reading style. The word first came into common usage in the late 18th century. Manga is a Japanese term that can be translated as “comic”; Historians and writers on manga history have described two broad and complementary processes shaping modern manga. Their views differ in the relative importance they attribute to the role of cultural and historical events following World War II versus the role of pre-war, Meiji, and pre-Meiji Japanese culture and art. One view represented by other writers such as Frederik L. Schodt, Kinko Ito, and Adam L. Kern, stress continuity of Japanese cultural and aesthetic traditions, including pre-war, Meiji, and pre-Meiji culture and art. The other view, emphasizes events occurring during and after the Allied occupation of Japan (1945–1952), and stresses that manga was strongly shaped by United States cultural influences, including US comics brought to Japan by the GIs and by images and themes from US television, film, and cartoons (especially Disney). According to Sharon Kinsella, the booming Japanese publishing industry helped create a consumer-oriented society in which publishing giants like Kodansha could shape popular taste.

Mangaka-san to Assistant-san to The Animation - Shōjo manga and ladies' Comics from 1975 to today - Netflix

In the following decades (1975–present), shōjo manga continued to develop stylistically while simultaneously evolving different but overlapping subgenres. Major subgenres have included romance, superheroines, and “Ladies Comics” (in Japanese, redisu レディース, redikomi レヂィーコミ, and josei 女性 じょせい), whose boundaries are sometimes indistinguishable from each other and from shōnen manga. In modern shōjo manga romance, love is a major theme set into emotionally intense narratives of self-realization. Japanese manga/anime critic Eri Izawa defines romance as symbolizing “the emotional, the grand, the epic; the taste of heroism, fantastic adventure, and the melancholy; passionate love, personal struggle, and eternal longing” set into imaginative, individualistic, and passionate narrative frameworks. These romances are sometimes long narratives that can deal with distinguishing between false and true love, coping with sexual intercourse, and growing up in a complex world, themes inherited by subsequent animated versions of the story. These “coming of age” or Bildungsroman themes occur in both shōjo and shōnen manga. In the Bildungsroman, the protagonist must deal with adversity and conflict, and examples in shōjo manga of romantic conflict are common. They include Miwa Ueda's Peach Girl, Fuyumi Soryo's Mars, and, for mature readers, Moyoco Anno's Happy Mania, Yayoi Ogawa's Tramps Like Us, and Ai Yazawa's Nana. In another shōjo manga Bildungsroman narrative device, the young heroine is transported to an alien place or time where she meets strangers and must survive on her own (including Hagio Moto's They Were Eleven, Kyoko Hikawa's From Far Away, Yû Watase's Fushigi Yûgi: The Mysterious Play, and Chiho Saito's The World Exists For Me). Yet another such device involves meeting unusual or strange people and beings, for example, Natsuki Takaya's Fruits Basket—one of the most popular shōjo manga in the United States—whose orphaned heroine Tohru must survive living in the woods in a house filled with people who can transform into the animals of the Chinese zodiac. In Harako Iida's Crescent Moon, heroine Mahiru meets a group of supernatural beings, finally to discover that she herself too has a supernatural ancestry when she and a young tengu demon fall in love. With the superheroines, shōjo manga continued to break away from neo-Confucianist norms of female meekness and obedience. Naoko Takeuchi's Sailor Moon (Bishōjo Senshi Sēramūn: “Pretty Soldier Sailor Moon”) is a sustained, 18-volume narrative about a group of young heroines simultaneously heroic and introspective, active and emotional, dutiful and ambitious. The combination proved extremely successful, and Sailor Moon became internationally popular in both manga and anime formats. Another example is CLAMP's Magic Knight Rayearth, whose three young heroines, Hikaru, Umi, and Fuu, are magically transported to the world of Cephiro to become armed magical warriors in the service of saving Cephiro from internal and external enemies. The superheroine subgenre also extensively developed the notion of teams (sentai) of girls working together, like the Sailor Senshi in Sailor Moon, the Magic Knights in Magic Knight Rayearth, and the Mew Mew girls from Mia Ikumi's Tokyo Mew Mew. By today, the superheroine narrative template has been widely used and parodied within the shōjo manga tradition (e.g., Nao Yazawa's Wedding Peach and Hyper Rune by Tamayo Akiyama) and outside that tradition, e.g., in bishōjo comedies like Kanan's Galaxy Angel. In the mid-1980s and thereafter, as girls who had read shōjo manga as teenagers matured and entered the job market, shōjo manga elaborated subgenres directed at women in their 20s and 30s. This “Ladies Comic” or redisu-josei subgenre has dealt with themes of young adulthood: jobs, the emotions and problems of sexual intercourse, and friendships or love among women. Redisu manga retains many of the narrative stylistics of shōjo manga but has been drawn by and written for adult women. Redisu manga and art has been often, but not always, sexually explicit, but sexuality has characteristically been set into complex narratives of pleasure and erotic arousal combined with emotional risk. Examples include Ryō Ramiya's Luminous Girls, Masako Watanabe's Kinpeibai and the work of Shungicu Uchida Another subgenre of shōjo-redisu manga deals with emotional and sexual relationships among women (akogare and yuri), in work by Erica Sakurazawa, Ebine Yamaji, and Chiho Saito. Other subgenres of shōjo-redisu manga have also developed, e.g., fashion (oshare) manga, like Ai Yazawa's Paradise Kiss and horror-vampire-gothic manga, like Matsuri Hino's Vampire Knight, Kaori Yuki's Cain Saga, and Mitsukazu Mihara's DOLL, which interact with street fashions, costume play (“cosplay”), J-Pop music, and goth subcultures in complex ways. By the start of the 21st century, manga for women and girls thus represented a broad spectrum of material for pre- and early teenagers to material for adult women.

Mangaka-san to Assistant-san to The Animation - References - Netflix