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Manga: Sixty Years of Japanese Comics is a book by Paul Gravett which covers much of what I've said here describing the differences across each of the decades. It describes the anomaly which is the 70's, as well as the gradual yet generally linear evolution described after and continuing towards the 2020's.

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The 2020's aren't yet far enough in for obvious trends to be visible, with art largely being similar to the 2010's. If there is one trend, it would be the increased digitization of manga creation and thus ease with which it can be drawn meaning that there is increased detail.

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The 2010's was the decade that the vast majority of manga became 'ready-to-animate', with polished linework and shading that could be easily replicated in animation form. As a result characters were more often in dynamic poses (mid-action) than previous decades where that would only be the case during action scenes. Many character designs lost their 'edges', with facial features becoming softer and character designs in general becoming more commonplace, and closer to something you'd see in reality. For example, clothing increasingly became something you might see another person wearing, as a result of settings in general tending to be set in something closer to reality than previous decades, which more often experimented with historical, fantasy, or science fiction settings.

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During the 2000's character designs once again became more 'realistic', with eyes becoming smaller and noses slightly more visible. More shading became common, specifically in the form of hatching and cross-hatching.

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The 90's gradually reintroduced more detail such as complex shading while keeping to cartoonish character designs. During this time random disproportion was common, such as oversized eyes, foreheads, hands, etc.

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Though Fist of The North Star is more stylized in that direction than many of its contemporaries, you can still see the trend in every manga published at the time.

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In the 1970's shonen manga largely shift away from the cutesy and expressive style and trends towards grittier and more realistic styles. This is best shown in Fist of The North Star, one of the most popular manga of the decade. Note the incredible attention to detail which creates a much greater sense of depth. The color of the hair and eyes of characters was perhaps most realistic at this point, as afterward they get much more vibrant (red eyes and green hair, etc.)

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Jojo's Bizarre Adventure - 1980's through 2020's

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Jojo's Bizarre Adventure - 1980's through 2020's

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As you can see from Araki's reposts of his old art (shown here), when compared to his new art as shown in his twitter banner, his style has changed over the decades to fit with the times. While he maintains distinct stylization in the form of hard lines and sharp angles which he obtained from the style he first drew in and read in the 70's, his characters have notably slimmed down and become more typically anime over time.

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ジョジョの奇妙な冒険 公式

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ジョジョの奇妙な冒険 公式

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ジョジョの奇妙な冒険 公式

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5/13#シーザー・A・ツェペリ pic.twitter.com/5ztSjDBhCs
— ジョジョの奇妙な冒険 公式 (@araki_jojo) May 12, 2023

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ジョジョの奇妙な冒険 公式

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ジョジョの奇妙な冒険 公式

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Come the 1980's character stylizations largely returned to how they were in the 60's, but echoes of the 70's remain as characters, while still heavily cartoonishly stylized and simplistic, still have more realistic proportions i.e. smaller eyes. Noses (which were visible in every character in the 70's) once again became simple lines, dots, or non-existent.

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Evolution of Shonen Anime Over the Decades

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Evolution of Shonen Anime Over the Decades

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This video covers shonen anime adaptations over several decades, though naturally anime as large studio productions tend to have toned down art differences compared to the (generally) individually-produced manga. It covers manga such as Gintama, Attack on Titan, and Dragon Ball Super. It divides shonen anime history into roughly three periods, the 1900s to 2000s, the 2000s to 2020s, and the present. It focuses much more on the anime aspect, that being the more popular medium between it and manga, but still delves into manga history such as the early popularization of manga in the early 1900s leading to increased specialization, such as in the form of shonen manga (geared towards teenage boys). It also covers how manga and anime gained a small following in the 2000s in the west with things like Pokemon and Dragon Ball which gradually spiraled into the larger claim it has on western audiences today, with many anime being available on western streaming services or in western movie theaters. It doesn't really cover what I would like it to specifically, but the mention of specialization I think is interesting given how as shonen manga became bigger over the decades you can see it repeat that process; nowadays there are entirely specialized genres within the already specialized shonen manga genre. It also provides visuals which display the gradually increasing sophistication of anime over the decades, though again that doesn't necessarily apply to manga as it is nearly always drawn by one person and not a studio, so it is less vulnerable to overall trends.

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Manga: Evolution is a longform article which covers manga from its very earliest forms, from the Ukiyo-E art style of Japan in the 1600-1800s to Osamu Tezuka, who is often called 'The Father of Manga'. It mentions in the 1800s how manga was influenced by European and American art and comics, and how prior to Osamu manga were often short four-panel commentary or gag comics. It was Osamu who created more complex panel layout and stories in manga, and he who added the visual sound effects which are now so common. He developed 'pans', close-ups, and off-screen shots. He was easily the most influential force in manga to the present day. The article next focuses on Katsuhiro Otomo, the writer of Akira, which was one of the first manga published in America. It then move on to Toriyama, author of Dragon Ball, which started the martial arts trend within shonen manga. Dragon Ball originally started as a Journey to the West parody, but soon exploded in popularity, eventually reaching worldwide acclaim. Dragon Ball's success would lead to many of the fighting and training tropes visible in shonen manga to this day. In 1991 Sailor Moon was published, which would be a watershed for the shojo (teenage girls) genre. Next, the big three came into play. Oda's One Piece, Kishimoto's Naruto, and Kubo's Bleach came together to combined sell hundreds of millions of volumes worldwide and spawn massive fanbases. Come 2014 the digital world and webcomics became a part of manga history with the eventual popularity of webcomics like One Punch Man, which meant a new player in the manga field outside of traditional publishers. I think the most helpful part of this article is filling in the very earliest trends in manga, since it doesn't get too much into art style, but does list influences in the early centuries. Specifically mentioning Tezuka's influence will be helpful to my own project.

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-Written by: Right Stuf Anime

By Sheri Le and Will Dodds, Edited by Kris Kleckner and Matthew DeFelice

Like many otaku (Japanese fans), our fascination with manga has blossomed into something far beyond our initial infatuation with cartooning styles. Manga has become an art of reading between the lines - into the lines of history, culture, and politics over which the art of manga has developed. As a genre, modern manga is historically intertwined in the socio-cultural, political, and economic dimensions of Japanese society; it is part of a larger global context where it influences and has been influenced by other forms of art and culture worldwide. Let's take a deep dive into that, shall we?

MANGA?? WHAT THE HECK IS MANGA?

Manga (the Japanese word is both plural and singular) can be loosely defined as Japanese comics. Contemporary manga range from episodic or sequential "anthologies" of stories published in popular magazines to book-like volumes laid out in the fashion of a comic book or graphic novel.

Manga serves a multitude of purposes and covers diverse topics. They address a wide range of audiences including men and women of all ages and interests. Although commonly perceived as entertainment media, manga is also used to teach literature or history, to train business people, and to spread public service announcements.

THE BIRTH OF MANGA: UKIYO-E

Like most forms of popular media, the lines linking manga to its origins are fragmented. Lost in time, most historians believe the manga style originated with the ukiyo-e tradition of the Edo period of Japan (1600-1867).

From this woodblock printing tradition came the first "comic books": Kibiyoshi or "yellow-cover" booklets. Popular reading at the end of the 18th century, Kibiyoshi were monochrome comics that grew out of popular stories for children and later came to embrace themes for a more mature audience and stronger storylines.

END OF ISOLATION: WESTERN INFLUENCE TAKES HOLD 1853+

Having been mostly isolated both geographically and culturally from the Western world, Japan radically changed with the historic arrival of an American fleet captained by Commodore Matthew C. Perry (April 10, 1794-March 4, 1858) in 1853. As social and economic relations built between Japan and the West, Westerners from the governmental, religious, and popular sectors were sent to Japan to educate, develop, and report on the status of Japanese-Western affairs. With each group of people came a new influx of art, culture, and politics which eventually filtered into Japanese culture at large.

New techniques and technologies, such as copperplate printing and lithography, were introduced that provided an alternative to the traditional yet slow and expensive woodblock printing method. This significant improvement to speed and efficiency in producing the written word allowed the spread of Western cultural ideas to proliferate to the Japanese public - amongst them were new stylizations of Western comic art.

Intended mainly for foreigner communities, the comics printed in magazines had a profound impact on Japanese artists in the late 1800s. Two men's work came to the forefront: British journalist Charles Wirgman's satire The Japan Punch (published in Yokohama) in 1862 and French eccentric George Bigot's humorous Tôbaé in 1887. Not only did Wirgman and Bigot introduce social and political cartooning through their satires, but their formal training brought European artistic techniques and styles of perspective, anatomy, and shading to Japanese artists.

Pleased with the popular response to the American cartoons but craving something less foreign, Japanese editors started to hire more artists with American-style flair, like Yukata Aso, who produced Nonki na Tosan (Easy Going Daddy) in 1924, a spin off of Bringing Up Father. At the same time, serialized comic strips for children began appearing in newspapers - most notably Shochan no Boken (The Adventures of Shochan) and Norakuro (Blackie the Stray), a series about a stray dog in the army. Like their American counterparts, these comics spawned a number of characters with lasting popularity.

WORLD WAR II: MANGA'S 'DARK AGES' 1938-1945

As the nation became further entrenched in nationalism, the Japanese government pushed its society toward increasing solidarity and homogenization. Artists who had previously criticized the government abruptly found themselves aligned with the solidarity movement to garner favor (not to mention avoid incarceration and writing bans). Some artists took to creating 'politically correct' propaganda, like erotic leaflets directed at the Allied troops, while others changed the themes of their cartoons to promote wartime goals. During this time, children's manga became a "safe zone" due largely in part to the innocent themes it explored. Ironically, another safe outlet for artists was erotic manga - a much safer alternative to being persecuted or jailed for political and social criticism.

As part of the crackdown on radical art forms, government-sponsored umbrella groups replaced the once independent cartooning groups. Only one of these groups, "The New Cartoonists Association," which circulated cartoon magazine Manga, was able to continue publication during WWII when paper was scarce.

Throughout WWII, manga began to stagnate. The scarcity of supplies (especially paper), a low demand for cartoons, and the heavy push of nationalization by the government caused manga to languish until the end of the war.

OSAMU TEZUKA AND THE MODERN MANGA 1945 - 1980

Our contemporary image of manga (what we call the "modern manga") really began to emerge in post-WWII Japan - a period centered largely on the works of a single manga artist and animator: Osamu Tezuka.

Following Japan's surrender at the end of World War II (1945), the country experienced an unprecedented growth in manga. Magazines began to circulate to give voice to political cartoonists, children's comics reappeared, and with the post-war social and economic downturn, comics focusing on hard times became popular. With traditional hardback comic books still too expensive for most consumers, cheaper "red book" comics, so named for their red covers, started to appear around 1947. Among the red book comic artists was up-and-coming artist Osamu Tezuka, who alone drafted 37 comic books between 1947 and 1953.

Tezuka himself said that his new style inventions grew out of his sense that the works of his time lacked the artistic capacity for high drama that could draw audiences into the story. In his autobiography, he states:

"I felt [after the war] that existing comics were limiting... most were drawn... as if seated in an audience viewing a stage where actors emerge from the wings and interact. This made it impossible to create dramatic or psychological effects, so I began to use cinematic techniques.... French and German movies that I had seen as a schoolboy became my model."

This simple but innovative technique had a profound impact on Japanese comic books as well as later American works. As manga evolved in the 1950s and 60s, the use of cinematic style was carried to a whole new level. Artists began to use the pictures and the linkages between them to tell the story of the manga instead of relying on the traditional method of using the text to tell the story that was later illustrated with pictures.

Following Shintakarajima's success, Tezuka abandoned his career as a physician and became a professional artist. To further his new visual style, Tezuka added an innovative style and novelistic plots. His initial success was quickly followed by additional works, such as Jungle Taitei (Jungle Emperor) in 1950 and Tetsuwan Atomu(Mighty Atom) in 1952, published in popular boys' magazines like Manga Shonen and Shonen. Sound familiar? They should - you might recognize both of these manga titles by their later American anime names: Astro Boy and Kimba, the White Lion. That both titles still enjoy a large fan base in both American and Japan today attest to Tezuka's great storytelling abilities.

As the animation boom began with Astro Boy, manga also continued to gain popularity in Japan. Later in his career as a manga artist, Tezuka tried to widen the audience for the genre by producing manga for adults, like Cleopatra and The Thousand and One Nights. Many of his later works also focus on spiritual, humanistic themes, like The Buddha, Black Jack, and his life's work, Phoenix, a reincarnation story that has been referred to as Tezuka's most intellectually challenging experiment.

Tezuka's manga and animation garnered the attention of many up and coming manga artists who sought to learn and even imitate his style. His art had a profound effect on young readers, and many contemporary manga artists chose their career paths based on their love of Tezuka's manga. Often imitated, Osamu Tezuka's style sparked a new era, an unparalleled revolution in manga artistry, audience, and distribution that inspired later mangaka (manga artists) and animators such as Leiji Matsumoto ( Space Cruiser Yamato, Otoko Oidan) and Fujiko-Fujio ( Doraemon, still a popular children's manga) to follow in his tradition.

Tezuka once wrote, "My experience convinces me that comics, regardless of what language they are printed in, are an important form of expression that crosses all national and cultural boundaries, that comics are great fun, and that they can further peace and goodwill among nations."

When Osamu Tezuka passed away on February 9, 1989, it was estimated that he had drawn approximately 170,000 individual cartoons and created somewhere near 700 stories. It is doubtful that any other artist has had such an impact on the life and styles of so many generations of manga and anime artists in the way his life and work have. His death left a hole in the industry that would never be filled. But that doesn't mean great mangaka haven't created works that have left an impact.

PSYCHIC BOYS, DRAGON BALLS, AND MAGICAL GIRLS 1980-1997

In the early 1980s, upstart manga magazine Weekly Young Magazine approached Katsuhiro Otomo to write a series for them. Though Otomo said he was busy at the time, he had room to write something for them. He pitched the manga as a ten-chapter-or-so sci-fi series expanding on themes and concepts that he had previously written. Otomo expected it to be short and quickly forgotten. The new series? Akira.

Akira is a landmark for manga. The level of detail seen in the panels was insane, and Otomo's love for film was seen in its cinematic paneling, creating a reading experience full of expert pacing and frenetic energy. The graphic content and mature themes were innovative at the time and showed readers were craving for more adult stories. This would open the door for other mangaka such as Kentaro Miura with Berserk (1989) and Naoki Urasawa with Monster (1994) to write adult-oriented stories in major publications.

Akira also tapped into Japan's cultural psyche. Released after the failed Japanese left-wing student movement, the series was able to capture the emotions of the present day while portraying the possible long-term consequences. It's mechanical designs and backgrounds also brought the cyberpunk aesthetic to the forefront of Japanese culture and influenced works in the West.

Besides being one of the first manga published in America, Akira also has a legacy in comic book coloring. It was the first ongoing comic book to be colored on a computer, allowing for more subtle colors. The coloring techniques developed for Akira would revolutionize coloring in the industry. The color versions became so popular that they were eventually published in Japan. As Sheri Le attests:
I fell in love with the beautiful art, the way that the lines flowed and scenes shifted like the still frames of a movie; it was certainly nothing I, a "newbie" to the comic book scene, had ever encountered."
Overall, Akira has been translated into a dozen languages and sold over 5 million copies worldwide. Its movie adaptation has its own legacy and success that deserves its own article. But another manga series would soon come along that would find even greater success.

While Akira was making a splash, manga artist Akira Toriyama and editor Kazuhiko Torishima were in a creative bind. Toriyama was having a successful run writing Dr. Slump in the shonen (manga written for young boys) magazine Weekly Shonen Jump, but Toriyama wanted to write a different manga series. Torishima went to the chief editor of Jump about this, and the chief editor said that if Toriyama was to stop Dr. Slump, they needed a series that would be just as popular to replace it. After working on several one-shots that never got picked up to series, Toriyama and Torishima were once again brainstorming at Toriyama's house, struggling to come up with anything good. Then Toriyama's wife came in with some tea. Hearing their arguing, she mentioned Toriyama's love for martial arts movies. Similar to how some artists listen to music when creating, Toriyama would watch kung-fu movies. Torishima grasped onto that comment and told Toriyama to write a martial-arts focused one-shot. That would take the form of the two-part manga Dragon Boy in 1983 about a young boy who was a martial arts expert helping a princess on her journey to her home country. It was a success and formed the basis for Dragon Ball in 1984.

The numbers showing Dragon Ball's success are astonishing. During Dragon Ball's run, Weekly Shonen Jump reached an average circulation of 6.53 million weekly sales, the highest in its history, and ended up selling over 2.9 billion issues from 1984-1995. Dragon Ball's manga volumes themselves have over 270 million copies in circulation. The cultural impact of Dragon Ball, however, is immeasurable. It brought action manga to the forefront and inspired countless creators after. Three of those creators, Eiichiro Oda, Masashi Kishimoto, and Tite Kubo, would go on to define Weekly Shonen Jump and manga for a whole new generation of readers. But more on that later.

There's another part of the puzzle that needs filling in. That piece was published in 1991, written by Naoko Takeuchi, and concerns the galactic-saving heroism of a blonde-girl and her cat. This series is no other than Codename: Sailor V. What?

Sailor Moon left a mark around the world, introducing many people to manga. This would be the first interaction many had with manga and hinted at the growing global influence of manga. Three future series in particular would come along to dominate the conversation around manga and its meaning.

THE BIG 3 & GLOBALIZATION 1997-2014

In 1995, Weekly Shonen Jump was king. With Dragon Ball and other series like Slam Dunk, sales for the magazine were at 6 million. But then Dragon Ball ended in 1995 and Slam Dunk in 1996, and sales for the magazine dropped like a rock. By 1997, Shonen Jump was no longer the bestselling weekly shonen magazine, the first time in over a decade. Shonen Jump needed a hit. From 1997 to 2002, Weekly Shonen Jump would introduce three important new series to their lineup. Using the foundation of a young Goku as a template, these series would form what would be called by fans in the West The Big Three. They take the formula of a character trying to become their very best at what they do and bring it to a worldwide audience. And where Jump goes, the manga industry follows. We're going to focus on these three manga in particular because they dominated the conversation of anime so much, for so long, and with such global reach that they deserve a closer look.

But first we should highlight the other trendsetter manga going on at this time. Fullmetal Alchemist (FMA) burst onto the scene in 2001 from then fresh-faced female mangaka Hiromu Arakawa. The tales of orphan brothers on a path to reclaim their bodies is a classic. Its ability to appeal to just about anyone helped further prove that female writers can write and succeed in a shonen magazine. FMA would lead to more stories centered around brothers and supernatural elements. The industry would see an uptick of female written shonen series, such as D.Gray-man by Katsura Hoshino in 2004 and Blue Exorcist by Kazue Kato in 2009.

Another change during this decade was the rise of josei manga. Josei is manga written for the adult female demographic. Historically, josei has always struggled for readership because of the dominance of shonen and shojo. During this decade, the women who grew up with Sailor Moon and shojo manga wanted to keep reading. More importantly for publishers, they want mature stories that reflect their lives. Enter mangaka Akiko Higashimura in 2008 with Princess Jellyfish. The series focused on the daily lives of tenants of a women-only apartment complex. Its positive message of self-worth and self-love was a hit for readers and eventually got an anime adaptation. Another josei manga of by Higashimura, Tokyo Tarareba Girls in 2014, became another success. It even received international recognition when it won the 2019 Eisner Award for Best U.S. Edition of International Material - Asia, the first josei manga to do so.

In 2002, Weekly Shonen Jump and mangaka Tite Kubo introduced the world of spirits and Soul Reapers in Bleach. The wish fulfillment may seem simple (you get to be a samurai!), but there's more to it than that. Unlike Naruto or One Piece, Bleach is set in the "real world," and having the characters in their late teens gave it a mature edge to help it stand out. It also tackles themes of not just getting stronger, but also how the themes relate to growing up. The series' first big arc, The Soul Society, is about a group of teens thrown into a situation with rules they don't understand, enemies that are much more powerful than them, and battles against a system that doesn't care about them. Bleach was able to use escapism to deal with very real themes and emotions.

Combined, the Big Three have sold 832 million volumes worldwide and spawned franchises with thousands of anime episodes, video games, and merchandise. For some sense of scope, in 2019, Naurto was the most watched anime on Crunchyroll in the world. This is after the show finished two years ago. If we were to go in-depth on how the manga during the late 1990s and early 2000s series changed the popularity of manga in the world, particularly in the United States, we would have to write another article. Good thing we did that in the blog post Manga In The US.

But the Big Three had to end at some point. There are many stories outlining Shonen Jump's harsh weekly work schedule for creators where only the toughest can survive, and this schedule takes its toll. Oda claims he sleeps only three to four hours a day, and Hunter x Hunter mangaka Yoshihiro Togashi calculates that when he was writing the series on a weekly basis, he only got three to four hours of free time per week. Kishimoto and Kube eventually burned out. Naruto ended in 2014 and Bleach in 2016. But as the Big Three were falling, the influence of digital was rising, shaking the manga industry while also showing the industry's stability.

RISE OF DIGITAL 2014-20XX

The next decade has seen the digital world take over more and more of our lives. Streaming has always been a part of being an anime fan, but it has taken over network TV, and the manga industry is no different. The openness of the web has given creators a new outlet to show off their work and editors to find new talent. This revolution has forced the manga industry to adapt. This adaptation has brought great change while the allure of print remains the same.

A great example of this change is One Punch Man, a webcomic that took a three-year journey to print. The creator, who goes by ONE, does not have your typical artist's journey. ONE was always a drawer, but after constant rejection, he decided to hide his drawings. He kept it hidden all the way through college until he discovered the world of webcomics. Webcomics allow creators to create comics under anonymity, and ONE took advantage of that (Do you think ONE is his real name?). As he once said in an interview, "You can draw a webcomic even if you're not that great. Challenge yourself, and if it doesn't work out, you're free to quit anytime at your own discretion."

His first webcomic, published on Nitosha.net in 2009, was One Punch Man, which is about a superhero so powerful he can defeat most enemies in a single punch. At the time, a successful webcomic on Nitosha got an average of 30 comments per update; One Punch Man got thousands of comments by its 30th update and had an ever-growing fanbase.

One Punch Man illustrates the traditional barriers for creators has lowered and that you don't have to go through traditional channels to be successful in manga. You don't even have to know how to draw to turn your idea into a manga. The current boom of reincarnation stories can be traced back to self-published web novels, which then become light novels that are then turned into manga.

It's taken the manga industry a while to catch onto the trend, but they are now fully on board. That came in the form of web application and digital subscriptions. For example, the Shonen Jump App allows you to read newly released chapters for free. If you want to read past chapters or older series, you will have to pay a monthly fee to view them. It's allowed for unconventional titles like Spy x Family (2019), about an asasin, spy, and telepath forming a fake family, to get a bigger audience, and now it's more popular than Samurai 8 (2019), the new series from Masashi Kishimoto. Not only are readers getting more content, but a wider variety as well.

There are many upsides to digital. Digital frees up space on the shelf and readers can still keep up to date with their favorite series. This has shown in Japan, with digital sales up 29.5% in 2019. But what about print? At Right Stuf, total volumes sold has increased year over year the past decade. In just three years, the quantity sold jumped from over 403,000 to almost 522,000. There are many explanations as to why this is happening: People who get the series digitally may "want the real thing," or the audience for print and digital don't have much overlap.

U.S. publishers are making print editions more luxurious in response to digital. There has been a rise in omnibuses and hardcover collector's editions, from leather-like covers of the Berserk Deluxe Editions or the manga box sets from Viz and Kodansha.

So there you have it; we covered much (but not all) of the history of manga from the days of ukiyo-e in the 17th century to webcomics of the 21st century. But this is just the tip of the iceberg, and history is constantly being written. There's so much to learn about this wonderful medium of storytelling. The best way to learn more is to read it! No matter where manga goes next, the unique stories and compelling narratives will keep people flocking to it in bigger and bigger numbers. Here's to a great past and a better future!

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Written by: Right Stuf Anime By Sheri Le and Will Dodds, Edited by Kris Kleckner and Matthew DeFelice Like many otaku (Japanese fans), our fascination with manga has blossomed into something far beyond our initial infatuation with cartooning styles.

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Astro boy clearly depicts the overall trend throughout the 50's and 60's of simplistic character designs whose most prominent features tend to be their eyes and whose features are generally extremely expressive.