Moto Hagio | |
---|---|
萩尾望都 | |
![]() Hagio in 2008 | |
Born | Ōmuta, Fukuoka, Japan | May 12, 1949
Occupation | Manga artist |
Years active | 1969–present |
Notable work | |
Title | Person of Cultural Merit |
Awards | |
Signature | |
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Moto Hagio (萩尾 望都, Hagio Moto, born May 12, 1949) is a Japanese manga artist. Regarded for her contributions to shōjo manga (manga aimed at young and adolescent women), Hagio is considered the most significant artist in the demographic and among the most influential manga artists of all time, being referred to as the "god of shōjo manga" (少女漫画の神様, shōjo manga no kami-sama) by critics.
Hagio made her debut as a manga artist in 1969 at the publishing company Kodansha before moving to Shogakukan in 1971, where she was able to publish her more radical and unconventional works that had been rejected by other publishers. Her first serializations at Shogakukan – the vampire fantasy The Poe Clan, the shōnen-ai (male–male romance) drama The Heart of Thomas, and the science fiction thriller They Were Eleven – were among the first works of shōjo manga to achieve mainstream critical and commercial success. Hagio subsequently emerged as a central figure in the Year 24 Group, a grouping of female manga artists who significantly influenced shōjo manga in the 1970s by introducing new aesthetic styles and expanding the category to incorporate new genres. Since the 1980s, Hagio has drawn primarily adult-oriented manga in the manga magazine Petit Flower and its successor publication Flowers, notably Marginal, A Cruel God Reigns, and Nanohana.
While Hagio primarily authors works in the science fiction, fantasy, and shōnen-ai genres, her manga explores a wide range of themes and subjects, including comedy, historical drama, and social and environmental issues. She has been recognized with numerous awards both in Japan and internationally, including the Order of the Rising Sun, a Medal of Honor, and commendation as a Person of Cultural Merit.
Biography
[edit]Early life and career
[edit]Moto Hagio was born on May 12, 1949, in Ōmuta, Fukuoka.[1] The second of four siblings, Hagio's father worked as dockworker, while her mother was a homemaker. Because of her father's job, the Hagio family moved frequently between Omuta and Suita in Osaka Prefecture.[2] Hagio began to draw at an early age in her spare time, and attended private art lessons with her older sister.[3] In her third year of elementary school, she began reading manga that she acquired at kashi-hon (book rental stores) and her school library.[1][4] Her parents discouraged her interest in illustration and manga, which Hagio states they viewed as "something for children not old enough to read" and "an impediment to studying"; this would be a major contributing factor to what would become a lifelong strained relationship with her parents.[3]
During her childhood, Hagio read and became influenced by the works of manga artists Osamu Tezuka, Shōtarō Ishinomori, Hideko Mizuno, and Masako Watanabe, as well as literary fiction by Japanese authors such as Kenji Miyazawa and western science fiction and fantasy authors such as Isaac Asimov, Arthur C. Clarke, and Robert A. Heinlein.[3][4] She began to seriously consider a professional career in manga after reading Tezuka's manga series Shinsengumi in 1965,[5] and in 1967 began submitting manga manuscripts to various publishers, including Kodansha, Shueisha, and Tezuka's own manga magazine COM.[2]
In her senior year of high school Hagio met manga artist Makiko Hirata , who also lived in Ōmuta and was pursuing a professional career at Kodansha while still in high school. After graduating, Hirata moved to Tokyo and offered to introduce Hagio to her editor, which Hagio accepted.[3] Hagio made her professional debut as a manga artist in Kodansha's Nakayoshi manga magazine, with the short stories Lulu to Mimi in August 1969 and Suteki na Mahō in September 1969.[3] Hagio began working for Nakayoshi under a new editor, but struggled under the editorial constraints of the magazine: Nakayoshi published primarily sports manga for children, while Hagio preferred to write science fiction and fantasy stories focused on mature themes and subject material. Her next four manuscripts submitted to Nakayoshi were consequently rejected, with her editors instructing her to write stories that were "more interesting and cheerful".[6] In 1970, Hagio published the one-shot (single-chapter) manga stories Cool Cat and Bakuhatsu Gaisha in Nakayoshi.[7]
Breakthrough and the Year 24 Group
[edit]Shortly after her debut, Hagio began pen pal correspondence with Norie Masuyama , a fan of Hagio's who discovered her work through Nakayoshi. Masuyama gifted Hagio a copy of the novel Demian by Hermann Hesse, an author whose novels came to greatly affect Hagio and significantly influenced her manga.[6] Contemporaneously, Hagio's editor assigned her to assist manga artist Keiko Takemiya, whose work had been published in Nakayoshi, COM, and Margaret. The two artists became friends, and Takemiya suggested that they move to an apartment in Tokyo together; Hagio, who was still living with her parents in Ōmuta and unsure of her future as a manga artist, initially refused her invitation.[7] Shortly thereafter, Takemiya introduced Hagio to Junya Yamamoto , an editor at Shogakukan and editor-in-chief of the manga magazine Bessatsu Shōjo Comic. Yamamoto agreed to publish Hagio's previously rejected manuscripts, and Hagio accepted Takemiya's offer to move to Tokyo.[7]
In 1971, Hagio and Takemiya moved to a rented house in Ōizumigakuenchō, Nerima, Tokyo located near the home of Norie Masuyama. Together, the three women decided to create a living space modeled off of 19th French literary salons, nicknamed the "Ōizumi Salon". The Ōizumi Salon aimed to improve the quality and reputation of shōjo manga, a demographic which at the time was dismissed by critics as publishing frivolous stories for young children.[8][9] Numerous shōjo artists visited the Ōizumi Salon, including Shio Satō, Yasuko Sakata, Yukiko Kai, Akiko Hatsu, Nanae Sasaya, Mineko Yamada , Aiko Ito , Michi Tarasawa , and Misako Nachi .[10] This grouping of artists would come to be referred to as the Year 24 Group.[a] The Year 24 Group contributed significantly to the development of shōjo manga by introducing new aesthetic styles and expanding the demographic to incorporate elements of science fiction, historical fiction, adventure fiction, and same-sex romance: both male–male (shōnen-ai and yaoi) and female–female (yuri).[12] During this period, Hagio published the shōnen-ai one-shot The November Gymnasium in 1971, followed by the vampire fantasy The Poe Clan in 1972, [13] with the latter series becoming Hagio's first major critical and commercial success. The Poe Clan was also the first series that Shogakukan published as a tankōbon (collected edition);[1] the first tankōbon edition of The Poe Clan sold out its initial print run of 30,000 copies in three days, an unprecedented sales volume at the time for a shōjo manga series that had not been adapted into an anime.[14]
Following a 1973 trip to Europe by Hagio, Masuyama, and Yamagishi, Takemiya announced that the Ōizumi Salon would cease, as she preferred to continue her career alone.[15] Decades later, both Hagio and Takemiya would disclose that the pair had a falling out in 1973 that remains unreconciled; Takemiya has written in her memoirs about feelings of jealously and an inferiority complex towards Hagio, while Hagio has written that their relationship was strained by accusations from critics that she plagiarized her shōnen-ai works from Takemiya.[16] Nonetheless, the innovation introduced to shōjo manga by the Year 24 Group significantly contributed to the development of the demographic, bringing it to what critics have described as its "golden age".[8][9]
Career as a manga artist
[edit]In the wake of the critical and commercial success of The Rose of Versailles by Year 24 Group member Riyoko Ikeda, Hagio's editor Junya Yamamoto asked her to create a series of similar length and complexity for publication in the manga magazine Shūkan Shōjo Comic. The resulting series was The Heart of Thomas, a long-form serialized version of Hagio's earlier The November Gymnasium, which began serialization in the magazine in 1974.[17] Though initially poorly received by readers, by the end of its serialization The Heart of Thomas was among the most popular series in Shūkan Shōjo Comic.[17] The critical and commercial success of both The Poe Clan and The Heart of Thomas freed Hagio from most editorial constraints and allowed her to publish her previously rejected works of science fiction, a genre which at the time was perceived as inappropriate for female audiences and thus was effectively non-existent in shōjo manga.[7][18]
They Were Eleven, Hagio's first published science fiction manga series, began serialization in Bessatsu Shōjo Comic in 1975.[19] Hagio began to establish herself as a science fiction writer and moved away from the constraints of shōjo magazines, publishing a manga adaptation of science fiction writer Ryu Mitsuse's novel Hyakuoku no Hiru to Sen'oku no Yoru in the shōnen manga (boys' manga) magazine Weekly Shōnen Champion in 1977.[19] This was followed by several manga adaptations of the works of Ray Bradbury published as the one-shot anthology U wa Uchuusen no U beginning in 1977,[18] Gin no Sankaku in 1980, and various one-shots in the science-fiction focused S-F Magazine. Hagio did create science fiction works for shōjo magazines during this period, notably Star Red for Shūkan Shōjo Comic from 1978 to 1979.[19]
In 1980 Yamamoto became the founding editor of Petit Flower, a new magazine at Shogakukan that published manga aimed at an adult female audience. Hagio moved to the magazine, where she was given full editorial control over the manga she produced.[1] In the subsequent decades Hagio would publish many works in Petit Flower and its successor publication Flowers that are distinguished by their mature themes and subject material. Notable works include the crime thriller Mesh in 1980, the post-apocalyptic science fiction series Marginal from 1985 to 1987, the semi-autobiographical Iguana Girl in 1992, and A Cruel God Reigns from 1993 to 2001. Hagio's works during this period were generally not influenced by developments in contemporary shōjo manga, such as the erotic manga of artists like Kyoko Okazaki and the josei manga or artists like Erica Sakurazawa.[1]
Hagio began teaching manga studies as a visiting professor at the Joshibi University of Art and Design in 2011.[20] That same year, the Fukushima nuclear disaster occurred; with the publication of her manga series Nanohana, Hagio became one of the first manga artists following Kotobuki Shiriagari to address the disaster directly in her work; Hagio's prominence as an artist is credited with influencing other manga artists to address the disaster in their works.[13][21] To mark the fifteenth anniversary of Flowers in 2016, Hagio launched a revival of The Poe Clan in the magazine, publishing new chapters nearly forty years after the conclusion of the original series.[22]
Style and influences
[edit]![](Https://upload.wikimedia.org/wikipedia/en/7/70/The_Poe_Clan_Page.png)
When asked about her visual influences, Hagio responded that she was influenced by Shotaro Ishinomori's page layouts, Hideko Mizuno's clothing, and Masako Yashiro's eyes.[3]
In the early 1970s, Hagio and her fellow Year 24 Group members contributed significantly to the establishment of shōjo manga as a distinct category of manga,[23] iterating on contributions made to the category in the 1950s and 1960s by artists such as Macoto Takahashi to establish a "visual grammar of shōjo manga".[24] Chief among these developments was the use of interior monologue, which was written outside of speech balloons and scattered across the page. These monologues allow the exploration of the characters' interiority and emotions, and serve to compensate for the absence of third-person narration in manga.[24]
In Hagio's manga specifically, interior monologues are often accompanied by symbolic motifs that extend beyond panel borders and overlap in a manner resembling a montage or a collage, creating a three-dimensional effect.[24] These motifs are often composed of decorative elements (flowers, clouds, screentones, etc.)[25] but are also often lines, sparkles, and onomatopoeia which serve to reinforce the "exploration of the interiority" of the characters.[26] Hagio also makes use of full-body portraits of main characters, a technique originated Macoto Takahashi, as well as superimposed close-ups of these characters, to mark the character as important in the narrative.[25] Hagio also uses mise-en-scène and lighting marked a strong contrast of shadow and light, giving a theatrical effect to her works.[26][27]
When Hagio began to create manga for an adult audience beginning with Mesh in 1980, she adopted a more realist style. In particular, she changed the body shape of her characters, who until then exhibited the typical shōjo style of heads that were proportionally larger than the rest of their bodies.[28] She also gradually altered her page layouts, especially during the 2000s, to make her style more accessible to a new readership.[21]
Themes and motifs
[edit]Hagio primarily authors works in the science fiction, fantasy, and boys' love genres, though her works explore a wide variety of themes and subjects. This is especially true of her short stories, which have depicted a variety of topics and genres including comedy, historical drama, and social and environmental issues. Though her works are primarily aimed at a female audience, she does also attract a male readership.[1]
Dysfunctional families
[edit]![](Https://upload.wikimedia.org/wikipedia/commons/thumb/e/ee/Cuerpo_iguana_marina.jpg/200px-Cuerpo_iguana_marina.jpg)
Hagio has long had a difficult relationship with her parents, who disapproved of her career as a manga artist even after she achieved mainstream critical and commercial success; it was not until 2010, when Hagio was 61 years old, that her mother accepted her profession.[27] This strained relationship, combined with Hagio's own interest in family psychology, has had a significant impact on her manga.[1] Families and familial drama recur as common motifs in Hagio's manga, especially twins, which are inspired by Hagio's childhood fantasy of having a twin sister so that her mother would pay more attention to her,[1] and mothers, who are typically portrayed as incapable of loving their children and frequently die.[30]
Initially, Hagio approached manga as an opportunity to depict "something beautiful", rather than an "ugly" reality. Consequently, she avoided contemporary Japanese settings for her early works, instead preferring European or otherworldly sci-fi settings.[29] These early works nevertheless address dysfunctional family relationships, such as her one-shot Bianca (1970), a "gothic revenge plot" by a child against their parents and older authority figures.[31] Her 1992 one-shot Iguana Girl became a turning point in both her life and career. In this semi-autobiographical story, a mother perceives her daughter as an iguana and rejects her; the daughter internalizes this rejection, and is in turn convinced that she is an iguana. Hagio has described the process of writing the story as a means of making peace with her family, and following its publication, she became more comfortable writing works set in contemporary Japan.[29] Familial drama nevertheless remains a common theme in her works, as expressed in stories that address topics of child abandonment, incestual rape, and abortion.[1]
Bishōnen and shōnen-ai
[edit]![](Https://upload.wikimedia.org/wikipedia/commons/thumb/6/61/Bj%C3%B6rn_Andr%C3%A9sen_dans_Mort_%C3%A0_Venise.jpg/200px-Bj%C3%B6rn_Andr%C3%A9sen_dans_Mort_%C3%A0_Venise.jpg)
Hagio's works typically feature male rather than female protagonists, especially bishōnen (lit. "beautiful boys", a term for handsome and androgynous young men). She has described a "sense of liberation"[33] that comes from writing male characters, as they allow her to express thoughts and concepts freely, in contrast to female protagonists who face the restrictions of a patriarchal society.[33][34] Hagio first introduced bishōnen protagonists to her works with The November Gymnasium in 1971. The series is set in an all-boys boarding school, though an early draft of the story had a girls boarding school as its setting in order to conform to the conventions of the shōjo manga of the time, resulting in a story of the Class S genre. Dissatisfied with the draft, Hagio changed the protagonists to bishōnen; this aligned the story with the then-nascent genre of shōnen-ai, the precursor to modern boys' love (male–male romance manga).[34]
The bishōnen of Hagio's works are both non-sexual and androgynous: socially masculine, physically androgynous, and psychologically feminine.[35] The meaning of gender ambiguity has been variously considered by critics: from a queer perspective by manga scholar James Welker as an expression of sublimated lesbian identity,[33] and from a feminist perspective by sociologist Chizuko Ueno it as an attempt to break out of the patriarchal dichotomy by creating a "third sex".[34]
Feminist science fiction
[edit]Hagio's science fiction works depict themes and subjects typical of the genre, such as human cloning and time travel, but also take advantage of the genre's ability to depict worlds in which gender-based differences and power imbalances differ from that of the real word. Hagio's science fiction manga frequently explores topics relating to the place women in society, motherhood, and gender fluidity, taking particular inspiration from the works of Ursula K. Le Guin.[36]
Notable examples include They Were Eleven, which depicts characters who belong to a race where individuals are asexual at birth and whose sex is determined at adulthood;[37] Star Red, which depicts a protagonist who is birthed by a male character,[38] and Marginal, which is set in a society that has become majority male through the use of sexual biological engineering.[39] This feminist science fiction, where characters that blur distinctions of sex and gender, challenges notions of dualism and sexual dimorphism[39] and has been argued by sociologist Chizuko Ueno as representing an evolution of the feminist use of the boys' love genre to explore these themes.[34] It has also inspired the works of other shōjo science fiction manga artists, such as Reiko Shimizu and Saki Hiwatari.[1]
Works
[edit]Manga
[edit]The following is a list of Hagio's serialized and one-shot manga works. Serializations refer to multi-chapter works that are typically later published as collected editions (tankōbon), while one-shots refer to single-chapter works that are sometimes later collected in anthologies. Titles for works that have not received an official English-language translation or do not have an English title are listed using Hepburn romanization. All dates and publishers are sourced from The 50th Anniversary of The Poe Clan and the World of Moto Hagio unless otherwise noted.[40]
Serials
[edit]Start | End | English/Hepburn title | Original title | Publisher |
---|---|---|---|---|
1971 | 1974 | Seirei Kari | 精霊狩り ('Spirit Hunting') | Shogakukan |
1972 | present[b] | The Poe Clan | ポーの一族 | Shogakukan |
1972 | 1976 | Totemo Shiawase Moto-chan | とってもしあわせモトちゃん ('Very Happy Moto-chan') | Shogakukan |
1974 | 1974 | The Heart of Thomas | トーマの心臓 | Shogakukan |
1975 | 1975 | Kono ko Urimasu! | この娘うります! ('I'll Sell You This Girl!') | Shogakukan |
1975 | 1975 | Aroisu | アロイス ('Alois') | Hakusensha |
1975 | 1975 | They Were Eleven | 11人いる! | Shogakukan |
1975 | 1976 | Akagge no Itoko | 赤ッ毛のいとこ ('Red Haired Cousin') | Shueisha |
1976 | 1976 | American Pie | アメリカン・パイ | Akita Shoten |
1976 | 1976 | Europe Migihidari | ヨーロッパみぎひだり ('Europe Right and Left') | Akita Shoten |
1977 | 1977 | Shoujo Roman | 少女ろまん (Shōjo Roman) | Akita Shoten |
1977 | 1978 | Bradbury Kessaku-sen Gensaku | Bradbury傑作選 原作 ('Bradbury Masterpiece Original Selection') | Shueisha |
1977 | 1978 | Ten Billion Days and One Hundred Billion Nights | 百億の昼と千億の夜 | Shogakukan |
1978 | 1979 | Star Red | スター・レッド | Shogakukan |
1979 | 1979 | Les Enfants Terribles | 恐るべき子どもたち | Shogakukan |
1980 | 1983 | Mesh | メッシュ | Shogakukan |
1980 | 1982 | Gin no Sankaku | 銀の三角 ('Silver Triangle') | Hayakawa |
1981 | 1984 | A, A Prime | A-A' | Akita Shoten, Shogakukan |
1982 | 1982 | Mozaiku Rasen | モザイク・ラセン ('Mosaic Rasen') | Akita Shoten |
1985 | 1985 | Bara no Kabin | ばらの花びん ('Vase of Roses') | Shogakukan |
1985 | 1987 | Marginal | マージナル | Shogakukan |
1988 | 1988 | Kanzen Hanzai Fearī | 完全犯罪 フェアリー ('Perfect Crime Fairy') | Shogakukan |
1988 | 1989 | Furawā Fesutibaru | フラワーフェスティバル ('Flower Festival') | Shogakukan |
1988 | 1991 | Umi no Aria | 海のアリア ('Aria of the Sea') | Kadokawa Shoten |
1980 | 1990 | Rōma e no Michi | ローマへの道 ('Road to Rome') | Shogakukan |
1991 | 1992 | Kanshashira Zunootoko | 感謝知らずの男 ('Thankless Man') | Shogakukan |
1992 | 2001 | A Cruel God Reigns | 残酷な神が支配する | Shogakukan |
1992 | 1994 | Abunai Oka no Ie | あぶない丘の家 ('The House on the Dangerous Hill') | Kadokawa Shoten |
2002 | 2005 | Otherworld Barbara | バルバラ異界 | Shogakukan |
2006 | 2007 | Abunazaka Hotel | あぶな坂HOTEL | Shueisha |
2006 | 2012 | Anywhere but Here | ここではない★どこか | Shogakukan |
2008 | 2012 | Lil' Leo | レオくん | Shogakukan |
2009 | 2010 | Hishikawa-san to Neko | 菱川さんと猫 ('Mr. Hishikawa and His Cat') | Kodansha |
2011 | 2012 | Nanohana | なのはな | Shogakukan |
2013 | 2020 | Queen Margot | 王妃マルゴ | Shueisha |
2013 | 2015 | Away | アウェイ | Shogakukan |
One-shots
[edit]Year | English/Hepburn title | Japanese title | Published in |
---|---|---|---|
1969 | Lulu to Mimi | ルルとミミ ('Lulu and Mimi') | Nakayoshi |
Suteki na Mahō | すてきな魔法 ('Wonderful Magic') | Nakayoshi | |
1970 | Kūru Kyatto | クールキャット ('Cool Cat') | Nakayoshi |
Bakuhatsu Gaisha | 爆発会社 ('Dummy Company') | Nakayoshi | |
Bianca | ビアンカ (Bianka) | Shōjo Friend | |
Kēki Kēki Kēki | ケーキケーキケーキ ('Cake Cake Cake') | Nakayoshi | |
1971 | Girl on Porch with Puppy | ポーチで少女が小犬と (Pōchi de Shōjo ga Koinu to) | COM |
Belle to Mike no Ohanashi | ベルとマイクのお話し ('The Story of Belle and Mike') | Shōjo Comic | |
Yuki no Ko | 雪の子 ('Snow Child') | Shōjo Comic | |
Tō no Aru Ie | 塔のある家 ('House with a Tower') | Shōjo Comic | |
Jenifer no Koi no Oaite Wa | ジェニファの恋のお相手は ('Who Is Jennifer's Boyfriend?') | Nakayoshi | |
Hanayome o Hirotta Otoko | 花嫁をひろった男 ('The Man Who Fetched the Bride') | Shōjo Comic | |
Katappo no Furu Gutsu | かたっぽのふるぐつ ('Worn Out Shoes') | Nakayoshi | |
Kawaisō na Mama | かわいそうなママ ('Poor Mama') | Shōjo Comic | |
Seirei-gari | 精霊狩り ('Spirit Hunting') | Shōjo Comic | |
Mōdorin | モードリン ('Maudlin') | Shōjo Comic | |
Sayo no nū Yukata | 小夜の縫うゆかた ('Yukata Sewn by Sayo') | Shōjo Comic | |
Kenneth Ojisan to Futago | ケネスおじさんとふたご ('Uncle Kenneth and the Twins') | Shōjo Comic | |
Mō Hitotsu no Koi | もうひとつの恋 ('Another Love') | Shōjo Comic | |
Jū-gatsu no Shōjo-tachi | 10月の少女たち ('Girls in October') | COM | |
Autumn Journey | 秋の旅 (Aki no Tabi) | Shōjo Comic | |
The November Gymnasium | 11月のギムナジウム (Jūichigatsu no Gimunajiumu) | Shōjo Comic | |
Shiroki Mori Shiroi Shōnen no Fue | 白き森白い少年の笛 ('White Forest White Boy Flute') | Shōjo Comic | |
Shiroi Tori ni Natta Shōjo | 白い鳥になった少女 ('The Girl Who Became a White Bird') | Shōjo Comic | |
Sara-hill no Seiya | セーラ・ヒルの聖夜 ('Sacred Night on Sailor Hill') | Shōjo Comic | |
1972 | Asobi-dama | あそび玉 ('Toy Ball') | Shōjo Comic |
Keito-dama ni Jarenaide | 毛糸玉にじゃれないで ('Don't Play with the Ball of Yarn') | Shōjo Comic | |
Mitsukuni no Musume | みつくにの娘 ('Mitsukuni's Daughter') | Shōjo Comic | |
Gomen Asobase! | ごめんあそばせ! ('I'm Sorry!') | Shōjo Comic | |
San-gatsu Usagi ga Shūdan De | 3月ウサギが集団で ('March Hares in a Group') | Shōjo Comic | |
Yōsei no Komori | 妖精の子もり ('Fairy Slipper') | Shōjo Comic | |
Roku-gatsu no Koe | 6月の声り ('Voice of June') | Shōjo Comic | |
Mamarēdo-chan | ママレードちゃん ('Marmalade-chan') | Shōjo Comic | |
Mia | ミーア | Shōjo Comic | |
1973 | Senbon-me no Pin | 千本めのピン ('The Thousandth Pin') | Shōjo Comic |
Kyabetsu-batake no Isan Sōzokunin | キャベツ畑の遺産相続人 ('Heir to the Cabbage Field') | Shōjo Comic | |
Ō mai Keseira Sera | オーマイ ケセィラ セラ ('Oh My, Que Sera, Sera') | Shōjo Comic | |
1974 | Hawādo-san no Shinbun Kōkoku | ハワードさんの新聞広告 ('Howard's Newspaper Advertisement') | Shōjo Comic |
Unicorn no Yume | ユニコーンの夢 ('Unicorn's Dream') | Shōjo Comic | |
Manga ABC | まんがABC | Shōjo Comic | |
Pushikyatto Pushikyatto | プシキャット・プシキャット ('Pussycat Pussycat') | Shōjo Comic | |
1975 | Onshitsu | 温室 ('Greenhouse') | Seventeen |
Supēsu Sutorīto | スペース ストリート ('Space Street') | Shōjo Comic | |
Violita | ヴィオリータ | Jotomo | |
1976 | Hana to Hikari no Naka | 花と光の中 ('In Flowers and Light') | Shōjo Comic |
By the Lake | 湖畔にて | Strawberry Fields | |
1977 | Onshitsu | 影のない森 ('Shadowless Forest') | Big Comic Original |
Marié, Ten Years Later | 十年目の毬絵 | Big Comic Original | |
Marine | マリーン | Seventeen | |
1978 | Gōruden Rairakku | ゴールデン ライラック ('Golden Lilac') | Shōjo Comic |
Hidarikiki no Izan | 左ききのイザン ('Left-Handed Izan') | SF Fantasia | |
1979 | Hanabana ni Sumu Kodomo | 花々に住む子供 ('Children Living in Flowers') | Princess |
Chrysalis | さなぎ | Seven Comic | |
1980 | Gesshoku | 月蝕 ('Lunar Eclipse') | Vampirella |
Rāginī | ラーギニー | S-F Magazine | |
The Visitor | 訪問者 | Petit Flower | |
A Drunken Dream | 酔夢 | Kingin Sagan | |
Kin'yō no Yoru no Shūkai | 金曜の夜の集会 ('Friday Night Gathering') | S-F Magazine | |
1983 | Shiro | 城 ('Castle') | Petit Flower |
4/4 (Quatre-Quarts) | 4/4カトルカース | Petit Flower | |
1984 | Hanshin: Half-God | 半神 | Petit Flower |
Egg Stand | エッグ・スタンド | Petit Flower | |
Nise ō | 偽王 ('False King') | Petit Flower | |
Herbal Beauty | ハーバル・ビューティ | Bouquet | |
Tenshi no Gitai | 天使の擬態 ('Angel Mimic') | Petit Flower | |
Fune | 船 | Petit Flower | |
1985 | Slow Down | スロー・ダウン | Petit Flower |
Bara no Kabin | ばらの花びん ('Ship') | Petit Flower | |
Yūjin K | 友人K | Grapefruit | |
Kimi wa Utsukushii Hitomi | きみは美しい瞳 ('You Have Beautiful Eyes') | Asuka | |
1989 | Kaizoku to Himegimi | 海賊と姫君 ('Pirates and Princesses') | Petit Flower |
Aoi Tori | 青い鳥 ('Bluebird') | Petit Flower | |
1990 | Manatsu no yo no Wakusei (Planet) | 真夏のの惑星(プラネット ('Planet of Midsummer') | Petit Flower |
1991 | Rotbarth | ロットバルト | Petit Flower |
Juliette no Koibito | ジュリエットの恋人 ('Juliette's Lover') | Petit Flower | |
Catharsis | カタルシス | Petit Flower | |
1992 | Iguana Girl | イグアナの娘 | Petit Flower |
1994 | Gogo no Hizashi | 午後の日射し ('Afternoon Sunshine') | Big Gold |
Gakkō e Iku Kusuri | 学校へ行くクスリ | Big Gold | |
1998 | The Child Who Comes Home | 帰ってくる子 | Child Igyō Collection 7 |
2006 | Nagagutsu o Haita Shima Neko | 長靴をはいたシマ猫 ('Puss in Boots') | Neko Moto |
2007 | Birthday Cake | バースディ・ケーキ | SF Japan |
The Willow Tree | の木 | Flowers | |
2008 | Nekomoto Clinic | 猫本クリニック | Neko Moto 2 |
2016 | Through Yura's Gate | 由良の門を | Monthly Afternoon |
2018 | Basutei Nite | バス停にて ('At the Bus Stop') | Morning |
2020 | Galileo no Uchū | ガリレオの宇宙 ('Galileo's Universe') | App Store[41] |
2021 | Kirin Kari | 麒麟狩り ('Kirin Hunting') | Daijiro Morohoshi 50th Anniversary Tribute[42] |
English-translated works
[edit]- Four Shōjo Stories (1996, Viz Media, ISBN 1-56931-055-6)
- Multi-author anthology containing They Were Eleven.
- A, A Prime (1997, Viz Media, ISBN 978-1569312384)
- Collects A, A', 4/4, and X+Y.
- A Drunken Dream and Other Stories (2010, Fantagraphics Books, ISBN 978-1-60699-377-4)
- Collects Bianca; Girl on Porch with Puppy; Autumn Journey; Marié, Ten Years Later; A Drunken Dream; Hanshin: Half-God; Angel Mimic; Iguana Girl; The Child Who Comes Home; and The Willow Tree.
- The Heart of Thomas (2013, Fantagraphics Books, ISBN 978-1606995518)
- Otherworld Barbara (Fantagraphics Books), published as:
- Neo Parasyte m (2017, Kodansha Comics, ISBN 978-1632366047)
- Multi-author anthology containing Through Yura's Gate.
- The Poe Clan (Fantagraphics Books), published as:
- Lil' Leo (2021, Denpa, ISBN 978-1634429788)
- They Were Eleven (2024, Denpa, ISBN 978-1634428156)
Essays & memoirs
[edit]- Omoide o Kirinuku Toki (思い出を切りぬくとき, "When You Cut Through the Memories"). 1998, Anzudo, ISBN 978-4872822311
- Yumemiru Bīzu Monogatari (夢見るビーズ物語, "Dreaming Beads Story"). 2009, Poplar Publishing , ISBN 978-4591114650
- Isshun To Eien To (一瞬と永遠と, "For a Moment and Eternity"). 2011, Gengi Shobo , ISBN 978-4901998758
- Watashi no Shōjo Manga Kōgi (私の少女マンガ講義, "My Lecture on Shōjo Manga"). 2018, Shinchosha, ISBN 978-4103996026
- Ichido Kiri no Ōizumi no Hanashi (一度きりの大泉の話, "A One-Time Story About Ōizumi"). 2021, Kawade Shobō Shinsha, ISBN 978-4309029627
Other
[edit]- Toki no Tabibito: Time Stranger, character designer (1986, animated film)[43]
- Illusion of Gaia, character designer (1993, video game)[44]
Reception
[edit]Influence
[edit]Hagio is regarded by critics as the most influential shōjo manga artist of all time and among the most influential manga artists in the entirety of the medium,[1][45][4] and is referred to as the "god of shōjo manga" (少女漫画の神様, shōjo manga no kami-sama) by the Japanese press and critics, as styled off of Osamu Tezuka's sobriquet "the god of manga".[46][47] She, along with the other artists associated with the Year 24 Group, is credited with "revolutionizing" shōjo manga[48][49] and bringing it into its "golden age", making shōjo manga central to manga production in the 1980s and attracting a male readership to the category for the first time.[50] Hagio and Keiko Takemiya originated the shōnen-ai genre, which was developed throughout the 1980s and 1990s to become yaoi, a major genre of manga.[51] She is further credited with establishing science fiction as a subgenre of shōjo manga,[21] though Hagio's impact on science fiction extends beyond manga to literature through her illustrations of science fiction and fantasy novels,[18][21] with science fiction novelists such as Azusa Noa and Baku Yumemakura citing Hagio as among their influences.[52]
Awards and nominations
[edit]Award | Year | Category | Recipient(s) | Result | Ref. |
---|---|---|---|---|---|
Asahi Prize | 2016 | Asahi Prize | — | Won | [53] |
Angoulême International Comics Festival Awards | 2023 | Fauve d'honneur | — | Won | [54] |
Eisner Award | 2011 | Best U.S. Edition of International Material—Asia | A Drunken Dream and Other Stories | Nominated | [55] |
2014 | The Heart of Thomas | Nominated | [56] | ||
2018 | Otherworld Barbara | Nominated | [57] | ||
2020 | The Poe Clan | Nominated | [58] | ||
2022 | Will Eisner Award Hall of Fame | — | Won | [59] | |
Harvey Awards | 2020 | Best Manga | The Poe Clan | Nominated | [60] |
Inkpot Award | 2010 | Inkpot Award | — | Won | [61] |
Iwate Manga Awards | 2018 | Special Award | Nanohana | Won | [62] |
Japan Cartoonists Association Award | 2011 | Minister of Education, Science and Technology Award | — | Won | [63] |
Medal of Honor | 2012 | Purple Ribbon | — | Won | [64] |
Nihon SF Taisho Award | 2006 | Grand Prize | Otherworld Barbara | Won | [65] |
Order of the Rising Sun | 2022 | 3rd Class, Gold Rays with Neck Ribbon | — | Won | [66] |
Person of Cultural Merit | 2019 | Person of Cultural Merit | — | Won | [67] |
Seiun Award | 1980 | Best Comic | Star Red | Won | [68] |
1983 | Gin no Sankaku | Won | [68] | ||
1985 | X + Y | Won | [68] | ||
Sense of Gender Award | 2012 | Lifetime Achievement Award | Nanohana | Won | [69] |
Shogakukan Manga Award | 1975 | Shōnen (Boys' Manga) | They Were Eleven and The Poe Clan | Won | [70] |
Tezuka Osamu Cultural Prize | 1997 | Award for Excellence | A Cruel God Reigns | Won | [71] |
Notes
[edit]- ^ The group was so named because its members were born in or around year 24 of the Shōwa era (or 1949 in the Gregorian calendar).[11]
- ^ Originally serialized from 1972 to 1976, revived from 2016 to present.
References
[edit]Citations
[edit]- ^ a b c d e f g h i j k Brient 2013.
- ^ a b Nakagawa 2019a.
- ^ a b c d e f Thorn 2005.
- ^ a b c Pinon & Lefebvre 2015.
- ^ Tamura 2019, pp. 25–26.
- ^ a b Tamura 2019, pp. 27–28.
- ^ a b c d Nakagawa 2019b.
- ^ a b Tamura 2019, p. 18.
- ^ a b Takeuchi 2010, p. 82.
- ^ Takemiya 2016, pp. 67–72.
- ^ Hemmann 2020, p. 10.
- ^ Toku 2004.
- ^ a b Toku 2015, p. 206.
- ^ Nakagawa 2019f.
- ^ Nakagawa 2019c.
- ^ Morrissy, Kim (May 18, 2021). "Moto Hagio Publishes Memoir Addressing Her Feud With Keiko Takemiya". Anime News Network. Retrieved February 3, 2022.
- ^ a b Tamura 2019, pp. 5–7.
- ^ a b c Nakagawa 2019e.
- ^ a b c Nakagawa 2019d.
- ^ "萩尾望都、女子美術大学の客員教授に就任". Comic Natalie (in Japanese). June 2, 2011. Retrieved August 14, 2022.
- ^ a b c d Takeuchi 2018.
- ^ "萩尾望都「ポーの一族」新作が40年ぶりに登場!flowersに掲載". Comic Natalie (in Japanese). April 28, 2016. Retrieved August 14, 2022.
- ^ Shamoon 2012, p. 101.
- ^ a b c Shamoon 2012, p. 114.
- ^ a b Shamoon 2012, p. 116.
- ^ a b Hébert 2010, pp. 36–38.
- ^ a b Urasawa 2016.
- ^ Toku 2015, p. 209.
- ^ a b c Kawakatsu 2010.
- ^ Anan 2016, p. 90.
- ^ Parille, Ken (March 9, 2011). "Moto Hagio's Bianca: Against Culture". The Comics Journal. Fantagraphics Books.
- ^ Magera 2020, p. 111.
- ^ a b c Shamoon 2012, p. 107.
- ^ a b c d Harada 2015, pp. 43–44.
- ^ Harada 2015, p. 58.
- ^ Ebihara 2002.
- ^ Harada 2015, pp. 83–86.
- ^ Fujimoto 2004, p. 104.
- ^ a b Harada 2015, pp. 89–90.
- ^ Hagio 2019b, pp. 184–187.
- ^ "アップル、萩尾望都のiPad描き下ろし漫画『ガリレオの宇宙』を無料公開。App Storeで創作を語るインタビューも". Engadget (in Japanese). August 6, 2020. Archived from the original on August 6, 2020. Retrieved December 2, 2022.
- ^ "浦沢直樹、萩尾望都、星野之宣、山岸凉子らが描き下ろし「諸星大二郎トリビュート」". Comic Natalie. September 7, 2021. Retrieved December 2, 2022.
- ^ "時空の旅人 -Time Stranger". Madhouse (in Japanese). Retrieved August 12, 2022.
- ^ Quintet (1993). Illusion of Gaia (Super Nintendo Entertainment System). Enix.
- ^ Tokuhara & Toku 2019.
- ^ "「少女漫画の神様」萩尾望都 異端者寄り添った50年". Nikkei (in Japanese). October 1, 2019. Retrieved August 14, 2022.
- ^ "手塚治虫 人間の本音を描く 萩尾望都 100周年記念企画「100年の100人」". Bungei Shunjū (in Japanese). December 27, 2021. Retrieved August 14, 2022.
- ^ Chapuis 2014.
- ^ Croquet 2020.
- ^ Galbraith 2019.
- ^ McLelland et al. 2015, p. 303.
- ^ Harada 2015, p. 49.
- ^ Hodgkins, Crystalyn (January 2, 2017). "Heart of Thomas Manga Creator Moto Hagio Wins Asahi Prize". Anime News Network. Retrieved March 12, 2021.
- ^ "萩尾望都がアングレーム国際漫画祭で特別栄誉賞「漫画に出会うことで私の人生は豊かに」". Comic Natalie. January 29, 2024. Retrieved January 29, 2024.
- ^ Cavna, Michael (April 7, 2011). "2011 EISNER AWARDS: Comic-Con announces the nominees..." Washington Post. Retrieved August 11, 2022.
- ^ Wheeler, Andrew (July 26, 2014). "2014 Eisner Awards: Full List Of Winners And Nominees". ComicsAlliance. Retrieved August 11, 2022.
- ^ Ridgeley, Charlie (April 26, 2018). "Complete List of 2018 Eisner Award Nominees Announced". ComicBook.com. Retrieved August 11, 2022.
- ^ McMillan, Graeme (June 4, 2020). "2020 Eisner Nominees: The Complete List". The Hollywood Reporter. Retrieved August 11, 2022.
- ^ Hodgkins, Crystalyn (July 23, 2022). "Moto Hagio Inducted into Eisner Hall of Fame". Anime News Network. Retrieved July 24, 2022.
- ^ Mateo, Alex (August 31, 2020). "Harvey Awards Nominates The Poe Clan, The Way of the Househusband, Witch Hat Atelier for Best Manga". Anime News Network. Retrieved January 3, 2022.
- ^ Loo, Egan (July 23, 2010). "Moto Hagio Receives Inkpot Award from Comic-Con Int'l". Anime News Network. Retrieved July 23, 2010.
- ^ "いわてマンガ大賞・マンガ郷いわて表彰式 特別賞受賞 萩尾さん 知事と記念トーク". Iwanichi OnLine. December 21, 2018. Retrieved January 2, 2021.
- ^ Hodgkins, Crystalyn (May 10, 2011). "40th Japan Cartoonist Awards Honor Moto Hagio". Anime News Network. Retrieved September 27, 2019.
- ^ Multiple Languages:
- Ko Ransom (April 27, 2012). "Hagio Is 1st Shōjo Manga Creator to Win Japan's Purple Ribbon (Updated)". Anime News Network. Archived from the original on October 14, 2023. Retrieved October 14, 2023.
- 萩尾望都が紫綬褒章を受章、少女マンガ家では初. Comic Natalie (in Japanese). April 28, 2012. Retrieved August 13, 2012.
- ^ "Nihon SF Taisho Award Winners List". Science Fiction and Fantasy Writers of Japan. Archived from the original on August 7, 2011. Retrieved August 5, 2010.
- ^ Mateo, Alex (November 11, 2022). "Manga Creator Moto Hagio Inducted Into Order of the Rising Sun". Anime News Network. Retrieved November 11, 2022.
- ^ Kim, Allen (October 29, 2019). "Mario Bros. creator Shigeru Miyamoto to be given one of Japan's highest honors". CNN. Retrieved October 30, 2019.
- ^ a b c 日本SFファングループ連合会議:星雲賞リスト (in Japanese). Retrieved December 31, 2007.
- ^ "2012年度 第12回Sense of Gender賞 生涯功労賞". Sense of Gender Awards (in Japanese). Retrieved January 2, 2021.
- ^ 小学館漫画賞:歴代受賞者 (in Japanese). Shogakukan. Archived from the original on August 5, 2015. Retrieved August 19, 2007.
- ^ "Manga Award for Excellence: Hagio Moto Zankoku na kami ga shihai suru Exhibition". Archived from the original on April 25, 2008. Retrieved June 10, 2008.
Bibliography
[edit]- Anan, Nobuko (2016). Contemporary Japanese Women's Theatre and Visual Arts: Performing Girls' Aesthetics. Palgrave Macmillan. ISBN 978-1-349-55706-6.
- Brient, Hervé (December 2013). "Hagio Moto, une artiste au cœur du manga moderne" [Hagio Moto, an artist at the heart of modern manga]. du9 (in French). Retrieved December 30, 2021.
- Chapuis, Marius (January 13, 2014). "Moto Hagio, capitaine femme". Libération (in French). Retrieved August 14, 2022.
- Croquet, Pauline (November 1, 2020). "Du récit intime à la dénonciation, quand le manga s'empare des violences envers les femmes". Le Monde (in French). Retrieved August 14, 2022.
- Ebihara, Akiko (2002). "Japan's Feminist Fabulation: Reading Marginal with Unisex Reproduction as a Key Concept". Genders (36). University of Colorado. Archived from the original on November 7, 2014.
- Fujimoto, Yukari (2004). "Transgender: Female Hermaphrodites and Male Androgynes". U.S.–Japan Women's Journal (27). Translated by Flores, Linda; Nagaike, Kazumi; Orbaugh, Sharalyn: 76–117. JSTOR 42771920.
- Galbraith, Patrick (2019). "Seeking an Alternative: "Male" Shōjo Fans Since the 1970s". Shōjo Across Media: Exploring "Girl" Practices in Contemporary Japan. Palgrave Macmillan. ISBN 978-3-030-01485-8.
- Hagio, Moto (February 19, 2012). Conférence de Moto Hagio (in French). Paris: Centre Pompidou.
- Hagio, Moto (2019a). It's a Girls' World: Talk on Shōjo Manga with Artist Hagio Moto and Editor Furukawa Asako. London: Japan House.
- Hagio, Moto (2019b). デビュー50周年記念『ポーの一族』と萩尾望都の世界 [The 50th Anniversary of The Poe Clan and the World of Moto Hagio] (in Japanese). Tokyo: Kawade Shobō Shinsha. ISBN 978-4-091-99063-1.
- Harada, Kazue (2015). Japanese Women's Science Fiction: Posthuman Bodies and the Representation of Gender (PhD dissertation). Washington University in St. Louis. doi:10.7936/K7XP733R – via Open Scholarship.
- Hébert, Xavier (2010). "L'esthétique shōjo, de l'illustration au manga : De l'origine des « grands yeux » aux mises en pages éclatées". Manga: 10 000 images (in French). Éditions H. ISBN 978-2-9531781-4-2.
- Hemmann, Kathryn (2020). Manga Cultures and the Female Gaze. Springer Nature. ISBN 978-3-030-18095-9.
- Kawakatsu, Miki (Spring 2010). "Iguana Girl Turns Manga Legend" (PDF). Japanese Book News (63). Japan Foundation. Archived from the original (PDF) on May 17, 2021.
- Magera, Yulia Aleksandrovna (2020). "Origins of the Shōnen-ai and Yaoi Manga Genres". Russian Japanology Review. 2 (2). doi:10.24411/2658-6789-2019-10012. ISSN 2658-6789.
- McLelland, Mark; Nagaike, Kazumi; Katsuhiko, Suganuma; Welker, James, eds. (2015). Boys Love Manga and Beyond: History, Culture, and Community in Japan. University Press of Mississippi. ISBN 978-1-628-46119-0.
- Nakagawa, Yūsuke (2019a). "最初の女性コミック誌「ファニー」と、萩尾望都のデビュー" [The first josei manga magazine "Funny" and the debut of Moto Hagio]. Gentosha Plus. オトコ・マンガ/オンナ・マンガの世界 [The World of Men's Manga and Women's Manga] (in Japanese) (9). Gentosha. Archived from the original on December 11, 2019.
- Nakagawa, Yūsuke (2019b). "大泉サロン誕生" [The birth of the Oizumi Salon]. Gentosha Plus. オトコ・マンガ/オンナ・マンガの世界 [The World of Men's Manga and Women's Manga] (in Japanese) (10). Gentosha. Archived from the original on December 26, 2019.
- Nakagawa, Yūsuke (2019c). "『ポーの一族』『ベルサイユのばら』" [The Poe Clan and The Rose of Versailles]. Gentosha Plus. オトコ・マンガ/オンナ・マンガの世界 [The World of Men's Manga and Women's Manga] (in Japanese) (12). Gentosha. Archived from the original on December 26, 2019.
- Nakagawa, Yūsuke (2019d). "『地球(テラ)へ…』と『百億の昼と千億の夜』前史" [The History of Towards the Terra and Ten Billion Days and One Hundred Billion Nights]. Gentosha Plus. オトコ・マンガ/オンナ・マンガの世界 [The World of Men's Manga and Women's Manga] (in Japanese) (15). Gentosha. Archived from the original on December 26, 2019.
- Nakagawa, Yūsuke (2019e). "少女漫画」の枠からはみ出てゆく竹宮、萩尾作品" [Takemiya and Hagio's works beyond the boundaries of "girls' manga"]. Gentosha Plus. オトコ・マンガ/オンナ・マンガの世界 [The World of Men's Manga and Women's Manga] (in Japanese) (16). Gentosha. Archived from the original on December 11, 2019.
- Nakagawa, Yūsuke (2019f). "新書判コミックスで変わる、マンガの読み方" [How Reading Manga Changed With Book-Format Comics]. Gentosha Plus (in Japanese). Gentosha. Archived from the original on December 11, 2019. Retrieved January 15, 2021.
- Pinon, Matthieu; Lefebvre, Laurent (2015). "Moto Hagio". Histoire(s) du Manga Moderne: 1952-2012. Ynnis. ISBN 9-791-09337-622-6.
- Shamoon, Deborah (2012). "The Revolution in 1970s Shōjo Manga". Passionate Friendship: The Aesthetics of Girl's Culture in Japan. Honolulu: University of Hawaii Press. ISBN 978-0-82483-542-2.
- Takemiya, Keiko (2016). 少年の名はジルベール [His Name Was Gilbert] (in Japanese). Shogakukan. ISBN 9784093884358.
- Takeuchi, Kayo (2010). "The Genealogy of Japanese Shōjo Manga (Girls' Comics) Studies". U.S.-Japan Women's Journal (38): 81–112. ISSN 1059-9770. JSTOR 42772011. OCLC 672051402.
- Takeuchi, Miho (July 6, 2018). "「萩尾望都SF原画展 宇宙にあそび、異世界にはばたく」レビュー". Agency for Cultural Affairs (in Japanese). Retrieved December 30, 2021.
- Tamura, Kaoru (2019). When a Woman Betrays the Nation: an Analysis of Moto Hagio's The Heart of Thomas (MA thesis). St. Louis: Washington University in St. Louis. doi:10.7936/x80c-5m69. Archived from the original on February 8, 2020. Retrieved December 2, 2020 – via Open Scholarship.
- Thorn, Rachel (2005). "The Moto Hagio Interview". The Comics Journal (269). Seattle: Fantagraphics Books: 138. Archived from the original on May 9, 2007.
- Toku, Masami (2004). "The Power of Girls' Comics: The Value and Contribution to Visual Culture and Society". Visual Culture Research in Art and Education. Chico: California State University, Chico. Archived from the original on October 14, 2018. Retrieved December 2, 2020.
- Toku, Masami, ed. (2015). "Profile and Interview with Moto Hagio". International Perspectives on Shojo and Shojo Manga: The Influence of Girl Culture. Routledge. pp. 205–212. ISBN 978-1-31761-075-5.
- Tokuhara, Yoshiko; Toku, Masami (2019). "Hagio Moto". The Encyclopedia of Science Fiction.
- Urasawa, Naoki (2016). "萩尾望都" [Moto Hagio]. Naoki Urasawa's Manga Exertions (in Japanese). Happinet Pictures. NHK Educational TV.
External links
[edit]- Moto Hagio at Anime News Network's encyclopedia
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