First published the same year Hugo Gernsback came out with his legendary science fiction magazine, Amazing Stories, in 1926, The Young Companion《良友》catered to the tastes of young middle class people, but it was also a force for social change. This fascinating article (in Big5) talks about 《良友》the “natural breast movement” 「天乳運動」 among young women in the 1920s-30s, and this sohu article (GB) discusses the fashion sense displayed in the pages of the magazine. In this pic you can see that the bobbed, flapper hairstyle we associate with the West was popular in China of the 20s also. The Young Companion is often thought of as product of Shanghai’s hybrid culture, but this article talks about its founding by a Guangdong native, Wu Lian-de (伍聯德).
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Kyoraku #5 | 共樂 no. 5
– Ero Guro and Macabre Eroticism – by C. Bertherat
– Beauty without Poison is Boring (about Toshio Saeki)
– Momo is dead (self harm meme based on Keisuke Aiso sculpture)
– Tabaimo (aka Ayako Tabata)
– Suehiro Maruo, and also here.
– The erotic Japanese art movement born out of decadence
– Review of Erotic Grotesque Nonsense: the Mass Culture Japanese Modern Times, 2006.
– “The Emergence of Kaidan shu: the Collection of Tales of the Strange and Mysterious During the Edo Period”
– “The Appeal of ‘Kaidan’, Tales of the Strange” (jstor login)
– “What are Kaidan?”
– “Hyakomonogatari Kaidankai ~” (Japan Times article about the above author)
– “Why so Sad Sadako?” (Female vengeance ghosts in Japanese lit/film)
Daijiro Morohoshi （諸星大二郎）is definitely a weird precursor of Junji Ito but, unfortunately, very difficult to find in English (and even in Chinese). His most famous work is the Yokai Hunter (妖怪ハンター) series of the 1970s-80s.
A good overview of his stuff can be found here (Big5), along with a selection of “four favorites” (Big 5). Not altogether unrelated, some good horror manga recommendations from Silberstein here. Ito isn’t the only one who owes a debt to Morohoshi, legendary anime dude Miyazaki’s Princess Mononoke borrows heavily from the sylvan tribes of Mud Men.
Xia Jia “If on a Winter’s Night a Traveler,” trans. Ken Liu (Nov 2015).
Liu Cixin “Another Word: Chinese SF and Chinese Reality,” trans. Ken Liu (Nov 2015)
Han Song “Security Check,” trans. Ken Liu (Aug 2015)
Chen Qiufan “Coming of the Light,” trans. Ken Liu (Mar 2015)
Zhang Ran “Ether,” trans. several (Jan 2015)
Xia Jia “Tongtong’s Summer,” trans. Ken Liu (Dec 2014)
Xia Jia “Spring Festival: Happiness, Anger, Love, Sorrow, Joy,” trans. Ken Liu (Sep 2014)
Cheng Jingbo “Grave of the Fireflies,” trans.Ken Liu (Jan 2014)
Just some Chen links that are worth noting:
- Gary K Wolfe reviews The Waste Tide for Locus Magazine
- “Staying sensitive in the crowd” (Ken Liu interview)
- “何平访谈陈楸帆 ：它是面向未来的一种文学” (He Ping interview)
- “陈楸帆：科幻是最大的现实主义” (commentary w/Hu Yong interview)
- His non-fiction works to 2013 (from old blog)
- Magazine of SF and Fantasy: “Chen Qiufan on ‘The Year of the Rat’”
- “The Chinese Burner”: Chen Qiufan Goes to Burning Man
- 陳楸帆專訪：科技監控的世紀如何談反抗？Interview: How does the age of technical surveillance…(2018.04)
- 中国科幻文学像锤子，大头是刘慈欣，下面很孱弱 (2017.07)
- “后人类的 N 种可能” (2015.o6)
Note: I’ll continue to update this as time permits.
Holy cows, in this interview the author exactly affirms what I claim in my paper…Excerpt:
Another interview with Chen: “何平访谈陈楸帆 ：它是面向未来的一种文学”
Discussing with my No. 1 the merits of various Asian “sexploitation” movies I’ve seen and came to the issue of what qualifies as “sexploitation” in the first place. Let me begin with the overview I had in mind as “sexploitation”: those Pinky violence films like Female Prisoner 701 (1972) in Japan, those Hong Kong movies like Naked Killer (1992) or Sex and Zen (1991), and to some extent the Korean new wave classic Lady Vengeance (2005). Save that they don’t challenge racial as well as gender boundaries, most of these movies would be roughly analogous to Pam Grier movies like Black Mama, White Mama (1973) and Foxy Brown (1974). What seems to be common to most of these films are strong female characters who, like Beatrice in Kill Bill (2003), seeks revenge for the pain and injustice the patriarchy has visited on them. So aren’t these basically celluloid Revenge Tragedies on postmodern themes?
Finished re-watching the Japanese anime series, Welcome to the N.H.K (歡迎加入NHK!). Eccentric, charming characters, and an interesting storyline, the show follows the (mis)adventures of a young NEET, Sato Tatsuhiro, as he tries to cope with an life of no friends, no job, no girlfriend, and no prospects for the future. Living alone in a tiny 套房 apartment, Satou-san meets a mysterious girl who tricks him into enrolling in a plan to cure him of his hikikomori (隱蔽青年) lifestyle. This is happening while the young man and his friend try to develop a sellable erotic video game, a plot angle that shows, in brilliant clarity, the “political unconscious” of stressed-out, repressed young students.
The show is a lot different from past popular anime like Naruto (火影忍者), Inuyasha (犬夜叉) and Bleach (死神) that I’m semi-familiar with in that it focuses mainly on social awkwardness and the erotic fantasies of these guys . This, coupled with the fact that it has no supernatural elements or superhero themes, makes it a much more “mature” show (whatever that means). Also, for me it was also a lot more poignant in its funny depictions of NEETs and hikikomori as people with problems just like everyone else. This would probably earn it nothing less than an R rating if it were ever released in the USA or some parts of SE Asia, but that’s one of the things I find so interesting about the series–it deals with real (and quite new) social problems in a thoughtful and darkly humorous way that rewards repeated watching. Executive summary: this work further convinces me the Japanese lead the world in tackling “difficult” sexual/erotic topics (adolescent erotic gaming) in original, philosophical ways.
Obviously 5 ★s