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Cover Illustration (Yamatano Orochi) by Aya Kato ayakato.net Thank You 115 Gallery 115.ro


Editorial I Editorial

I HAVEN’T BEEN BANNED YET, BUT THERE’S STILL TIME FOR THAT. There was a time when I used to write in Sunete magazine short reviews focused on Manga Atrocities, and I was silently glad that nobody cut my finger or the electricity for what I wrote during the night. Why does nobody lock me barnacled in the cellar? Look at me; I’m dissecting themes such as slaughters, tortures and mangling. I was always afraid that I took myself too seriously. But I clearly know the risks. You must know what awaits those who weren’t warned. My greatest joy was to see people, younger or older, really interested in all kinds of fears and anxieties, hidden or confessed. I was also glad too see Takashi Miike’s „Odishon” on a DVD attached in one of Re:Publik magazine issues. I was even gladder in 2005, when (within the 18+ series) we were able to video-project the movie „Odishon” (with the support of Transilvania Film) at Galeria Noua. It was a day focused on groaza.ro (HORROR CURES FEAR!), co-organized by Dan Belzebut. There were many strangers in the premises. Some stopped in the street, as they couldn’t believe their eyes.

N-AM FOST ÎNCĂ BANNAT, DAR S-AR PUTEA. Pe vremuri scriam episoade scurte despre Atrocităţi Manga în revista Sunete şi mă bucuram în linişte că nu îmi taie nimeni falanga şi lumina pentru ce m-am apucat să scriu noaptea. De ce nu mă închide încă nimeni în beci cu botniţă, pentru că, uite, disec subiecte legate de măceluri, torturi şi sfârtecări? Tot timpul m-am temut că m-am luat prea în serios. Dar riscurile îs foarte clare. Ştiţi şi voi ce păţesc cei care nu au fost avertizaţi. Nu am avut bucurie mai mare decât să văd oameni, tineri ori bătrâni, sincer interesaţi de toate tipurile de frici şi temeri, ascunse sau pe faţă. M-am bucurat când am vazut în revista Re:Publik ataşat DVD-ul „Odishon” de Takashi Miike. Şi mai mult m-am bucurat în 2005, când în cadrul seriei 18+ am putut să proiectam filmul „Odishon” (cu sprijinul Transilvania Film) la Galeria Noua. Era o zi dedicată groaza.ro (GROAZA VINDECĂ FRICA!) şi co-organizată de Dan Belzebut. Erau mulţi necunoscuţi în sală. Unii se opreau pe stradă şi nu prea le venea să creadă ce văd.

Others, obedient and quiet, got in and took a seat. Some of them came together with their parents. Total respect for those! And their parents were waiting for them outside. I came to see that too. Now we’ve come to Freaka Night 3, but that’s another ghastly story.

Alţii, cuminţi şi tăcuţi, intrau şi se aşezau. Unii veneau însoţiţi de părinţi. Respect total pentru ăia! Şi părinţii îi aşteptau afară. Am trăit să o vad şi pe asta. Am ajuns acu la Freaka Night 3, dar asta e altă poveste cu demoni si fantome.

And I finally came to see an issue of Otaku magazine dedicated to KAIDAN, which has no longer been only Japanese’s. I don’t know myself what’s inside this magazine. But I’ve heard from very reliable sources that everyone who read it from one cover to another and back was somehow affected. I no longer have their numbers in my mobile’s memory. But, alas! The proof has remained – the magazine Otaku KAIDAN!

Am trăit să văd şi numărul de Otaku magazin dedicat KAIDAN-ului, care de mult nu mai e doar al japonezilor. Nici eu nu ştiu ce conţine această revistă. Dar am auzit din surse sigure că toţi care au citit-o din cap în coadă şi invers au păţit diverse lucruri. Nu mai am numerele lor nici în memoria telefonului. Da nu-i nimic, bine că a rămas dovada – revista Otaku KAIDAN! Megatron


Table of Contents I Cuprins

Exhibition / Expoziţie ����������������������������������������� 4 Xenia Stan (RO), Vladimir Þãroi (RO)

Interview / Interviu ���������������������������������������������� 70 Liste Noire (RO)

Interview / Interviu ��������������������������������������������� 9 Vasile Alboiu (RO)

Article / Articol ����������������������������������������������������� 75 Lolita – Extraordinary Street Fashion, Kyshah Hell (USA)

Article / Articol �������������������������������������������������� 12 Kaidan: Traditional Japanese Ghost Tales and Japanese Horror Film. Scott David Foutz (USA) Kaidan Manga����������������������������������������������������� 24 Kazuo Umezu (JP), Hideshi Hino (JP), Junji Ito (JP)

Article / Articol ����������������������������������������������������� 84 Hayo Miyazaki (part II). Veronica Solomon (RO) Interview / Interviu ���������������������������������������������� 92 Interview with Ryosuke Tei, creative director of Furi Furi (JP)

Kaidan Anime ����������������������������������������������������� 30 Kaidan Film ��������������������������������������������������������� 36 www.sarudama.com (USA) Kaidan Games ���������������������������������������������������� 40 LEVEL (RO) Aya Kato@115 ���������������������������������������������������� 44 www.115.ro (RO) Illustrations / Ilustraţii ���������������������������������� 49 Heliana (RO), Saddo (RO), Aya Kato (JP), Yoskay Yamamoto (JP), Dermot Reddan (USA), The Horror (UK), Yan Wei (CN), More Than a Friend (CAN), Veronica Solomon (RO), Dave MacDowell (USA), Nikiforov Anton (RU), Arisu (PT), Nish (JP), Mihai Marcu (RO), Sam Gilbey (UK) Toys / Jucării ����������������������������������������������������� 68 Review Custom Toyz. Vera, Ruxi, Alexandra (RO)

Return ����������������������������������������������������������������������� 98 Inka mon (RO) Masca ���������������������������������������������������������������������� 113 Nicolae Drob (RO) What have you done to tentoumushi? ������� 129 Akira, Mimi (RO) Cain and Abel ������������������������������������������������������� 139 Asra, Ruxi (RO) Article / Articol ��������������������������������������������������� 149 Japanese Ghosts. Tim Screech (UK) Kaidan Music �������������������������������������������������������� 154 ghOst (UK), Ghost (USA), Ghost of a Flea (CA), Ghost Band (USA), Ghostfog (DE) Jigoku Nohara (BE), Kaidan Eiga (IT), ManiFest (DE), Smm (RO), Likantropika (AD), Makunouchi Bento (RO)

EDITOR & WEB DEVELOPER: Otaku Entertainment (www.otakuent.com) DTP: Afaceri Prospere // COORDONATOR PROIECT: Bogdan Gorgãneanu // CHIEF EXECUTIVE: Ana Maria Oana // EDITOR-IN-CHIEF: Ruxandra Tarcã // ART DIRECTOR: Veronica Solomon // RESEARCH MANAGER: ªtefan Tiron // // EDITORIAL OFFICE: Adrian Oproiu, Alexandra Silvestru, Alina Alexa, Paula Stanciu // WEB SUPPORT: Costel Chirica // CONTACT: info@otakuent.com // Reproducerea materialelor prezentate în revistã este interzisã. Responsabilitatea informaþiilor publicate în revistã aparþine exclusiv autorilor. Copyrights of the individual, manga/comics works, illustrations, photos represented in this magazine are the property of their respective creators and are acknowledged on page 158. Made in Stalin / Kronstadt / Brassó / Braºov


Exhibition I Expoziţie

Artist: Xenia Stan Country: Romania Web: xiusha.deviantart.com

When I watched Sailor Moon; that was the moment I first started to draw works related to illustration. Up till now I was influenced by the oriental art (manga, anime) but also by some graphic elements that the Japanese and Chinese use in stamps and generally in their traditional art. I also study the European BD because I very much like the level they achieved. I want to get the BD to Romania and I won’t give up until I do this. I really want to have quality Romanian BD publications. My highest wish is to found a team and to give birth to a Romanian BD studio. I like to experience and learn from other people as much as I can. What can you tell us about your third exhibition that took place on December 6 at Mond’Art Gallery in Galaþi? Compared to the previous ones, where I presented monochrome comics, this time I picked color in stand alone compositions, without telling any story as a whole. Every work has a story and atmosphere of its own, which, if put together, represent the retrospective of two years of work and passion.

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Când am vãzut Sailor Moon, atunci am desenat lucrãri legate de ilustraþie. Pânã acum am fost influenþatã în general de arta orientalã (manga, anime), dar ºi de anumite elemente grafice pe care japonezii ºi chinezii le folosesc în stampe ºi în arta lor tradiþionalã. Studiez ºi BD-ul european, pentru cã îmi place foarte mult stilul la care s-a ajuns. Mi-am propus sã aduc banda desenatã ºi pe piaþa româneascã ºi nu mã las pânã nu voi reuºi. Îmi doresc enorm sã existe ºi la noi publicaþii BD autohtone de calitate. Visul meu CEL MAI MARE e sã îmi gãsesc o echipã ºi împreunã sã facem un studio de BD românesc!!! Îmi place sã fac schimb de experienþã ºi sã învãþ de la alþii cât mai mult. Ce poþi sã ne spui despre cea de-a treia expoziþie, care a avut loc pe data de 6 decembrie la galeria Mond’Art din Galaþi? Faþã de cele anterioare, unde am expus benzi desenate monocrome, de data asta am ales culoarea în compoziþii de sine stãtãtoare, fãrã a spune o poveste în ansamblu. Fiecare lucrare are însã povestea ei personalã ºi atmosfera ei specificã ºi formeazã împreunã cu celelalte un ansamblu de lucrãri care fac parte dintr-o retrospectivã a doi ani de lucru din pasiune.


Tell us about the characters from your compositions. I didn’t give up the sequential art, the characters represent the heroes and the supporting characters from my stories, stories that invade my mind when I drink tea, walk or even talk to you :). I was told at the exhibition opening that some characters resemble me. I thought about it and I realize that’s right. Watching them I realized that every representation reflects a side of my personality: cheerful, sad and sometimes melancholic… What about the cat? Is it part of your personality as well? Yes! Especially the cat! You can find it in background in most of my compositions, squeezing trough characters, agile, inquiring, persistent, other times lazy and sleepy, becoming the leitmotiv of my works. It’s the symbol I’ve chosen instinctively, because I like their way of living, how they make everything work out for them and their wish to take advantage almost selfishly of every little pleasure in life:). I noticed your works presented under different unique forms. Yes, I’ve been trying to use different supports for my works. Because we’re talking about digital works I thought that they can be printed on almost any kind of material; therefore I’ve imprinted cloth, paper, cups, mouse pads; nevertheless, I hoped for a greater diversity. When I got into the typography and saw how the modern machines work I realized they truly are a new engraving technique and the works that get out of there are as precious as the graving series, the pattern being the starting point and the most important piece. This idea inspired me to create a digital art exhibition.

Vorbeºte-ne puþin despre personajele din compoziþiile tale. Nu m-am îndepãrtat nici de data asta de arta secvenþialã, personajele mele reprezentând eroii principali sau secundari din povestioarele care îmi invadeazã gândurile atunci când beau un ceai, merg pe stradã sau chiar când vorbesc cu tine :) Mi s-a ºoptit în ureche la vernisaj cã unele personaje ar semãna cu mine. Am stat puþin, m-am gândit ºi miam dat seama cã aºa este. Uitându-mã la ele am realizat cã fiecare reprezentare îmi reflectã o parte din personalitate: veselã, tristã ºi uneori melancolicã... Dar pisica? ªi ea face parte din personalitatea ta? Da! Mai ales ea! Chiar dacã nu e în prim plan, ea apare aproape în fiecare compoziþie, sinuoasã, strecurându-se printre personaje, agilã, curioasã, perseverentã, altã datã leneºã ºi somnoroasã, devenind un laitmotiv al lucrãrilor mele. Este simbolul pe care l-am ales instinctiv, pentru cã îmi place modul lor de viaþã, felul în care întorc aproape toate situaþiile în favoarea lor ºi dorinþa lor de a profita aproape egoist de toate plãcerile vieþii :) Am observat lucrările tale expuse în diferite forme inedite. Da, am încercat sã folosesc diferite suporturi pentru lucrãrile mele. Deoarece este vorba de lucrãri digitale, m-am gândit cã ele pot fi tipãrite pe aproape orice material, aºa cã am imprimat pânzã, hârtie, cãniþe, mouse pad-uri, dar mi-aº fi dorit ca diversitatea sã fie mai mare. Când am intrat în tipografie ºi am vãzut cum imprimã aparatele moderne am realizat cã ele reprezintã de fapt o tehnicã nouã de gravurã, iar lucrãrile care ies în serie sunt la fel de preþioase ca ºi seriile de gravurã, matriþa fiind punctul de plecare ºi cea mai importantã piesã. Aceastã idee m-a inspirat sã fac o expoziþie de artã digitalã.

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Exhibition I Expoziţie

Article: Me, Myself and Everybody Else Country: Romania Artist: Vladimir Ţăroi Author: Anca Veştemean Blog: toonyourself.blogspot.com

Supersmiley, Moldi as a snail with a BMW shield and the clock that took by surprise the visitors once in 2 hours sharp are just some of the personal memo/history elements that made the toy-story of the Me, Myself & Everybody Else exhibition. Vladimir Taroi’s Me, Myself and Everybody Else art event imploded in Brasov. It all started with levitating forms of the universal integration in the Hamsterdam’s matrix with the artist’s meditation in a public space – at the gallery. The exhibition included all Vladimir’s works, drawings, sketches, etchings, mixed media, sculptures, installations, all part of his personal mythology. It is a huge collection of well captured moments of life, steps towards an evolution of the self. The art event was opened by a performance in the form of a meditation session amongst the visitors at the Europe gallery. The battle between the dark and the good forces ended after 50 minutes of bliss and blessing to his visitors who gazed dreamy at Vladimir Taroi’s synthesized work sent and whispered by the hamsterdams, the spaceship lords and the god trinity. Vladimir is bound to be called a contemporary young and bald artist with a precious work for a 23 year old one. As he declares, „The Hamster had been struggling in the universe and at a certain point he chose me and I place it on the paper.”

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Supersmiley, melcul de Moldi cu un scut BMW şi ceasul care îi lua prin surprindere pe vizitatori la fix 2 ore sunt doar câteva dintre elementele de memo/ istorie personală care au făcut „toy-story-ul” expoziţiei Me, Myself & Everybody Else. Art event-ul lui Vladimir Ţăroi, Me, Myself and Everybody Else s-a întâmplat în Braşov. Totul a început cu o formă de levitaţie spre integrarea universală în matrix-ul Hamsterdam, cu meditaţia artistului într-un spaţiu public – la galerie. Expoziţia a inclus toate lucrările lui Vladimir, desene, schiţe, gravuri, tehnică mixtă, sculpturi, instalaţii, toate fragmente din mitologia lui personală. Este vorba despre o colecţie imensă de momente bine capturate şi de paşi spre o evoluţie a sinelui. Art event-ul a fost deschis de un performance sub forma unei sesiuni de meditaţie printre vizitatorii aflaţi la galeria Europe. Lupta dintre forţele întunericului şi cele ale binelui s-a finalizat după 50 de minute de binecuvântare a vizitatorilor care priveau visători la colecţia de sinteză a lui Vladimir Ţăroi, o lucrare ce i-a fost şoptită de trinitatea hamsterdamilor, a spaceship lords-ilor, şi a lui Dumnezeu. Vladimir poate fi considerat un tânăr artist contemporan cu o muncă valoroasă la cei 23 de ani. După cum declară: „Hamsterul se agita odată prin univers foarte tare şi la un moment dat m-a ales pe mine, iar eu l-am pus pe coală.”

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Interview I Interviu

Article: Vasile Alboiu (black moon), special guest to the events FREAKA 1 and 2 Country: Romania Author: Megatron

Vasi, before anything else, I need some landmarks. Who are the people who influence and inspire you when it comes to dolls, stop-motion animations, and design? Please, give me some examples, both from movies, and illustrations, comics or what you consider as important to be mentioned. I first watched a stop-motion movie in ‘98, I think... a friend brought me a VHS with Tim Burton’s movie, „Nightmare before Christmas”. Still, 5 or 6 years before, I had watched „Clash of the Titans”... I didn’t know then who Ray Harryhausen was. After Tim Burton, followed… also Tim Burton, with „Vincent”, which I still consider as one of the most beautiful stop-motion animation movies ever... maybe because I kept in my mind Vincent Price’s voice. Afterwards, there followed Jan Svankmajer, Jiri Trnka, Quay Brothers and DVDs bought on the Amazon and sent to a friend from England, who sent them to me in Romania... because the direct route was forbidden by the retrograde condition of my native country or by the absurdity of the foreign distributors. I first got in contact with the comic books when I was in the 2nd elementary school grade... when my brother brought me a pile of Pif magazines. I didn’t understand too much of the stories, but I loved the illustrations; that is why I began to study French. Later I bought Hugo Pratt and Jean Giraud (Moebius).

În primul rând, Vasi, am nevoie de niºte repere. Care sunt oamenii care te influenþeazã ºi te inspirã când e vorba atât de papuºi, animaþii stop cadru ºi design în genere. Te rog, dã-mi exemple atât din film, cât ºi din ilustraþie, comics sau ce consideri cã este important de menþionat. Prima datã când am vãzut un film stop-motion a fost prin ‘98 cred... un prieten mi-a adus un VHS cu „Nightmare before Christmas”, filmul lui Tim Burton. Cred cã totuºi, cu ceva vreme înainte (5-6 ani), vãzusem „Clash of the Titans”; pe-atunci nu ºtiam cine e Ray Harryhausen. Dupã Tim Burton a urmat... tot Tim Burton, cu „Vincent”, despre care ºi-acum cred cã e unul dintre cele mai frumoase filme de animaþie stop-motion; poate pentru cã vocea lui Vincent Price mi-a rãmas în minte. Au urmat Jan Svankmajer, Jiri Trnka, Quay Brothers ºi DVD-uri cumpãrate de pe Amazon ºi trimise unui prieten în Anglia, de unde mi le trimitea în România... pentru cã drumul direct era interzis de condiþia bananierã a þãrii natale sau de prostia distribuitorilor strãini. Cu banda desenatã m-am întâlnit prin clasa a 2-a cred... când fratele meu mijlociu mi-a adus un teanc de reviste Pif. N-am înþeles prea multe, da-mi plãceau ilustraþiile ºi asta m-a fãcut sã învãþ limba francezã. Mai târziu mi-am cumpãrat Hugo Pratt ºi Jean Giraud (Moebius).

Many still don’t know your works and what did you accomplish with only a few means available. I noticed that you prefer the baby dolls, little children. The broken and abandoned doll is a theme that occurs quite often. What is the role that you have given it? A director, friend of mine, once told me that the stopmotion led to autism. And he was right. I’ve been working a lot by myself, and I still do. It’s a kind of world slightly different, in which I live when I’m working on an animation. Unfortunately, in Romania there is no animation school as a whole, not to talk about a stop-motion one... such as the one in the Czech Republic; therefore I had to manage by myself, reading, researching others’ work (I bought a DVD with „Nightmare before Christmas”, the making of) and testing. Many tests: light, motion, molding. That took time. Maybe it would have been easier if I asked someone and I got an answer. I think that is how the broken doll was born... out of a test.

Mulþi încã nu ºtiu ce ai lucrat ºi ce ai reuºit sã faci cu mijloace foarte puþine. Am vãzut cã ai o preferinþã pentru pãpuºile-bebeluºi, copii mici. Pãpuºa ruptã, abandonatã, este un motiv destul de întâlnit. Ce rol are la tine? Un prieten regizor mi-a spus la un moment dat cã stop-motion-ul genereazã autism. ªi avea dreptate. Am lucrat mult timp singur ºi în continuare lucrez singur. E un soi de lume uºor aparte, în care trãiesc atunci când lucrez la o animaþie. Din pãcate, în România nu existã o ºcoalã de animaþie în general ºi cu atât mai mult una de stop-motion... aºa cum existã în Cehia de exemplu... aºa cã a trebuit sã mã descurc citind, uitându-mã la ce au fãcut alþii (mi-am cumpãrat un DVD cu making of-ul de la „Nightmare before Christmas”) ºi... testând. Multe teste... de luminã, de miºcare, de construcþie. Asta a luat timp. Probabil mi-ar fi fost mai uºor dacã aº fi întrebat pe cineva ºi mi-ar fi rãspuns. Cred cã aºa a luat naºtere ºi pãpuºa ruptã... dintr-o încercare.

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Interview I Interviu

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Please say something about Edward Gorey. I first met Edward Gorey through music; „The Gorey End”, the album released by The Tiger Lillies. Afterwards I read some of his works and finally I saw his illustrations. I loved the combination of noir humor with illustration slightly naive, but very well done. But what I liked most was the deviation towards the absurd and the surrealism with erotic shades. „The Gashlycrumb Tinies”, with the short stories about little children, is one of my favorite books, because you can read it fast and watch it a lot. „The Beastly Baby” is the story of a couple blessed with a giant baby, a veritable monster. „The Curious Sofa” tells the story of a young woman who goes through several sexual experiences, such as group sex, bondage and zoophilia, all drawn in a very naive stile, based more on suggestions than on explicit depicting. In „The Epiplectic Bicycle”, the brother and sister take a hallucinating tour around the world, riding a double bicycle.

Te rog, zi-mi ceva despre Edward Gorey. Pe Edward Gorey l-am întâlnit prima datã... prin muzicã; „The Gorey End”, albumul scos de The Tiger Lillies. Dupã care am citit ceva scris de el ºi într-un final am vãzut ilustraþiile. Mi-a plãcut foarte tare combinaþia de umor negru cu ilustraþie uºor naivã, însã foarte bine fãcutã. ªi cred cã ºi mai mult mi-a plãcut deviaþia spre absurd ºi suprarealism puþin erotic. „The Gashlycrumb Tinies”, cu povestioarele scurte despre copilaºi, e una dintre cãrþile mele preferate... pentru cã se citeºte repede ºi se priveºte mult. „The Beastly Baby” e povestea unui cuplu care e binecuvântat cu un copilaº enorm., un adevãrat monstru. „The Curious Sofa” e povestea unei tinere care traieºte mai multe experienþe sexuale, trecând prin sex în grup, bondage ºi zoofilie...toate desenate într-un stil naiv ºi lãsând mai mult sã se înþeleagã decât dezvãluind exact. În „The Epiplectic Bicycle”, frate ºi sorã urmãresc un parcurs total halucinant prin toatã lumea... cãlare pe o bicicletã dublã.

When and since what age have you been concerned with these things? Many persons associate them with the dark area, a kind of dark side of pop. What do you think it is the connection between fairytales, which originally could be very gory, and the contemporary culture? I’ve been making stop-motion since 2000; nevertheless, while I was still in school, I was drawing and sometimes I was making short computer animations. Not necessarily dark, but rather a different kind of approach. And I say this because many associate „dark” with something harmful. It’s not like that at all. It’s only a less explored and a less exploited territory. I admit that this makes it a bit strange. But I don’t think it’s enough to make it harmful. I love fairytales. I bought a complete and unabridged edition of Christian Andersen’s fairytales and when I have some spare time I read them or read them again. Some of them are, at least at the first glance, extremely sad („The Little Match Girl”). In the contemporary

Când ºi la ce vârstã au început sã te preocupe lucrurile astea? Pentru mulþi, ele sunt asociate cu o zonã dark, un fel de dark side of pop. Ce legaturã crezi cã au basmele, care puteau fi cât se poate de sângeroase în versiunea lor iniþialã, cu cultura contemporanã? Stop-motion am început sã fac prin 2000, cu toate cã înainte, din ºcoalã, desenam, dupã care uneori fãceam animaþii scurte pe computer. Nu e neapărat o zonã dark, cât o altfel de zonã. ªi spun asta pentru cã mulþi asociazã „zona dark” cu ceva nociv. Nu e deloc aºa. E un teritoriu mai puþin explorat ºi exploatat. Asta îl face uºor ciudat, recunosc. Însã nu cred cã e suficient sã-l facã nociv. Îmi plac basmele. Am reuºit sã cumpãr o ediþie completã a basmelor lui Christian Andersen ºi de câte ori am timp citesc sau recitesc. Unele sunt, în aparenþã cel puþin, extrem de triste („Fetiþa cu chibrituri”). În cultura contemporanã violenþa se exclude cât mai mult. Din pãcate, totul e dus spre o zonã de „corectitudine” exageratã.

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culture, the violence is more and more excluded. Unfortunately, everything is pushed towards an area of exaggerated „correctness”. A few centuries ago, there were fantastic creatures that used to eat, devour or dismember the humans. And that’s because violence was a daily reality. Now, when we attempt to be as straightforward, correct, good and beautiful as possible, we regard the smallest act of violence as a menace to the inside peace and welfare. Maybe we should learn more from the Japanese. What do you think can scare us today? What would be the fears that could affect our daily life? Do you think that the ancient fears still survive? I think that nowadays we are scared of the lack of a parking lot, of an old car, of a one-room apartment in the outskirts of the city, and of a wage under 1000 euro. Nobody is scared anymore of Boogie Man, of ghosts, vampires or witches. Children are scared if they don’t see Ronald McDonalds or if the TV is out of order and they miss the favorite episode of „Ben 10”. The ancient fears are still surviving somewhere on the edge of contemporary culture. They are hidden in tents and feed from the leftovers of Barbie and Ken. I think that fear changes with times. Fortunately, there are some people who are still trying to keep the ancient fears alive.

Acum câteva sute de ani, în basme existau creaturi fantastice care mâncau, înghiþeau, sfârtecau oamenii. ªi asta pentru cã violenþa era o realitate cotidianã. Acum, când încercãm sã fim cât mai drepþi, corecþi, buni ºi frumoºi, vedem în cel mai mic act de violenþã un atentat la pacea ºi bunãstarea interioarã. Poate ar fi bine sã ne uitãm mai mult la japonezi. Ce crezi cã ne mai sperie azi? Care ar fi temerile care ne afecteazã în viaþa de zi cu zi? Mai supravieþuiesc fricile ancestrale? Acum cred cã ne sperie lipsa unui loc de parcare, o maºinã veche, o garsonierã la periferie ºi un salariu sub 1000 de euro. Nimeni nu se mai sperie de BauBau, de strigoi, moroi sau vrãjitoare. Copiii se sperie dacã nu-l vãd pe Ronald McDonalds sau dacã nu merge televizorul ºi pierd episodul preferat din „Ben 10”. Fricile ancestrale supravieþuiesc undeva la limita culturii contemporane. Stau în corturi ºi se hrãnesc din resturile rãmase de la Barbie ºi Ken. Cred cã frica se schimbã odatã cu vremurile. Din fericire, sunt unii oameni care încearcã sã menþinã fricile vechi în viaþã.

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KAIDAN

22 – 100 ONE HUNDRED POE, HOKUSAI 1760-1849, JAPAN. The original poem: Since tis by its breath / Autumn s leaves of grass and trees / Riven are and waste, / Men may to the mountain wind / Fitly given the name, / The Wild.

Article: Kaidan: Traditional Japanese Ghost Tales and Japanese Horror Film Country: USA Artists: Scott David Foutz Web: sarudama.com

Fans of contemporary Japanese horror, whether in film or manga, have likely run across the term Kaidan or Kwaidan describing certain tales within many volumes of translated works available. The term refers to century-old, traditional ghost tales reflecting core superstitions of pre-Westernized Japan. The term is used sparingly in book and film titles, usually only by authors and directors who wanted to create the atmosphere of an old-time ghost story. But in many recent Japanese horror films, the influence of Kaidan comes through very strongly. What is Kaidan? In Japanese, the term Kaidan literally means „supernatural tale”. During Japan’s Edo Era (1603 - 1868) the term became widespread through a popular party game called Hyakumonogatari Kaidankai („Gathering of One Hundred Supernatural Tales”). In the game participants would try to tell 100 ghost stories in the hope of causing a ghostly

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Fanii horrorului contemporan japonez, fie cã este vorba de film sau manga, au întâlnit cu siguranþã termenul Kaidan sau Kwaidan cu referire la anumite poveºti din numeroasele volume traduse disponibile. Termenul semnificã vechile poveºti tradiþionale cu fantome, care reflectã superstiþiile strãvechi ale Japoniei pre-occidentalizate. Termenul se foloseºte rareori în titluri de carte sau film, de obicei doar de cãtre autorii ºi regizorii care doresc sã creeze atmosfera unei poveºti cu fantome din alte vremuri. Însã în multe filme horror japoneze recente, influenþa Kaidan devine din ce în ce mai puternicã. Ce este Kaidan? În japonezã, termenul Kaidan înseamnã (literal) „poveste supranaturalã”. În perioada Edo a Japoniei (1603 - 1868), termenul s-a rãspândit printr-un joc de petrecere popular, denumit Hyakumonogatari Kaidankai („Adunarea celor o sutã de poveºti supranaturale”). În timpul jocului, participanþii încearcã sã


apparition to appear. Of course, it was very hard to remember 100 stories and so the demand for books and pamphlets dedicated to Kaidan emerged. These printed collections of Kaidan were circulated widely throughout Japan, creating a new literary genre focusing specifically on supernatural stories and enabling party-goers to prepare in advance for their Hyakumonogatari events.

spunã 100 de poveºti, sperând sã determine apariþia unei fantome. Desigur, era greu sã-þi aminteºti 100 de poveºti, aºa cã a apãrut cererea de cãrþi ºi pamflete Kaidan. Colecþiile Kaidan tipãrite au avut o circulaþie largã în toatã Japonia, creând un nou gen literar, orientat în mod specific cãtre poveºtile supranaturale ºi permiþând petrecãreþilor sã se pregãteascã dinainte pentru evenimentele Hyakumonogatari.

In order to meet the demand of the public’s increasing appetite for new and surprising tales, authors sought out scary tales from throughout even the remote regions of Japan to find strange or unusual material. Gradually, Kaidan contained supernatural stories with a specific geographical component or uniquely local details from various regions throughout Japan. In many cases Kaidan also contain specific, historical references to major events such as tragic battles amongst warring samurai. These important events were also depicted in early Noh and Bunraku plays, making them familiar to even the earliest of Kaidan audiences. For this reason, several scholars believe that many of the stories within these Kaidan collections are in older than the Edo Era and represent more ancient superstitions and legends.

Pentru a satisface apetitul din ce în ce mai mare al publicului pentru poveºti noi ºi suprinzãtoare, autorii cãutau poveºti de groazã peste tot, chiar ºi în regiunile cele mai izolate ale Japoniei, în dorinþa de a gãsi materiale stranii sau neobiºnuite. Treptat, Kaidan începea sã includã poveºti supranaturale cu componente geografice specifice sau cu detalii locale unice, din regiuni diverse ale Japoniei. În multe cazuri, Kaidan conþinea referinþe specifice, istorice, la evenimente importante, cum ar fi bãtãliile tragice dintre samuraii în rãzboi. Aceste evenimente importante erau înfãþiºate ºi în piesele Noh ºi Bunraku de început, fiind prezentate primilor spectatori Kaidan. Din acest motiv, mulþi erudiþi considerã cã multe dintre poveºtile din aceste colecþii Kaidan dateazã dinaintea perioadei Edo ºi reprezintã superstiþii ºi legende mai strãvechi.

Kaidan were introduced for the first time in the West three centuries later with the publication of Lafcadio Hearn’s „Kwaidan” in 1901. Hearn was an incredibly valuable source of information into 19th century Japanese culture and his many books are in fact the first widely published Western accounts of Japan during his time. His collection of traditional Japanese ghost tales entitled „Kwaidan” is seen as the first introduction of Japanese superstition to European and American audiences. The different spelling of the term „Kwaidan” resulted from his attempt to Romanize the Japanese word „Kaidan” for his book’s title. He decided on „Kwaidan”, an English alternative which persists to this day.

Kaidan a ajuns prima datã în cultura vesticã trei secole mai târziu, în 1910, odatã cu publicarea volumului „Kwaidan” al lui Lafcadio Hearn. Hearn era o sursã de informaþie cu o valoare incredibilã privind cultura japonezã a sec.XIX, iar numeroasele sale cãrþi sunt de fapt primele istorisiri vestice publicate despre Japonia în acea vreme. Colecþia sa de poveºti japoneze tradiþionale cu fantome, denumitã „Kwaidan”, este consideratã ca fiind introducerea superstiþiei japoneze în rândul publicului european ºi american. Ortografierea diferitã a cuvântului „Kwaidan” provine din încercarea sa de a romaniza cuvântul japonez Kaidan, pentru titlul cãrþii sale. S-a oprit asupra variantei „Kwaidan”, o alternativã englezeascã folositã ºi astãzi.

Classic Kaidan in Japanese film From the description above, you can see that the term Kaidan refers primarily to very old, traditional Japanese ghost tales with specific geographical and political elements. These stories have been told and retold for generations to the point that most contemporary Japanese audiences are thoroughly familiar with them. Unsurprisingly, these classic supernatural stories became a very frequent source for Japanese horror in the modern era.

Kaidan-ul clasic în filmul japonez Din descrierea de mai sus, se observã cã termenul Kaidan face trimitere în primul rând la poveºtile tradiþionale japoneze cu fantome, foarte vechi, cu elemente geografice ºi politice specifice. Aceste poveºti au fost spuse timp de generaþii întregi, pânã în punctul în care o mare parte din publicul japonez contemporan a ajuns să fie foarte familiarizat cu ele. În mod firesc, aceste poveºti supranaturale clasice au devenit o sursã frecventã pentru horrorul japonez modern.

During the Edo Era a well known collections of Kaidan was written by author Asai Ryoi entitled „Nursery Tales” (Otogi Boko, 1660). It contained

În timpul perioadei Edo, Asai Ryoi a scris o binecunoscutã colecþie Kaidan, intitulatã „Poveºti pentru copii” (Otogi Boko, 1660). Conþinea povestea

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KAIDAN

the story of Botan Doro („Peony Lantern”), perhaps originally based on a Chinese tale but repeated and refined by subsequent Japanese authors such as Sanyutei Encho (1839 - 1900) and Lafcadio Hearn. Its widespread popularity resulted in its being one of the first ghost tales to be depicted in Japanese cinema with a silent picture version as early as 1910 and several differing versions in the following decades. A translated Western version was released much later with director Masaru Tsushima’s 1998 film „The Haunted Lantern”. In 1776 author Akinari Ueda wrote a three story collection of Kaidan entitled Ugetsu Monogatari upon which the ground-breaking 1953 film by director Kenji Mizoguchi is based. I’ve personally reviewed Japanese horror films for many years and have yet to find a decent parallel for Mizoguchi’s historical depiction of Edo Era fear and superstition. If you haven’t already, this is a film you should definitely see for yourself. Perhaps the most beloved Kaidan tale is Yotsuya Kaidan is based on the nationally beloved story of the Chushingura, an actual historical episode constituting one of Japan’s favorite samurai stories. Better known in the West as the story of the „47 Ronin”, it involves an extensive plot of revenge enacted by 47 samurai whose leader was ordered to commit seppuku after attempting to kill an oppressive rival in 1710. On December 14, 1702, the 47 ronin stormed the rival’s palace and exacted their long awaited revenge, knowing full well that each would be punished by death for their participation. This tale has long been a favorite of Japanese artists, authors and producers. As early as 1748, Takeda Izumo II wrote „Chushingura,” originally a Bunraku play to memorialize the heroic samurai. In 1825 Tsuruya Nanboku wrote Yotsuya Kaidan, a (fictitious) ghost story taking place within the context of the Chushingura tale. (The term „Yotsuya” refers to the geographic region of the historical incident.) Since then, this tale has been adapted to film in over 30 versions making it the most frequently re-told tale in Japanese cinematic history. Several very good subtitled versions of this tale have been available on DVD for quite a while. In 1964 Masaki Kobayashi directed a film entitled „Kwaidan” based specifically on Lafcadio Hearn’s 1910 collection. The film is an excellent depiction of four traditional tales including the very important and well-known stories of „Hoichi the Earless” and „Snow Woman” (Yuki Onna). This film has been available to

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Botan Doro, probabil inspiratã dintr-o poveste chinezã, dar repetatã ºi ºlefuitã de autori japonezi de mai târziu, cum ar fi Sanyutei Encho (1839 - 1900) ºi Lafcadio Hearn. Popularitatea sa imensã a transformat-o într-una dintre primele poveºti cu fantome transpuse pe marile ecrane japoneze, cu o versiune de film mut în 1910 ºi mai multe variante în deceniile urmãtoare. Versiunea vesticã tradusã a fost lansatã mult mai târziu, odatã cu „The Haunted Lantern”, filmul din 1998 al regizorului Masaru Tsushima. În 1776, autorul Akinari Ueda scria o colecþie de trei poveºti Kaidan, denumitã Ugetsu Monogatari¸ dupã care a fost fãcut filmul de succes din 1953 al regizorului Kenji Mizoguchi. Personal, am fãcut recenzia multor filme horror japoneze de-a lungul anilor ºi încã nu am gãsit ceva comparabil cu modul în care filmul lui Mizoguchi a reprodus frica ºi superstiþiile perioadei Edo. Dacã nu l-aþi vãzut încã, acesta e un film pe care nu trebuie sã-l rataþi. Poate cã cea mai iubitã poveste Kaidan este Yotsuya Kaidan, bazatã pe povestea de mare succes naþional Chushingura, un episod istoric real care constituie una dintre poveºtile cu samurai preferate ale Japoniei. Cunoscutã în vest sub numele de „47 Ronin”, aceasta are ca subiect rãzbunarea a 47 de samurai al cãror conducãtor este obligat sã-ºi facã seppuku, dupã ce încercase sã-l ucidã pe un rival opresiv, în 1710. La 14 decembrie 1702, cei 47 ronin invadeazã palatul rivalului ºi îºi duc la îndeplinire mult aºteptata rãzbunare, fiind conºtienþi cã pe toþi îi va aºtepta pedeapsa cu moartea. Aceastã poveste a fost întotdeauna printre preferatele artiºtilor, autorilor ºi producãtorilor japonezi. Încã din 1748, Takeda Izumo II a scris „Chushingura,” iniþial o piesã Bunraku, în cinstea eroilor samurai. În 1825, Tsuruya Nanboku a scris Yotsuya Kaidan, o poveste (fictivã) cu fantome, care are loc în contextul poveºtii Chushingura. (Termenul „Yotsuya” face referire la regiunea geograficã a întâmplãrii istorice). De atunci, aceastã poveste a fost transpusã în film în peste 30 de versiuni, devenind povestea cea mai folositã în istoria cinematografiei japoneze. Astãzi sunt disponibile pe DVD mai multe versiuni foarte bune, traduse, ale acestei poveºti. În 1964, Masaki Kobayashi a regizat un film denumit „Kwaidan”, având ca sursã de inspiraþie colecþia din 1910 a lui Lafcadio Hearn. Filmul e o prezentare excelentã a patru poveºti tradiþionale, inclusiv foarte cunoscutele „Hoichi the Earless” ºi „Snow Woman” (Yuki Onna). Acest film a fost prezentat publicului vestic într-o versiune subtitratã ºi este cu siguranþã


YUUTEN, HOKUSAI 1760-1849, JAPAN. The buddhist priest, Yuuten. Faces the grudging soul of a woman who had the misfortune to be born so ugly that her later husband murdered her. Now she is one of the most famous ghosts in Japan, the country of all kinds of admirable cherry blossoms.


KAIDAN

Western audiences in a subtitled version for quite a while and is definitely something you should see if you are unfamiliar with these classic Kaidan tales.

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ceva ce ar trebui sã vedeþi dacã nu cunoaºteþi prea bine clasicele poveºti Kaidan.

One of the lesser known but recently important collectors of Edo Era Kaidan was a simple prison guard. A high ranking samurai named Negishi Shizue began collecting the local ghost stories he encountered amongst prisoners under his guard as he was stationed throughout Japan. Over time, his collection eventually contained more than 1000 ghostly tales from throughout the Japanese Islands which he eventually published in a huge, ten-volume anthology entitled Mimi Bukuro, or „Bag of Ears”.

Unul dintre colecþionarii mai puþin cunoscuþi (dar a cãrui importanþã a fost recunoscutã recent) de Kaidan în perioada Edo era un simplu paznic de închisoare. Un samurai de rang înalt, pe nume Negishi Shizue, a început sã colecþioneze poveºtile locale cu fantome, pe care le auzea de la prizonierii pe care îi pãzea în diverse locuri din Japonia în care îºi efectua serviciul. În timp, colecþia sa a însumat peste 1000 de poveºti cu fantome, din toate insulele japoneze, publicândule într-o antologie imensã, de zece volume, intitulatã Mimi Bukuro.

The title of Negishi’s collection, Mimi Bukuro, recently entered contemporary Japanese mainstream with a long running series entitled Shin Mimi Bukuro Kaidan („New Ghostly Tales: Bag of Ears”). This popular 4-year series, broadcast on national Japanese television and made into several film releases, focused on local ghost tales from throughout Japan in the same manner Negishi’s original collection had, with the important difference that the tales in the new broadcast were recently collected contemporary ghost tales. Several subtitled versions from this series have already been released in the West under the title „Tales of Terror from Tokyo”.

Titlul colecþiei lui Negishi, Mimi Bukuro, a intrat recent în prim-planul japonez, odatã cu seria de lung metraj Shin Mimi Bukuro Kaidan („Noile poveºti cu fantome: Punga cu urechi”). Acestã serie popularã a fost difuzatã timp de 4 ani la postul naþional japonez de televiziune ºi a inspirat mai multe filme care trateazã poveºtile locale cu fantome, din toatã Japonia, în acelaºi mod ca volumul iniþial al lui Negishi, cu diferenþa importantã cã poveºtile din noile producþii reprezintã colecþii contemporane de poveºti cu fantome. Mai multe versiuni traduse au apãrut deja în vest, sub titlul „Tales of Terror from Tokyo” (Poveºti de groazã din Tokyo).

Contemporary Kaidan? By definition, Kaidan are generally understood as traditional tales but many recent horror films and series have sought to create a more contemporary face. Some popular alternative titles include Honto ni Atta! („True Happenings!”) or Kowai Hanashi („Scary Stories”). Under these, a huge wave of contemporary tales has been released, several of which are already available in the West. Though all contemporary tales, each one retains the basic Kaidan formula of a geographically specific tale depicting core Japanese superstitions and beliefs.

Kaidan contemporan? Prin definiþie, Kaidan reprezintã în general poveºti tradiþionale, dar multe dintre filmele ºi seriile horror recente încearcã sã genereze un aspect mai contemporan. Câteva titluri alternative populare includ Honto ni Atta! („Întâmplãri adevãrate!”) sau Kowai Hanashi („Poveºti de groazã”). În acest fel au fost lansate un val de poveºti contemporane, multe dintre ele fiind deja disponibile în vest. Chiar dacã toate sunt poveºti contemporane, fiecare pãstreazã formula Kaidan de bazã, aceea a unei poveºti cu specific geografic, care prezintã vechi superstiþii ºi credinþe japoneze.

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The 2007 film „Carved” (Kuchisake Onna) by director Kôji Shiraishi is an example of a „contemporary” Kaidan. It is based on a well-known modern urban legend originating in a specific local geographical district. It is a story which nearly all Japanese audiences are already familiar with but has been depicted here for the first time in film by director Shiraishi. This is already released in a subtitled version so check it out.

Filmul „Carved” (Kuchisake Onna), din 2007, al regizorului Kôji Shiraishi, este un exemplu de Kaidan contemporan. Are la bazã o binecunoscutã legendã urbanã modernã, cu originea într-o zonã geograficã distinctã. Este o poveste cu care aproape tot publicul japonez este familiar, dar aici a fost transpusã pentru prima datã în film de cãtre regizorul Shiraishi. A apãrut deja în versiunea tradusã, aºa cã meritã sã-l încercaþi.

Director Yoshihiro Hoshino’s 2004 film entitled „Cursed” tells a far less familiar contemporary urban. From start to finish this tale has a very modern feel to it, but all the classic Kaidan elements are present if you are looking for them. Even the genrebusting J-Horror films such as Hideo Nakata’s „Ring” or Takashi Shimizu’s „Ju-On” have been said to borrow from the historical Kaidan formula with their geographically-based ghost stories which begin as localized urban legends and then spread as victims of the horror increase.

Filmul din 2004 al regizorului Yoshihiro Hoshino, intitulat „Cursed”, relateazã o legendã urbanã mult mai puþin cunoscutã. De la început ºi pânã la sfârºit, povestea e încãrcatã de modernism, însã toate elementele clasice Kaidan sunt prezente. Chiar ºi filmele de rãsunet ale genului J-Horror, cum ar fi „Ring” al lui Hideo Nakata sau „Ju-On” al lui Takashi Shimizu, au împrumutat ceva din formula Kaidan istoricã, prin poveºtile cu fantome cu specificitate geograficã, începând ca legende urbane ºi rãspândite ca victime pe mãsurã ce groaza creºte.

Japanese horror clearly has a long-running fascination with local stories of the supernatural and this trend does not seem to have any end in sight. In many cases these recent films follow the wellestablished pattern of Kaidan while incorporating contemporary ghosts and victims. Whether or not the word „Kaidan” appears explicitly in the titles is perhaps no longer important. The critical element is that these films continue to convey Japan’s ancient, Shinto-based perspective on the supernatural realm, malevolent spirits, and the god-like entities occupying earth, water, mountains and trees.

Horrorul japonez are cu siguranþã o fascinaþie îndelungatã, cu poveºtile sale supranaturale, iar aceastã tendinþã nu pare a se apropia de o linie de final. În multe cazuri, filmele recente urmãresc modelul Kaidan înrãdãcinat, încorporând fantome ºi victime contemporane. Apariþia explicitã a cuvântului „Kaidan” în titluri nu mai mare importanþã. Ceea ce conteazã este cã aceste filme continuã sã transmitã perspectiva japonezã strãveche, bazatã pe credinþa Shinto, asupra supranaturalului, a spiritelor malefice ºi a zeitãþilor care trãiesc pe pãmânt, în apã, în munþi ºi în copaci.

AUTHOR INFORMATION: Scott David Foutz teaches courses in World Religions and computer technology at a university in Chicago, Illinois USA. He is also webmaster of SaruDama.com, a website dedicated to Japanese history, superstition, religion and horror.

DESPRE AUTOR: Scott David Foutz predã cursuri de Religiile Lumii ºi tehnologia computerului la o universitate din Chicago, Illinois S.U.A. Este ºi webmaster al SaruDama.com, un site Web dedicat istoriei, superstiþiilor, religiei ºi horrorului japonez.

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Kaidan Stories / Poveşti Kaidan

URABE-NO-SUETAKE AND UBUME, HOKUSAI 1760-1849, JAPAN. Urabe-no-suetake is a courageous man. One night he meets the ghost of a woman, whose name is Ubume. She begs him to hold her baby. So he holds the baby and she desapared. He goes back to his people. And as he wanted to show the baby, he notices, that he has only a bunch of dry leaves in his hands.

The fantastic, the occult, and the supernatural have fascinated people in all parts of the world and at all times. The Japanese are no exception and drew on the rich traditions of the fantastic found in China as well as in Buddhist lore to make a distinctive contribution. They have identified and classified a rich variety of ghosts, demons, transformed creatures, and the like. Included among them are famous ghosts (which include the spirits of people wronged by those they trusted), long-nosed and flying creatures, as well as a set of mischievous beings who take on the guise of common animals. Finally, fantastic creatures can appear as substitutes for social or political maladies that afflict society. The development of woodblock printing enabled Japanese artists to generate images for a mass market. This encouraged them to imagine and depict any number of strange, unusual, and fantastic creatures that can be simultaneously engaging and disturbing to the viewer.

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Fantasticul, ocultul ºi supranaturalul i-au fascinat pe oameni oriunde ºi în toate timpurile. Japonezii nu fac excepþie; s-au inspirat din bogatul folclor al fantasticului chinez ºi din tradiþia budhistã, aducând o contribuþie distinctã. Au identificat ºi clasificat o varietate imensã de fantome, demoni, creaturi transformate ºi altele asemenea. Printre ele, faimoase sunt fantomele (care reprezintã spiritele celor cãrora le-au fãcut rãu persoanele dragi), creaturile cu nas lung sau care pot zbura, dar ºi o serie de creaturi rãuvoitoare, care iau forma animalelor. În sfârºit, creaturile fantastice pot apãrea ca imagini alegorice ale maladiilor politice ºi sociale care afecteazã societatea. Dezvoltarea gravurii în lemn le-a permis artiºtilor japonezi sã creeze imagini pentru o piaþã de masã. Acest lucru i-a încurajat sã-ºi imagineze ºi sã înfãþiºeze un numãr nelimitat de creaturi stranii, neobiºnuite ºi fantastice, care pot fi deopotrivã intrigante ºi tulburãtoare pentru spectator.

HOKUSAI’S GHOULISH MASTERPIECES

CAPODOPERELE BÂNTUITE ALE LUI HOKUSAI

Katsushika Hokusai (1760-1849) is known for several masterworks, but perhaps one of the rarest and most intriguing is this set of five fantastic subjects

Katsushika Hokusai (1760-1849) e cunoscut pentru multe capodopere, dar poate cã cea mai rarã ºi cea mai intrigantã este setul de cinci subiecte fantastice

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from his series, One Hundred Tales (Hyaku monogatari). The set owned by the Library of Congress is in album form, which has served to protect the prints from deterioration for over a century.

OBSESSION (SHÛNEN)

din seria sa O sutã de poveºti (Hyaku monogatari). Acest set, aflat în proprietatea Bibliotecii Congresului, este sub formã de album, aceastã metodã contribuind la protejarea gravurilor împotriva deteriorãrii pentru mai mult de un secol.

In Hokusai’s time, a person’s obsessive feelings of jealousy were believed to continue beyond the grave. The vengeful spirit was thought to return to this world in the form of a snake or serpent. Hokusai’s print on the notion of „obsession” depicts a snake wrapped around a memorial tablet (ihai), customarily placed in the Buddhist altar for worship at home.

OBSESIE (SHÛNEN)

THE PLATE MANSION (SARA-YASHIKI)

CASA FARFURIILOR (SARA-YASHIKI)

The legend of Okiku tells the story of a maid who, after breaking one of a set of precious Korean plates, was bound and thrown down a well by her master. The tale was told throughout Japan in a great variety of forms, the most popular version established in 1795, when Japan suffered an infestation of a type of worm found in old wells that became known as the „Okiku bug” (Okiku mushi). This worm, covered with thin threads making it look as though it had been bound, was widely believed to be a reincarnation of Okiku.

Legenda lui Okiku prezintã povestea unei servitoare care, dupã ce sparge un set de farfurii coreene preþioase, e legatã ºi aruncatã într-o fântânã de cãtre stãpânul ei. Povestea a circulat în toatã Japonia într-o mare diversitate de forme, versiunea cea mai popularã fiind cea din 1795, când Japonia a fost infestatã cu un tip de vierme care locuia în fântânile vechi, devenind cunoscut ca „gândacul Okiku” (Okiku mushi). Acest vierme, acoperit cu peri fini, care dãdeau impresia cã ar fi fost legat, a fost considerat reîncarnarea lui Okiku.

În vremea lui Hokusai se credea cã gelozia obsesivã a unei persoane continuã ºi dincolo de mormânt. Spiritul rãzbunãtor se întorcea în lumea celor vii sub forma unui ºarpe. Gravura lui Hokusai având ca subiect „obsesia” înfãþiºeazã un ºarpe încolãcit în jurul unei plãci memoriale (ihai), amplasatã în mod tradiþional în altarul budhist pentru comemorarea de acasã.

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Kaidan Stories / Poveşti Kaidan

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KOHADA KOHEIJI

KOHADA KOHEIJI

In this tale based on an actual event, Koheiji was killed by his wife and her lover. As revenge he returns to haunt the couple while they are in bed together inside mosquito netting. The writer Santô Kyôden, also known as the Ukiyo-e artist Kitao Masanobu, developed the Koheiji story in his 1803 novel, Bizarre Tale of Revenge at Asaka Marsh (Fukush kidan Asaka-numa). In 1808, the story was told on the kabuki stage, where it was an immediate hit.

În aceastã poveste, care are la bazã un fapt real, Koheiji este ucis de soþia lui ºi de amantul acesteia. Ca rãzbunare, el se întoarce sã-i bântuie pe cei doi în timp ce aceºtia sunt în pat, în interiorul unei plase de þânþari. Scriitorul Santô Kyôden, cunoscut ºi ca artist Ukiyo-e sub numele de Kitao Masanobu, a dezvoltat povestea Koheiji în romanul sãu din 1803, „O poveste stranie a rãzbunãrii la mlaºtina Asaka (Fukush? kidan Asaka-numa). În 1808, povestea a fost redatã pe scena kabuki, având un succes imediat.

THE LAUGHING HANNYA (WARAI-HANNYA)

WARAI-HANNYA

In this image, Hokusai combines the visage of two demons, a hannya--a woman who was believed to change because of deep-seated jealousy, into a demon--and a yamanba (also, yamauba, „mountain woman”)--a demon believed to devour infants brought to the mountains. In this ghastly portrait, the hannya/yamauba is shown reveling in her demonic meal of a live infant.

În aceastã imagine, Hokusai combinã figura a doi demoni: un hannya (o femeie despre care se credea cã s-a transformat în demon din cauza unei gelozii adânci) ºi un yamanba sau yamauba – „femeie de munte” (un demon care devora copiii aduºi în munþi). În acest portret straniu, hannya/yamauba este prezentat savurându-ºi masa demonicã: un copil viu.

OIWA (OIWA-SAN)

OIWA (OIWA-SAN)

Oiwa suffers facial disfigurement after being poisoned by her husband. She dies after going insane, and returns in various forms--particularly that of a paper lantern--to haunt him.

Oiwa suferã desfigurãri faciale dupã ce este otrãvitã de soþul ei. Înnebuneºte ºi moare, dar se întoarce sub diverse înfãþiºãri, mai ales sub cea a unui felinar din hârtie, pentru a-l bântui.

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YOSHITOSHI’S ONE HUNDRED GHOSTS This print is based on the tenth-century story of Princess Taki-yasha, who used witchcraft to avenge the death of her father. Minamoto no Yorinobu, head of the loyalist forces, sent his lieutenant Ôya Tarô Mitsukuni, seen here, to quell any remaining resistance. In the upper right corner of the print the inscription by the famous writer, Kanagaki Robun (1829-1894), reads: The person who sits calmly without losing his wits, looking at the forms of one hundred battling skeletons in the ruined palace at Sôma, is Yorinobu’s fearless vassal. The magic, which was intended as a plot to test his strength of will and bring him over to the other side, was the product of Prince Hei’s (Taira no Masakado’s) daughter, Princess Taki-yasha’s, witchcraft.

A HUNDRED GHOST STORYTELLING SESSION In this woodblock-printed book by the gifted Meiji artist Kawanabe Kyôsai (1831-1889), the tradition of telling ghost stories is shown. On certain nights, especially in the summer, people gather together to tell ghost stories by the light of one hundred string wicks burning in an oil lamp. As each story is told, one of the wicks is extinguished, thus making the

CELE O SUTà DE FANTOME ALE LUI YOSHITOSHI Aceastã gravurã are la bazã o poveste din sec. X, cea a prinþesei Taki-yasha, care folosea vrãjitoria pentru a rãzbuna moartea tatãlui ei. Minamoto no Yorinobu, comandantul forþelor loialiste, îºi trimite locotenentul, pe Ôya Tarô Mitsukuni, sã zdrobeascã rezistenþa. În colþul din dreapta sus al gravurii se poate citi inscripþia faimosului scriitor Kanagaki Robun (1829-1894): Acela care îºi pãstreazã calmul, fãrã sã-ºi piardã isteþimea, privind la formele celor o sutã de schelete din bãtãlia de la palatul în ruinã de la Sôma, este vasalul fãrã fricã al lui Yorinobu. Magia, care avea ca scop sã-i încerce puterea voinþei ºi sã-l atragã de cealaltã parte, era produsul vrãjitoriei fiicei prinþului Hei (Taira no Masakado), prinþesa Taki-yasha.

ÎNTÂLNIREA CELOR O SUTÃ DE POVEŞTI CU FANTOME Acest volum de gravuri al talentatului artist Kawanabe Kyôsai (1831-1889; Meiji) prezintã tradiþia depãnatului de poveºti cu fantome. În anumite nopþi, mai ales vara, oamenii se strâng ºi spun poveºti cu fantome, la lumina a o sutã de fitile care ard într-o lampã. Dupã fiecare poveste spusã, un fitil este stins,

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Kaidan Stories / Poveşti Kaidan

room darker and darker. At the conclusion of the hundredth story, the room is thrown into darkness and a spirit is said to appear.

încãperea devenind din ce în ce mai întunecatã. Când ultima poveste se încheie, camera este cufundatã în beznã ºi se spune cã atunci apare un spirit.

A JAPANESE ABOMINABLE SNOWMAN

UN OM AL ZÃPEZILOR JAPONEZ

This scene from a nineteenth-century book of ghastly tales illustrated by Takehara Shunsen (1762-ca.1830), depicts an illustration of a creature Yama-chichi. This creature inhales people’s breath while they are sleeping and pounds their chest until they are absolutely dead. However, if it happens to rouse its victim’s companion, then the victim will be blessed with long life. It is said that many live in Michinoku Province.

Aceastã scenã, dintr-un volum de secol XIX de povestiri cu fantome, ilustrat de Takehara Shunsen (1762-ca.1830), înfãþiºeazã imaginea unei creaturi aplecate deasupra unui cãlãtor, cu explicaþia urmãtoare: Yama-chichi: aceastã creaturã soarbe suflul oamenilor când aceºtia dorm ºi le zdrobeºte pieptul pânã când mor. Însã, dacã tovarãºul victimei se trezeºte, atunci victima are parte de viaþã lungã. Se crede cã cei mai mulþi trãiesc în provincia Michinoku.

AFTER HOURS BACKSTAGE AT THE PUPPET THEATER The puppet theater, known as bunraku, developed its current form early in the eighteenth century. Ghosts and scary tales abound in these plays. The eerie mood of this image suggests these puppets will continue their atrocities long after the lights have gone out and the audience has returned home. The two figures shown here, engaged in a life-and-death struggle, are identified as the infamous villain Kô no Moronao and the lord of the forty-seven rônin, En’ya Hangan, as they are known in the stage versions of the real-life vendetta.

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ÎN CULISE LA TEATRUL DE MARIONETE Teatrul de marionete, cunoscut ca bunraku, a ajuns la forma curentã încã din sec. XVIII. În aceste piese abundã fantomele ºi poveºtile înspãimântãtoare. Atmosfera sinistrã a acestei imagini sugereazã faptul cã marionetele îºi vor continua atrocitãþile ºi dupã ce luminile scenei se sting, iar spectatorii se întorc acasã. Cele douã figuri prezentate aici, prinse într-o confruntare pe viaþã ºi pe moarte, au fost identificate ca fiind rãufãcãtorul Kô no Moronao ºi stãpânul celor 47 de rônin, En’ya Hangan, aºa cum erau cunoscuþi în versiunile de scenã ale vendettei reale.


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Kaidan Manga

Profile: Kazuo Umezu Country: Japan Web: umezz.com

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Kazuo Umezu (born in 1936) is a leading horror manga artist. „Hyouryuu Kyoushitsu” is the story of a group of elementary school students, and their struggle to survive after they are mysteriously transported through time to an unknown world, due to an earthquake.

Kazuo Umezu (născut în 1936) e unul dintre cei mai importanþi artiºti de horror manga. „Hyouryuu Kyoushitsu” e povestea unui grup de elevi de ºcoalã primarã ºi a efortului lor disperat de a supravieþui dupã ce, dupã un cutremur, sunt transportaþi în mod misterios prin timp într-o lume necunoscutã.

„Watashi wa Shingo” is the story of a computer that becomes conscious through the efforts of a young boy named Satoru and a young girl named Marin.

„Watashi wa Shingo” are ca protagonist un computer care devine conºtient prin eforturile unui bãieþel pe nume Satoru ºi a unei fetiþe pe nume Marin.

14 Sai describes a near future when civilization lies in ruins, and humans are faced with the impending danger of extinction. Umezu produces highly original stories with his particular point of views and unique story development. These are qualities that cannot be copied. In addition to the stories, his drawings also show extraordinary talent. His crosshatched characters, highly detailed background drawings, and the use of dark scenes all add persuasiveness to his creations.

14 Sai descrie un viitor apropiat, cu civilizaþiile în ruinã ºi oameni puºi faþã în faþã cu pericolul extincþiei. Umezu creeazã poveºti foarte originale, datoritã punctului sãu particular de vedere ºi a dezvoltãrii unice a povestirii. Acestea sunt calitãþi care nu se pot copia. Ca un plus la poveste, desenele lui dovedesc un talent extraordinar. Personajele sale puse în umbrã, fundalurile detaliate ºi scenele întunecate sporesc farmecul creaþiilor lui.

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The expressions of his characters are also highly realistic, and many of his scenes are so shockingly frightening that it becomes borderline-traumatic for the reader. In addition, his best known gag comic, „Makoto-chan” is also very famous. This manga even led to a popular fad where the word „Gwashi!” is shouted, along with the accompaniment of a unique hand gesture. The character of Umezu himself also stands out, and when he appears on television, he always sports a striped shirt and is seen as a highly unique individual. Kazuo is the grandmaster of Japanese horror manga. He published his first manga while still at high school and began working professionally in the field after his graduation. His first creations were „Betsu-Sekai” (Another World) and „Mori-no-Kyoudai” (The Brother and Sister in a Forest). He mainly created his works for the so-called Kashi-hon, magazines that were not for sale but for rent. He developed his detailed horror style in 1962, when he settled in Tokyo. His works „Kuchi ga Mimi made Sake-ru Toki” (The Moment the Mouth Tears to Ears), „Hebi Shoujo” (The Snake Girl) and „Hito-kobu Shoujo” (A Girl Who Has a HumanFaced Lump on Her Cheek) were his first claims to fame as a master in the horror genre. He was also a pioneer in „Rabu-kome” (romantic comedies), starting with his story „Romansu-no-Kusuri” (The Magical Medicine for Romance). His award-winning work „Hyouryu Kyoushitsu” (The Drifting Classroom) was serialized in the weekly magazine Shounen Sunday from 1972 to 1974. He then came up with the slapstick comedy „Makoto-chan” in 1976. Ever since, Umezu has released many other outstanding comic works such as „Neko-me Kozou” (The Cat-eyed Boy), „Orochi”, „Iara”, „Senrei” (Baptism of Blood), „Watashi ha Shingo” (My Name is Shingo), „Kami no Hidari-te Akuma no Migi-te” (God”s Left Hand, Devil”s Right Hand) and „Fourteen” . Some stories were made into movies, TV drama series and other media products.

Expresia personajelor sale este ºi ea foarte realistã, multe dintre scene fiind atât de înspãimântãtoare, încât devin de-a dreptul traumatizante pentru cititor. O lucrare foarte faimoasã este „Makoto-chan”. Acest manga chiar a dus la o modã popularã, în care se strigã cuvântul „Gwashi!”, alãturi de un gest specific al mâinii. Ca personaj, Umezu însuºi iese în evidenþã, iar când apare la televizor poartã întodeauna o cãmaºã în dungi ºi este privit ca un individ foarte special ºi unic. Kazuo este maestrul mangaului horror japonez. ªi-a publicat primul manga când încã era în liceu ºi ºi-a început cariera profesionalã în domeniu doar dupã absolvire. Primele sale creaþii au fost „Betsu-Sekai” (Altã lume) ºi „Mori-no-Kyoudai” (Fratele ºi sora în pãdure). ªi-a creat lucrãrile în principal pentru aºazisele Kashi-hon, reviste care nu se vindeau, ci doar se împrumutau. ªi-a dezvoltat stilul horror detaliat în 1962, dupã ce s-a stabilit în Tokyo. Lucrãrile sale „Kuchi ga Mimi made Sake-ru Toki” (Când gura e sfâºiatã spre urechi), „Hebi Shoujo” (Fata-ºarpe) ºi „Hito-kobu Shoujo” (Fata care are pe obraz un furuncul în forma unui chip uman) au fost lucrãrile care l-au consacrat definitiv ca maestru al genului horror. A fost un pionier ºi în Rabu-kome (comedii romantice), începând cu povestea „Romansu-no-Kusuri” (Medicamentul magic pentru dragoste). Lucrarea „Hyouryu Kyoushitsu”, (Clasa care se prãbuºeºte), premiatã, a fost serializatã în revista sãptãmânalã Shounen Sunday, între 1972 ºi 1974. Apoi, în 1976, a realizat comedia horror „Makoto-chan”. De atunci, Umezu a publicat multe alte lucrãri importante, cum ar fi „Neko-me Kozou” (Bãiatul cu ochi de pisicã), „Orochi”, „Iara”, „Senrei” (Botezul sângelui), „Watashi ha Shingo” (Numele meu e Shingo), „Kami no Hidari-te Akuma no Migi-te” (Mâna stângã a lui Dumnezeu, mâna dreaptã a diavolului) ºi „Fourteen”. Unele dintre povestiri au fost transpuse în filme, serii TV ºi alte produse media.

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Kaidan Manga

Profile: Hideshi Hino Country: Japan

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Best known works: Ghost School, Skin and Bone, Mystique Mandala Of Hell, Death's Reflection, The Collection, Living Corpse, Oninbo and the Bugs from Hell, The Bug Boy, The Red Snake.

Cele mai cunoscute lucrãri: Ghost School , Skin and Bone, Mystique Mandala Of Hell, Death’s Reflection, The Collection , Living Corpse , Oninbo and the Bugs from Hell, The Bug Boy, The Red Snake.

Hideshi Hino (born in 1946) is universally recognized as Japan’s master of horror manga. His unique style is characterized by apocalyptic landscapes and grotesque, twisted characters. Recurring themes throughout his more than 400 published works are loneliness and revenge, and many of his highly stylized storyboards contain disturbing images of torture and dismemberment. This not only puts the 14-volume Hino Horror series out of reach of children, but also out of reach of adult readers who get queasy at the sight of blood. You have been warned...

Hideshi Hino (născut în 1946) e recunoscut drept maestrul de necontestat al mangaului horror japonez. Stilul sãu unic se caracterizeazã prin peisaje apocaliptice ºi prin personaje groteºti ºi diforme. Temele frecvente în cele peste 400 de lucrãri publicate sunt singurãtatea ºi rãzbunarea; multe dintre scenariile sale foarte stilizate conþin imagini tulburãtoare de torturã ºi desfigurare. Acest lucru face ca seria de 14 volume Hino Horror sã fie feritã nu doar de ochii copiilor, ci ºi de ai cititorilor adulþi cãrora vederea sângelui le face rãu. Aþi fost avertizaþi...

Perfected over a 30-year career dredging the depths of the human mind, the terrifying and often grotesque images that his graphic novels portray have gone on to influence a new generation of manga artists, such as Kanako Inuki.

Perfecþionate de-a lungul unei cariere de 30 de ani de sãpãturi în adâncul minþii umane, imaginile terifiante ºi adesea groteºti înfãþiºate în romanele sale grafice au influenþat o nouã generaþie de artiºti manga, cum ar fi Kanako Inuki.

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As well as adventure and curiosity, Hino can clearly recall the fear that haunted his childhood and that of those around him. Horror and suspense, he suggests, are „deeply hidden emotions that surface when we are confronted by a disturbance of our everyday lives.” His numerous experiments slowly evolved into the demented characters we see today. Tormented by twisted spines, deformed eyes and misshapen bodies, they populate over 400 Hideshi Hino books, and have helped make him Japan`s master of horror manga. Hino has claimed that he was nearly killed on route to Japan by his fellow townspeople during the evacuation from China. Some of his manga have been based on his life and its events; for example his grandfather was a real life Yakuza and his father used to be a pig farmer with a spider tattoo on his back. Hino has depicted these in his manga many times (as in Panorama of Hell).

Hino îºi aminteºte clar nu doar aventura ºi curiozitatea, ci ºi frica ce i-a bântuit copilãria, lui ºi celor din jurul sãu. Dupã cum afirmã artistul, groaza ºi suspansul sunt „emoþii ascunse adânc, care ies la suprafaþã atunci când ne confruntãm cu o dereglare în viaþa de zi cu zi”. Numeroasele sale experimente au evoluat încet spre personajele demente pe care le vedem astãzi. Torturate de oasele rãsucite, ochii diformi ºi corpul contorsionat, acestea populeazã cele peste 400 de cãrþi ale lui Hideshi Hino, ajutându-l sã devinã maestrul japonez al mangaului horror. Hino susþine cã aproape a fost ucis în drum spre Japonia de cãtre consãtenii sãi, în timpul evacuãrii din China. Unele dintre mangaurile sale au la bazã întâmplãri ºi evenimente din viaþa lui realã; de exemplu, bunicul sãu fãcea parte din Yakuza, iar tatãl sãu, fermier de porci, avea tatuat pe spate un pãianjen. Hino a înfãţiºat de multe ori în manga aceste lucruri (ca, de exemplu, în Panorama of Hell).

Although originally eyeing a job in the film industry, the works of manga legends Shigeru Sugiura and Yoshiharu Tsuge inspired the young Hino to express himself in the medium of manga instead. He originally began in doujinshi, and his first professional work was published in Osamu Tezuka’s experimental manga magazine COM in 1967. With appearances in Garo and the serialized „Hideshi Hino’s Shocking Theater” coming out in 1971, his bizarre world of deviant killers, grotesque beasts, and decaying corpses was firmly established.

Cu toate cã iniþial îºi dorea o slujbã în industria filmului, lucrãrile legendarilor artiºti manga Shigeru Sugiura ºi Yoshiharu Tsuge l-au inspirat pe tânãrul Hino sã se exprime prin intermediul acestui gen. A început prin doujinshi-uri, iar prima sa lucrare profesionalã a fost publicatã în revista de manga experimental COM, a lui Osamu Tezuka, în 1967. Prin apariþiile în Garo ºi prin publicarea „Hideshi Hino’s Shocking Theater” în 1971, lumea sa ciudatã de ucigaºi deviaþi, bestii groteºti ºi cadavre în descompunere s-a afirmat definitiv.

Hideshi Hino was born in China to Japanese immigrant workers and, soon after, he moved to Tokyo with his mother. Although he initially had the ambition to work in the movie industry, he joined a group of manga artists who created self-published comics, so-called doujinshi. He eventually got a job with a publisher, and established himself as a successful horror mangaka, publishing his first graphic novel in 1978.

Hideshi Hino s-a nãscut în China, într-o familie de muncitori japonezi imigranþi, însã curând s-a mutat în Tokyo împreunã cu mama sa. Chiar dacã ambiþia lui era þintitã spre cinematografie, s-a alãturat unui grup de artiºti manga care creau benzi desenate pe care le publicau singuri, aºa-zisele doujinshi. A obþinut o slujbã la o editurã ºi s-a afirmat ca un mangaka horror de succes, odatã cu publicarea primului sãu roman grafic în 1978.

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Kaidan Manga

Profile: Junji Ito Country: Japan

Best known works: Tomie, Rojiura, Kubitsuri Kikyuu, Soichi no Tanoshii Nikki, Kubi Gensou, Uzumaki (Uzumaki: Spiral Into Horror), Gyo.

Cele mai cunoscute lucrãri: Tomie, Rojiura, Kubitsuri Kikyuu, Soichi no Tanoshii Nikki, Kubi Gensou, Uzumaki (Uzumaki: Spiral Into Horror), Gyo.

Feature film: Tomie, Uzumaki (Uzumaki: Spiral Into Horror)

Filme artistice: Tomie, Uzumaki (Uzumaki: Spiral Into Horror)

Ito (born in 1963) is a comic artist who has created horror manga using beautiful imagery. He revealed a special talent for spotting terror in seemingly ordinary life, and for portraying the horrors of a life that has become terribly out of the ordinary.

Ito (născut în 1963) este un artist de benzi desenate care creeazã manga horror pornind de la o imagisticã a frumosului. Iese în evidenþã prin talentul special de a scoate în prim-plan teroarea într-o existenþã ce pare cât se poate de comunã ºi pentru portretizarea ororilor unei vieþi care iese mult din sfera obiºnuitului.

He has a unique style of adding a touch of humor even in the most frightening situations. Most of his works consist of short stories, but one of the few series he has published is called „Tomie”. The story portrays a beautiful young women in the title role and her various encounters with men who become obsessed with her. Each time a man falls in love with her, she ends up being killed or her body is chopped up into pieces. Each time, she comes back to life as

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Are un stil unic de a adãuga o patã de umor chiar ºi în situaþiile cele mai terifiante. Cele mai multe dintre lucrãrile lui sunt povestiri scurte, însã a publicat ºi câteva seriale, printre care „Tomie”. Povestea se concentreazã asupra personajului principal, o tânãrã frumoasã, ºi a diverselor ei întâlniri cu bãrbaþi care devin obsedaþi de ea. De fiecare datã când un bãrbat se îndrãgosteºte de ea, femeia e ucisã, iar trupul ei e


she is magically resurrected from a piece of her old body. The series has a large number of devotees, and it has even been made into a feature film. The comic series „Uzumaki” was Ito’s first series to be published in a „Seinenshi” (young men’s magazine). It is about a variety of mysterious cases, all involving a spiral motif. The essence of Junji Ito’s works is contained here, in that although they are horrific, they still manage to retain a trace of humor. He draws with very precise lines and there is a sense of tranquility in his scenes, so that at first glance, the imagery may not seem that of a horror comic. There is something about these drawings that seems to drip with terror. Junji Ito is one of Japan’s top horror manga artists. Inspired by the work of Kazuo Umezu, he took on drawing horror stories himself. He initially combined his work as a mangaka with his day job as a dental technician. He first came to attention when one of his short stories won an honorable mention in the 1987 Umezu awards. Ito’s often very cruel but original work, mostly deals with beautiful girls, like in his „Tomie” series. In 1998, during the horror boom that followed the success of Ringu, „Tomie” was adapted into a movie. Since then, many of his works have been adapted for TV and for the cinema. Another famous manga by Ito is the three-volume „Uzumaki”, about sinister spirals that posses a small town. He subsequently made „Hellstar Lemina”, published in Big Comic Spirits monthly Casual, as well as short stories in Nemuki.

ciopârþit în bucãþi. De fiecare datã revine la viaþã, fiind înviatã magic dintr-o bucatã a vechiului sãu corp. Seria are un numãr imens de fani, fiind transpusã ºi într-un film artistic. „Uzumaki” este prima serie a lui Ito, fiind publicatã într-un Seinenshi (revistã pentru bãieþi). Are ca subiect o serie de cazuri, toate implicând motivul spiralei. Acestea conþin esenþa lucrãrilor lui Junji Ito: cu toate cã sunt terifiante, reuºesc sã pãstreze o urmã de umor. Deseneazã în linii foarte precise, iar în scenele sale existã o anumitã notã de liniºte; astfel, la o primã vedere, imaginarul nu pare acela al unei benzi desenate horror. În aceste desene existã ceva ce dã impresia cã picurã teroare. Junji Ito e unul dintre artiºtii horror manga de top ai Japoniei. Inspirat de opera lui Kazuo Umezu, a început el însuºi sã deseneze poveºti de groazã. Iniþial, ºi-a combinat opera de mangaka cu slujba sa de tehnician dentar. A început sã atragã atenþia în momentul în care una dintre povestirile lui scurte a câºtigat o menþiune onorabilã la premiile Umezu din 1987. Opera lui Ito, de obicei foarte crudã, dar originalã, include în special fete frumoase, ca în seria „Tomie”. În 1998, în timpul exploziei horror care a urmat dupã succesul filmului Ringu, „Tomie” a fost adaptat în film. De atunci, multe dintre lucrãrile artistului au fost preluate pentru TV ºi pentru marile ecrane. Alt manga faimos al lui Ito este seria în trei volume „Uzumaki”, centratã pe spiralele sinistre care posedã un orãºel. Apoi a continuat cu „Hellstar Lemina”, apãrut în publicaþia lunarã Casual a revistei Big Comic Spirits, ºi cu povestiri scurte în Nemuki.

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Kaidan Anime

The earliest chills in anime came from ghost stories and scary fairy tales, such as Noburo Ofuji’s Kujira (1972) and Ghost Ship (1956); nevertheless, they were targeted to children, and as such didn’t initially attempt anything designed to give anyone goosebumps. Osamu Tezuka’s Dororo (1968), made as the creator’s Mushi Production began to spiral into bankruptcy, was one of the first anime to be genuinely disturbing, filled with ghosts, nightmares, and bloodshed, and with a central character whose father’s pact with the devils leaves him scarred, eyeless, and maimed. That didn’t stop some kids’ cartoons from being downright disturbing anyway, with the lamb-turned-killer of Sanrio’s Ringing Bell (1978) reputedly giving a number of adult fans nightmares. Children’s entertainment often recognized the appeal of the horrific. Spooky Kitaro (1968) suggested that cutting class to hang out with zombies was a fun thing to do, while Devilman (1972) dressed up the traditional elements of a superhero show with the accoutrements of demonology. But not even Devilman was „horror” as we know it; that was a foreign concept, and arguably its first appearance was Minoru Okazaki’s TV movie Dracula: Sovereign of the Damned (1980), based on the Marvel comic.

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Primii fiori în anime au la bazã poveºtile cu fantome ºi basmele înspãimântãtoare, ca în cazul lucrãrilor lui Noburo Ofuji: Kujira (1972) ºi Ghost Ship (1956); însã acestea se adresau unui public format din copii, prin urmare elementele înspăimântătoare lipsesc iniţial. Dororo (1968) al lui Osamu Tezuka, apãrut în momentul în care Mushi Production se îndreptă spre faliment, a fost primul anime cu adevãrat tulburător, abundând în fantome, coºmaruri, sânge ºi cu un personaj principal al cãrui tatã încheie un pact cu diavolii ºi îl lasã cu cicatrici, orb ºi debusolat. Asta nu a oprit valul de desene animate cu conþinut tulburãtor pentru copii, cum ar fi Ringing Bell (1978), care a provocat coºmaruri pânã ºi adulþilor. Entertainment-ul pentru copii a avut de multe ori de-a face cu elemente horror. Spooky Kitaro (1968) sugera cã era amuzant sã chiuleºti de la ore în tovãrãºia zombilor, iar Devilman (1972) îmbina elementele tradiþionale ale showurilor cu supereroi cu cele din sfera demonologiei. Dar nici chiar Devilman nu a fost „horror „în adevãratul sens al cuvântului; prima apariþie o constituie filmul TV Dracula: Sovereign of the Damned, din 1980, al lui Minoru Okazaki, bazat pe o bandã desenatã Marvel.


True horror reached Japan by an unexpected route, in the depictions of radiation burns and traumatized war victims of Barefoot Gen (1983). The 1980s saw the widespread arrival of the home video player, permitting anime producers to make shows for an older audience. Horror met science fiction in Vampire Hunter D (1985), but it was the Madhouse studio that appeared to perfect its use in modern animation. Wicked City (1987) and Demon City Shinjuku (1988) established Madhouse and director Yoshiaki Kawajiri as the kings of urban gothic. A slew of imitators followed, in which demons broke through into our everyday world, and fought on the streets of Tokyo. But everyone’s thunder was stolen by Urotsukidoji (1987), the first in a series of „erotichorror” stories based on the work of Toshio Maeda that, while it might not have scared its audience, certainly shocked them with its scenes of depravity and excess; its monsters externalized the chaos in the pubescent mind, to devastating effect. Ultimately, horror usually scares us by persuading us that something terrible really might happen – both Perfect Blue (1997) and Monster (2004) successfully instill fear with their application of reality instead of fantastic. Anime by its nature, it is already one step from reality, making it harder to scare a cartoon audience. Modern day incarnations of anime „horror” continue to coquettishly avoid making an audience scream in terror. Instead, they hope to titillate, amuse, or otherwise behave in a non-horrific way. Vampire Princess Miyu (1988) preferred mood and imagery to actual scares; style over substance, if you like. Western horror is often concerned with subtexts, but erotichorror anime like Dark Shell (2003) or Oni Tensei (2001) can put all the subtext right in the foreground. No sublimated desires here, no Victorian prudery repressing thoughts of sex with stories of men who drink virgins’ blood; horror is a permanent feature of anime erotica , but whether such shows are scary because of their horror content is open to debate.

Adevãratul horror a atins Japonia prin imaginile arsurilor provocate de radiaþii ºi ale victimelor de rãzboi traumatizate, prezentate în Barefoot Gen (1983). Anii ’80 au fost marcaþi de apariþia aparatelor video care au permis producãtorilor anime sã realizeze showuri pentru o audienþã mai maturã. Horror-ul întâlneºte SF-ul în Vampire Hunter D (1985), dar Madhouse au fost cei care au perfecþionat acest gen în animaþiile moderne. Wicked City (1987) ºi Demon City Shinjuku (1988) i-au desemnat pe Yoshiaki Kawajiri ºi Madhouse ca regii goticului urban. A urmat o serie de imitatori în operele cãrora demonii intrau în lumea noastrã ºi purtau lupte pe strãzile oraºului Tokyo. Avântul tuturor a fost tãiat de Urotsukidoji (1987), prima dintr-o serie de poveºti „erotic-horror”, bazate pe opera lui Toshio Maeda care, cu toate cã nu a speriat audienþa, a ºocat prin scenele de depravare ºi exces; monºtrii sãi au imprimat haos în minþile adolescentine, efectul fiind devastator. În ultimã instanþã, horror-ul ne sperie insuflând convingerea cã ceva teribil se poate întâmpla; atât Perfect Blue (1997), cât ºi Monster (2004) inoculeazã frica folosind un mediu real, nu fantastic. Prin natura sa, anime-ul este cumva la un pas distanþã de realitate, lucru care face mai dificilã înspãimântarea audienþei. Încarnãrile moderne ale animeului „horror” continuã sã evite într-un mod subtil terifierea publicului. În schimb, încearcã sã sugereze, sã amuze, cu alte cuvinte sã se comporte într-un mod cât mai puþin horror. Vampire Princess Miyu (1988) preferã atmosfera ºi imaginaþia în detrimentul sperieturilor propriu zise; stilul ia locul substanþei. Horror-ul vestic acordã o mare atenþie subtextului, dar animeul erotico-horror, precum Dark Shell (2003) sau Oni Tensei (2001), aduce subtextul chiar în prim plan. Fãrã dorinþe înfrânate, fãrã falsã modestie care sã stãvileascã fanteziile sexuale în care bãrbaþii beau sângele virginelor, horror-ul e o caracteristicã generalã a animeurilor erotice; cu toate acestea, e greu de spus dacã el e singurul element care contribuie la calificarea acestora ca înspãimântãtoare.

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Kaidan Anime

Japanese folklore has a rich tradition of monsters, some of which have built successful second careers in animation. In 1955’s Piggyback Ghost a greeneyed elemental befriends a village blacksmith and his neighbors. Golden Bat (1967) was a skeletal superhero from ancient Atlantis who fought monsters and robots at the request of Japanese schoolgirl Mari. Spooky Kitaro (1968) gave supporting roles, as friends or adversaries of the young hero, to a host of traditional ghouls like the one-legged, one-eyed Umbrella Man and the ghostly Piece of Paper, a tradition which continued in shows like Dororon Enma (1973) with its Japanese Monster Patrol, Ghosts (1981), and Ushio&Tora (1992). Oni, Japan’s native ogres, are generally represented as powerful but stupid, extremely violent, and with nasty eating ha­ bits. They feature in anime such as Ogre Slayer and Shutendoji, and have inspired many other creations like Rumiko Takahashi’s alien Oni in Urusei Yatsura. Gross, misshapen monsters that would equally be at home in medieval Buddhist or Western Hells, are found in anime such as 1985’s Iczer-One and 1991’s Silent Mobius, where they are the shock troops of alien forces bent on world dominations. In most of the Japanese movies, humanity tries to fight monsters with iron determination and heavy

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Folclorul japonez prezintã o varietate imensã de monºtri, mulþi dintre ei având o carierã strãlucitoare ca personaje de animaþie. În Piggyback Ghost, produs în 1955, un elemental cu ochii verzi se împrieteneºte cu fierarul satului ºi cu vecinii acestuia. Golden Bat (1967) prezintã un supererou cu aspect de schelet din Atlantida, care se luptã cu monºtri ºi roboþi la cererea ºcolãriþei Mari. În Spooky Kitaro (1968), în rolurile de prieteni ºi duºmani ai tânãrului erou regãsim demoni tradiþionali precum Umbrella Man, cu un ochi ºi un singur picior, ºi pe fantomaticul Piece of Paper; aceastã tradiþie a continuat în showuri precum Dororon Enma (1973), cu al sãu Japanese Monster Patrol, Ghosts (1981) ºi Ushio&Tora (1992). Oni, cãpcãunii japonezi, sunt prezentaþi ca fiind creaturi puternice dar proaste, foarte violente ºi cu un mod de a se hrãni de-a dreptul dezgustãtor. Apar în animeuri precum Ogre Slayer ºi Shutendoji ºi au inspirat nenumãrate creaturi, precum extraterestrul Oni al lui Rumiko Takahashi din Urusei Yatsura. Monºtrii dezgustãtori ºi diformi, inspiraþi din perioada medievalã budhistã sau din iadul vestic pot fi întâlniþi în anime precum Iczer-One din 1985 ºi Silent Mobius din 1991, unde apar ca trupe de ºoc ale forþelor extraterestre care vor sã stãpâneascã lumea. În majoritatea filmelor japoneze, umanitatea luptã cu


Other monstrous transformations in anime range from the comical-but-threatening to the stomach churning. When neglected pet dog Papadoll is changed to a monster in Catnapped (1995), he still drools and looks amiably stupid, but he can eat people. Akira (1988) transforms all its protagonists, but Tetsuo’s shifts from scrawny runt to drug-crazed god to overflowing river of flesh are truly monstrous, giving visceral impact to his final moment of self-awareness and self-acceptance, and hope of redemption for all monsters, even the human kind.

weaponry, but many anime play with the idea that to beat monsters you must join them, by taking on some of their physical or magical powers, as in Devilman (1972) and later pastiches such as Hellsing. Nagai’s series suggests that ordinary-looking people can be possessed by or transformed into monsters, simply by unleashing their own inner demons. Some of the most magnificently silly monsters ever to grace an enduring franchise threaten mankind in Ultraman (1979), an animation spun off the live-action hit of the same name. To defeat them, our hero must achieve monstrous size and strength by borrowing the magical-girl technique of assisted transformation.

Kaidan Anime

Alte transformãri monstruoase din anime variazã de la comic, dar ameninþãtor, pânã la dezgustãtor. În Catnapped (1995), cãþelul Papadoll, neglijat, se transformã într-un monstru; încã saliveazã ºi pare prietenos, dar poate mânca oameni. Akira (1988) îºi metamorfozeazã toþi protagoniºtii, dar Tetsuo se transformã dintr-un sfrijit amãrât într-un zeu înnebunit de droguri, pânã în stadiul de masã de carne de-a dreptul monstruoasã, creând un impact visceral în ultimele momente de luciditate ºi acceptare de sine, alãturi de speranþa de mântuire a tuturor monºtrilor, inclusiv a celor umani.

determinare împotriva monºtrilor, folosind armament greu; însã multe anime-uri sugereazã cã pentru a-i învinge pe monºtri trebuie sã te alãturi lor, preluând parþial puterile fizice sau magice ale acestora, aºa cum se întâmplã în Devilman (1972) sau în imitaþii de mai târziu, precum Hellsing. Nagai sugereazã cã oamenii obiºnuiþi pot fi posedaþi sau transformaþi în monºtri prin simpla eliberare a demonilor interiori. Unul dintre cei mai caraghioºi monºtri care continuã seria monºtrilor ce ameninþau umanitatea poate fi gãsit în Ultraman(1979), o animaþie derivatã din hit-ul live-action omonim. Pentru a ieºi învingãtor, eroul nostru trebuia sã atingã dimensiuni ºi o forþã monstruoase, folosind tehnica de transformare a fetelor cu puteri magice.


KWAIDAN Kaidan, 1964 Kwaidan (Kaidan) is a Japanese anthology-movie directed by Masaki Kobayashi, and released in 1964; the title means ‘ghost story’. It is based on the stories from Lafcadio Hearn’s collections of Japanese folk tales. The film consists of four separate and unrelated stories (The Black Hair, The Woman of the Snow, Hoichi the Earless, In a Cup of Tea). Kwaidan mainly addresses to a specialized public today, but at the time it marked the most expensive production in the history of Japanese cinema.

Kwaidan (Kaidan) „poveste cu fantome” este o antologie japonezã de film din anul 1964 regizatã de Masaki Kobayashi. La originea acesteia se aflã colecþia de povestiri din folclorul japonez a lui Lafcadio Hearn. Filmul prezintã patru povestiri fãrã legãtură între ele: The Black Hair, The Woman of the Snow, Hoichi the Earless, In a Cup of Tea. Deºi în momentul lansãrii reprezenta cea mai costisitoare producþie din istoria cinematografiei japoneze, în ziua de azi Kwaidan atrage doar cunoscãtorii.

CREST OF BETRAYAL - JAPAN Chushingura Gaiden: Yotsuya Kaidan, 1959 Directed and written by Fukasaku Kinji, Chushingura Gaiden: Yotsuya Kaidan presents a classic tale combining two very well known Japanese traditions. The Chushingura Gaiden is a historical episode, better known in the West as the story of the 47 Ronin, and constitutes one of Japan’s most beloved samurai stories. It involves an extensive plot of revenge featuring 47 samurai whose leader was ordered to commit seppuku after attempting to kill an oppressive rival. (A „ronin” is a leaderless samurai.)

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Scris ºi regizat de Fukasaku Kinji, Chushingura Gaiden: Yotsuya Kaidan este o poveste clasicã care combinã douã tradiþii japoneze foarte cunoscute. Chushingura Gaiden reprezintã un episod istoric, cunoscut în vest sub numele de Povestea celor 47 Ronini (samurai fãrã stãpân) ºi constituie una dintre cele mai îndrãgite poveºti japoneze cu samurai. Povestea urmãreºte rãzbunarea celor 47 samurai al cãror conducãtor a fost obligat să comitã seppuku pentru cã a încercat sã omoare un rival asupritor.


Kaidan Film – Classics

TALES OF MOONLIGHT AND RAIN Ugetsu Monogatari, 1953 This classic supernatural morality tale follows the path of two men who prioritize their ambitions above all else, and inadvertently set aside their families and responsibilities. This 1953 ghost tale is arguably the FIRST truly Japanese horror film and is thus a must see for anyone seriously interested in the whole of J-Horror.

Aceastã poveste clasicã urmãreºte calea aleasã de doi bãrbaþi ale cãror ambiþii sunt mai presus de orice legãturi familiale sau responsabilitãþi. Povestea cu fantome din anul 1953 este presupusã a fi primul film horror japonez ºi este recomandatã tuturor celor cu adevãrat interesaþi de J-Horror.

TALES OF TERROR Kaidan Shin Mimi Bukuro, 2004 A collection of eight contemporary folk tales of the ghostly and supernatural, produced by seven upcoming directors of the new J-Horror genre. Ranging from comedy to truly spookiness, this collection of entertaining and funny short films is a contemporary version of the Edo Period’s „Mimi Bukuro”, a ten-volume collection of kaidan tales.

O colecþie de opt poveºti contemporane folclorice cu fantome ºi supranatural, produsã de ºapte regizori foarte promiþãtori ai noului gen J-Horror. Aceastã colecþie de filme scurte ºi nostime variazã de la comedie pânã la înspãimântãtor, constituind o versiune contemporanã a perioadei Edo a lui Mimi Bukuro, o culegere de zece volume cu poveºti kaidan.

THE HAUNTED LANTERN Otsuyu: Kaidan botan dourou - Japan, 1968 Our story opens with a young samurai and his brave fiancé cornered by a rogue band of samurais. When the young woman nobly commits suicide rather than succumb to the humiliation of the rogues, our samurai timidly nods and watches his fiancé slit her own juggler, in one of the movie’s most famous „spraying” scenes. As her life ebbs, she sees her coward samurai refusing to follow her stead.

Povestea începe cu un tânãr samurai ºi curajoasa lui logodnicã, încolþiþi de un grup de tâlhari samurai. Tânãra alege cu demnitate o moarte nobilã ºi se sinucide într-una dintre cele mai sângeroase scene ale filmului, în timp ce iubitul ei refuzã cu laºitate sã o urmeze.


Kaidan Film – Contemporary TRUE HAPPENINGS! CURSED VIDEO: THE MOVIE Honto ni Atta! Noroi Bideo, 2003 The movie is focused on the investigation of a young man who suddenly dropped dead after watching a „cursed video”. The trail of clues leads to several horrifying (and not so horrifying) tales that depict the consequences of viewing this VHS from hell. By the documentary’s end, the demonic recording is located and offered to you for viewing, but not without a major disclaimer!

Filmul investigheazã decesul unui tânãr care moare la scurt timp dupã vizionarea unei „casete blestemate”. Indiciile duc spre câteva poveºti mai mult sau mai puþin înspãimântãtoare care prezintã consecinþele vizionãrii acestei casete din Iad. La sfârºitul documentarului înregistrarea demonicã e oferitã audienþei pentru vizionare, însoþitã însã de un „disclaimer”

CURSED „Chô” kowai hanashi A: yami no karasu, 2004 A seemingly innocent Food Mart apparently harbors massive spiritual malaise as various demonic curses inflict everyone who purchases something from the store. Only when a couple of intuitive souls wander into the store is the formidable mystery explained.

Un Food Mart aparent inofensiv imprimã blesteme demonice puternice şi „boli” ale spiritului tuturor celor care cumpărã produse din magazin. Doar atunci când niºte spirite intuitive ajung în magazin acest formidabil mister este în sfârºit dezlegat.

JU-ON OR THE GRUDGE Juon, 2002 Oh boy! Another scary Japanese movie that follows up the Ring tradition (and indeed the movie flyer looks eerily similar to that of Ringu 2). Shimizu Takashi is the director here, working with both Kiyoshi Kurosawa (director of Cure, Charisma, and Kairo) and Hiroshi Takahashi himself (screenwriter of the Ring trilogy). What this triad brings to the table is a classic Japanese horror film relying on mood and sound and Japanese cultural intuitions about the fate of wronged souls.

O, Doamne! Încã un film de groazã japonez care urmeazã tradiþia Ring-ului (povestea seamãnã cu cea din Ringu 2). Shimizu Takashi este regizorul, în colaborare cu Kiyoshi Kurosawa (regizorul filmelor Cure, Charisma ºi Kairo) ºi Hiroshi Takahashi (scenaristul trilogiei Ring). Rezultatul acestei colaborãri este un film horror japonez clasic, bazat pe atmosferã, sunet ºi pe credinþele japoneze legate de soarta pãcãtoºilor.

THE RING Ring Japan, 1998 Okay. Ringu is based on „Ringu” (1991), the first of a trilogy of novels by author Suzuki Koji. The movie became wildly popular in Japan and spawned several sequels/prequels, two television mini-series, a Korean, and eventually US remake. Ringu was held from release in the US until the release of the US remake, The Ring, in 2003.

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Ringu are la bazã „Ringu” (1991), primul volum din renumita trilogie scrisã de Suzuki Koji. Filmul se bucurã de un mare success în Japonia ºi a determinat apariþia câtorva sequel/prequel –uri, a douã miniserii de televiziune, a unui remake corean ºi a unuia american. Ringu nu a fost lansat în S.U.A. pânã când remake-ul american The Ring din 2003 nu a apãrut pe marile ecrane.


CARVED Kuchisake Onna, 2007 The well known urban legend of a slit-mouthed woman suddenly comes to life in a small Japanese town, terrifying first the children and then adults, through a few unfortunate victims. This is a modern re-telling, with some unique twists, of a century-old tale of a horribly disfigured woman whose vengeful spirit abducts children and submits them to a grisly fate.

Binecunoscuta legendã urbanã a femeii cu gura tãiatã prinde viaþã într-un mic oraº din Japonia, terifiind copiii ºi adulþii prin prisma nefericitelor victime care îi cad pradã. Aceasta e o versiune modernã, cu câteva schimbãri de situaþie neaºteptate, a unei poveºti vechi de 100 de ani în care spiritul unei femei desfigurate rãpeºte copiii, pe care îi supune unor tratamente îngrozitoare.

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Kaidan Games I Jocuri Kaidan FATAL FRAME Haunted old manors on the Discovery Channel, the ghost from Babadag and the poltergeist from Simleul Silvaniei, the huge number of books and the metamorphose of Stephen King in some tired Tom Clancy of horror made the ghost stories loose their charm. The Japanese ghost stories are different though (mmmmm Ringu), and Fatal Frame („Project Zero” in Europe and Australia) is probably the best of them all. The mutant zombie of the 20th century has its incontestable charm, but the Asian retro ectoplasm from Fatal Frame is a true delight for the horror genre fans. For the indifferent gamer, scared more by the consoles and Microsoft monopole than by an old ghost, Fatal Frame is a 3rd person action adventure for PS2 and X-Box with a „babe”, apparently underage, armed with a camera. In Fatal Frame you will control an Asian „Lolita”, where your only weapon will be a camera. Nevertheless, this a bit different landing of the survival horror in Fatal Frame makes it one of the most „deranged” Asian horrors. Fatal Frame is for the horror games exactly what Ringu (the Japanese and the original) meant for the movie industry. If you have a strong heart, you can also try the two sequels (Crimson Butterflies and The Tormented).

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Conacele bântuite de pe Discovery, strigoii din Babadag ºi poltergistul din ªimleul Silvaniei, vagonetul de romane produse pe bandã rulantã ºi metamorfoza lui Stephen King într-un Tom Clancy plictisit al horror-ului au fãcut ca poveºtile cu fantome sã-ºi piardã farmecul de odinioarã. Poveºtile japoneze cu fantome sunt altã mâncare de peºte (mmmmm Ringu), iar Fatal Frame („Project Zero” în Europa ºi Australia) este poate cea mai bunã dintre ele. Zombie-ul mutant al secolului XX are farmecul lui incontestabil, însã ectoplasma retro asiaticã din Fatal Frame este un adevãrat deliciu pentru degustãtorii genului horror. Pentru gamerul blazat, speriat mai mult de console ºi de monopolul Microsoft decât de o stafie bãtrâneascã, Fatal Frame este un actionadventure „la persoana a treia” pentru PS2 ºi Xbox, cu o „bucãþicã” aparent minorã, înarmatã cu un aparat de fotografiat. Nu vã mint, în Fatal Frame veþi controla o „lolita” tipic asiaticã, iar singura voastrã armã este, într-adevãr, un aparat de fotografiat. Dar tocmai aceastã abordare puþin altfel a genului survival-horror face din Fatal Frame unul dintre cele mai „deranjante” (în sensul bun, of course) horror-uri asiatice. Fatal Frame este pentru jocurile horror ceea ce a fost Ringu (japonezul ºi originalul) pentru filmele de gen. Dacã aveþi o inimã puternicã, aþi putea încerca ºi cele douã sequel-uri (Crimson Butterflies ºi The Tormented).


CALL OF CTHULHU: DARK CORNERS OF THE EARTH Call of Cthulhu is an experience one cannot put into words. In a corresponding enumeration, we can say that DCotE is a horror that perfectly induces the state of terror by varied means – sound, image distortion, nightmare scenes, fantastic characters, dark epic mystery. All this adventure shooter is mixed together with quests with great puzzles and bosses we’ve never seen since Alice or Undying. The places we get trough are terrifying and strange and the characters animate a world completely unknown to human beings. A mystic of spooks belonging to a very far away place – that’s what the producers of Call of Cthulhu perfectly succeeded in transmitting. It is exactly the essence of H.P.Lovecraft’s writings, which inspired this game.

Call of Cthulhu este o experienþã ce nu poate fi împãrtãºitã în cuvinte. Într-o enumeraþie corespunzãtoare, putem spune despre DcotE cã este un horror care induce perfect starea de teroare ºi o face utilizând cãi variate – sunet, distorsiunea de imagine, scene de coºmar, personaje fantastice, mister epic tenebros. Toate acestea se combinã întrun adventure cu momente de shooter, dublat de un quest cu puzzle-uri incitante, punctat de câte un boss cum nu s-au mai fãcut de la Alice ºi Undying încoace. Locurile în care se desfãºoarã acþiunea sunt stranii ºi înfricoºãtoare, iar personajele care le populeazã animã o lume complet strãinã umanului. O misticã a spaimelor ce renasc dintr-un trecut mult prea îndepãrtat – asta reuºesc perfect producãtorii lui Call of Cthulhu sã ne transmitã. Adicã tocmai esenþa scrierii lui H.P. Lovecraft, din care este inspirat acest joc.

SILENT HILL 2 Resident Evil is more „in your face, punk” action based, while Silent Hill (especially Silent Hill 2, considered by many the best game of the series), an action adventure horror, attempts to scare us in a more subtle way. The boundary between the imaginary and the real vanishes in the very first moments (imagine that the adventure starts with a letter form your deceased wife), the danger is mainly only suggested (fog, strange sounds in the background, deceiving shadows, glance of movement, monsters hard to imagine) and the locations are eerie and resemble to a Japanese Lovecraft of the 21st century. And how could I forget the kid that shows in! Terrifying creatures these kids, but they do a great job in a horror. All in one, Silent Hill 2 is the most „lovecraftian” Japanese horror.

Dacã seria Resident Evil abordeazã horror-ul într-un stil apropiat de „in your face, punk!”, Silent Hill (în special Silent Hill 2, considerat de mulþi drept cel mai bun joc din serie), un action adventure horror cu accentul pus pe adventure, ºi-a propus sã ne sperie într-un mod mult mai subtil. Graniþa dintre real ºi imaginar dispare încã din primele momente (închipuiþi-vã cã aventura este declanºatã de o scrisoare primitã de la soþia decedatã), pericolul este mai mult sugerat (ceaþã, zgomote stranii în back­ground, umbre înºelãtoare, miºcãri surprinse cu coada ochiului, monºtri care ne pun imaginaþia la grea ºi înspãimântãtoare încercare), iar locaþiile sunt de o stranietate demnã de un Lovecraft nipon al secolului XXI. Uitasem, apare ºi un copilaº. Cumplite lighioane copiii ãºtia, dar fac adevãrate minuni într-un horror. Una peste alta, Silent Hill 2 este cel mai „lovecraftian” horror japonez.

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The best of the series and the only one that gives up the classical zombie for the typical pea­sant whose behavior is augmented by a strange parasite that makes the T virus look less dangerous than the classical IACRS written on a lazy high schooler’s note. I don’t want to commit any injustice to the other games of the series (the first Resident Evil gave birth to the survival horror genre), but if you didn’t get in touch with Resident Evil saga, I suggest you to start with Resident Evil 4. The GameCube version is a must, but if you have no choice, you may try the PC version.

RESIDENT EVIL 4

Kaidan Games I Jocuri Kaidan

Cel mai bun din serie ºi singurul care renunþã la zombie-ul clasic în favoarea þãranului tipic, al cãrui comportament este augmentat de un parazit ciudat, faþã de care virusul T pare mai inofensiv decât clasicul IACRS scrijelit pe o scutire a unui licean leneº. Nu vreau sã fac vreo nedreptate celorlalte jocuri din serie (practic primul Resident Evil a marcat naºterea genului survival-horror), însã dacã n-aþi avut pânã acum niciun contact cu saga Resident Evil, vã sugerez sã începeþi cu Resident Evil 4. Neapãrat versiunea pentru GameCube, dar dacã n-aveþi încotro existã ºi o portare pentru PC.


AYA KATO@115

Article: Aya Kato @ 115 – Flower of Memory Country: Japan Web: ayakato.net

The 115 Digital Art Gallery brings you this spring a double event casting in the leading role the Japanese artist Aya Kato. We are proud to invite you starting with April 9th for a walk down town at the Obor area, Piata Universitatii, Piata Romana, Calea Victoriei and Piata Presei Libere, where you can enjoy the works of the artist displayed in generous dimensions within the framework of the urban digital art exhibition. Starting with April 19th, you will have the pleasure to admire even more works of Aya Kato, at the 115 Gallery. This double exhibition entitled Aya Kato@115 - ‘Flower of Memory” is a fantastic foray into an imagery world of all time heroes and an invitation for the art lover to rediscover the inquisitive pleasure of traveling in a dimension different from the one we know in daily life. Aya Kato, at 25, is one of the most original voices of Japanese contemporary art, her work being strongly influenced by the traditional Japanese culture. The perfection of baroque details splendidly balanced by the subtle influence of Art Nouveau and the striking fusion of traditional Japanese and contemporary imagery are fascinating elements of her style. As Aya Kato’s characters can be ancient samurais and fairytale witches or heroes from Manga and Pop Art stories, the artist’s message consists mainly of their universal experiences. The depth of the worlds imagined by Aya Kato circumscribes the plenitude of all time love stories. We shall have the exquisite pleasure to open the exhibition in the presence of the artist. As this is Aya Kato’s first visit to Europe, we are planning a lot of events, workshops and happenings. The event program will be available soon on our site.

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Actul creativ nu a fost niciodatã pe deplin descifrabil din postura de privitor. Privind însã lucrãrile artistei japoneze Aya Kato, experienþa esteticã depăºeºte stadiul de căutare avidã a înþelesurilor, lãsându-se în voia contemplării. Mesajul lui Kato se construieºte prin stilul sãu, prin lumile pe care le imagineazã, dar mai ales prin universalitatea poveºtilor din ele. Actul de creaþie devine astfel comprehensibil; el nu mai necesitã cãutarea unor sensuri ascunse, ci este dizolvat în istoriile noastre comune. Personajele create de Aya nu þin cont de trecerea timpului; ele pot fi desprinse din cultura tradiþionalã niponã, dar pot la fel de bine sã îºi aibã originea în imagistica contemporanã. Între ele regãsim prinþese ºi samurai, vrãjitoare malefice ºi eroine de inspiraþie manga, cufundate în sentimente contradictorii, dorinþe ºi pasiuni ascunse. Viziunea lui Kato se concretizeazã prin atmosfera de poveste pe care o creeazã, dramatizând vizual un aºa zis context standard. Detaliul la care sunt imaginate aceste lumi se aflã în perfectã consonanþã cu viziunea artistei ºi are evident de-a face cu originile ei japoneze. Folosind din plin motive tradiþionale culturii sale, Aya adaugã totodatã moliciunea liniilor Art Nouveau-lui ºi merge pânã la Baroc în unele dintre lucrãrile sale cele mai întinse. De unde ºi adâncimea incredibilã atunci când te uiţi pentru prima dată la o lucrare a artistei. În aceastã primavarã, Galeria 115 are deosebita plãcere de a vã invita sã admiraþi expoziþia Aya Kato@115 - Flower of Memory a artistei japoneze Aya Kato. Gânditã ca o expoziþie dublă, atât în spaþiul galeriei de pe Eminescu 115, cât ºi în spaþiul urban, Flower of Memory este nu numai o incursiune fantasticã într-o lume imaginarã, populatã de eroi ºi prinþese din toate timpurile, dar mai ales o invitaþie de a regãsi plãcerea de a povesti.


Aya Kato – Alice In Wonderland


Aya Kato – F-irenze


Aya Kato – The Little Mermaid


Aya Kato – Samurai Girl


illustrations ilustraĂžii

Heliana (RO), Saddo (RO), Aya Kato (JP), Yoskay Yamamoto (JP), Dermot Reddan (USA), The Horror (UK), Yan Wei (CN), More Than a Friend (CAN), Veronica Solomon (RO), Dave MacDowell (USA), Nikiforov Anton (RU), Arisu (PT), Nish (JP), Mihai Marcu (RO), Sam Gilbey (UK)


HELLIANA (Romania) christodelosrabitos.deviantart.com


SADDO (Romania) saddo-jdero.deviantart.com


SADDO & HELLIANA (Romania)


AYA KATO (Japan) ayakato.net


YOSKAY YAMAMOTO (Japan) yoskay.com


DERMOT REDDAN (USA) olddirtydermot.com


THE HORROR (UK) myspace.com/thehorrorcantrells


YAN WEI (China) kokomoo.com


MORE THAN A FRIEND (Canada) mtaf.ca


VERONICA SOLOMON (Romania) 12forever.blogspot.com


DAVE MacDOWELL (USA) macdowellstudio.com


NIKIFOROV ANTON (Russia) dnaike.livejournal.com


ARISU (Portugal) arisuart.com


NISH (Japan) myspace.com/nishi89


MIHAI MARCU (Romania) gntx.ro


SAM GILBEY (UK) sam-gilbey.com


Review Custom Toyz Nae

Article: Review - Toyz Country: Romania Web: otakumag.com

Opinion 01 (Vera) Creatures? Everyone has at least one, hidden in a deep corner of the subconscious...one that appears when we sketch a piece of paper with a pen, while on the phone. Some of us are haunted by armies of creatures that don’t hesitate to emerge any time; nevertheless, for most of us, the creature is nothing but a timid idea, which needs a special environment to show itself. That was what I intended in the toyz workshop. To create a playful atmosphere and, at the same time, to provide the physical support to let the creatures off. And I guess I succeeded. Both times there were people who had come especially for that, or who were taken by surprise with the challenge, but did a great job in the end. They really put some work into it, I was quite surprised, and the result was some remarkable pieces. The pictures talk for themselves... You can come again. ;)

Opinion 02 (Ruxi) Half a day setting and decorating the tables, installing the bowers and the gas cylinders; and when everything is set, it’s starting to rain and you think that all your plans went adrift and that nobody will come to the gallery on such a nasty weather. Still... The yard is gradually filling with people; the same in the gallery. Vera showed up, all wet, holding two shoe boxes that hide some small, weird and completely white creatures. We take them out carefully and we line them up on a desk, inviting everyone to help himself. One of those white toys and some markers and ink; that was all you needed to get into the picture, and whether you were talented or not had already become a completely irrelevant matter. It was a weird, yet very pleasant feeling to walk through the gallery and to see all those kids and youngsters who were customizing those alabaster small figures, very patiently and with lots of ideas, everyone absorbed into a tiny world, in which only the tiny creature existed. At the end of the day, on the same desk, otakus, monsters and little monsters of various shapes and colors, some of them frightening, and some of them funny, were obediently lining up. Still, that time, each of those little creatures had achieved its own story and context. Or, maybe, its creator’s...

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Opinion 03 (Alexandra)

Ciubi

Creatures are fun, creatures are hype and when you can bring them out of your mind and into reality, finally, creatures can roam free... The launch party for the new issue of Otaku magazine, „Creatures”, opened a door into people’s imagination once more. Hosted by a digital art gallery that proved to be a more than a fitting venue for such extra curricular activities, the otaku krew introduced an army of white blank gypsum figurines and a stack of ready-to-cut paper toys, to a battalion of creative funksters armed with pens, pencils, brushes, mar­ kers, scissors, glue, graphic tablets and laptops. What happened next is history... All the blank figurines miraculously became fully certified creatures, grinning and slurping, growling and burping and overall exuding a tremendous amount of self-confidence. The paper toys glued in and stood up while the full arsenal of art tools laid around completely exhausted by the struggle to be as faithful as they could to their master’s fingers and visions. For the shy ones, that did not dare to join the „battlefield”, there was always a beautiful and colorful magazine to take home with a million more little monsters that lurked silently between its covers... So, humans beware! There is a new and improved species of beings haunting the earth, they’re the Otaku Creatures.

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Article: Liste Noire Country: Romania Author: Megatron Web: listenoire.ro

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On the Romanian post-communist landscape, scarred by grey uniformity and almost majestic nouveau-riche ugliness, one still cannot exactly grasp the use and benefits of interior design. Most of the private residences, offices and public spaces are still „filled” with furniture, expensive or not, with a high disregard as to the subtle rules and laws of good sense, the harmony of the ensemble, the attention to detail and perfect finishing and the quest for the ever elusive, hard to pin down atmosphere. When most of the interior design jobs are done by architects or builders as an extra service to their work, the interior designer is a rare incomprehensible species whose role is to „decorate”, that is to indicate the color of the living room and the corner where the sofa should go.

În peisajul românesc post-comunist, cicatrizat de platitudinea cenuºie ºi de urâþenia aproape maiestuoasã, nu prea poþi sã-þi dai seama din prima de avantajele designului interior. Cele mai multe locuinþe private, birouri ºi spaþii publice sunt încã „îndesate” de mobilã mai mult sau mai puþin scumpã, cu un dispreþ total faþã de regulile subtile ale bunului simþ, ale armoniei ansamblului, ale atenþiei pentru detaliu ºi finisaj ºi ale dorinþei de a reda o atmosferã are doar sã sugereze, greu de identificat în concret. Atunci când cele mai multe lucrãri de design interior sunt realizate de arhitecþi sau constructori, ca un serviciu suplimentar la munca lor, designerul interior e privit ca o specie rarã ºi de neînþeles, al cãrui rol este să „decoreze”, adicã sã indice culoarea sufrageriei ºi colþul în care s-ar potrivi canapeaua.

Born out of exasperation and too many sullen grumbles at the desolate interior context around, of pa­ ssion in other words, Liste Noire brings together the cutting edginess and stormy originality of a contemporary art drop-out and the rather chaotic and overly empathic sensibility of a failed philologist in love with stories and words. Liste Noire’s approach implies a passionate immersion into the client’s universe, his needs, his thoughts, his dreams and his history, fo­llowed by an enthusiastic upsurge with a unique, fresh story intent on beautifying a space and adjusting it to the greatness of its owner. Lots of handmade and ludic creativity accompany the narrative of spaces, even of those rendered unappealing at first glance by unfriendly factors such as underground nature, tiny dimensions or infinitesimal budgets.

Nãscut din exasperare ºi din nemulþumirea faþã de contextul actual al designului interior, adicã din pasiune, Liste Noire combinã ideile ieºite din comun ºi originalitatea extraordinarã ale unui proscris al artei contemporane ºi sensibilitatea haoticã ºi accentuatã a unui filolog decãzut, care adorã poveºtile ºi cuvintele. Abordarea Liste Noire implicã o incursiune pasionatã în universul clientului, în nevoile sale, în gândurile sale, în visele ºi povestea lui, urmatã de crearea entuziastã a unei poveºti unice ºi noi, care sã înfrumuseþeze spaþiul ºi sã-l potriveascã celui cãruia îi aparþine. O mulþime de elemente create manual ºi creativitatea ludicã însoþesc povestea spaþiilor, chiar ºi a acelora care la prima vedere par a nu spune nimic din cauza unor factori prea puþin prietenoºi, cum ar fi locaþia la subsol, dimensiunea prea micã sau bugetul foarte mic.

Liste Noire has done an earthly intervention at Râºca Monastery, somewhere in North Moldavia. Local materials, workforce provided by the monks’ team and some divine benevolence made possible the conversion of an abandoned 16th century tower to an enlightened library and working space for the annual creative writing workshop that will take place here.

Liste Noire a fãcut o intervenþe pãmânteanã la Mãnãstirea Râºca, undeva în nordul Moldovei. Materialele locale, forþa de lucru oferitã de echipa de cãlugãri ºi ceva mãrinimie divinã au fãcut posibilã transformarea unui turn abandonat, de secol XVI, într-o bibliotecã prealuminatã ºi în spaþiu de lucru pentru atelierul anual de creaþie literarã care are loc aici.

First of all, how did Liste Noire get into such type of consecrated space? What password did you use? Password: Leo aka Father Serafim. The most ama­ zingly anchored into the contemporary of all the Orthodox Church servants I’ve ever met. Young,

În primul rând, cum a ajuns Liste Noire într-un spaþiu din ãsta consacrat? Ce password aþi folosit? Password: Leo, aka Pãrintele Serafim. Cel mai uluitor de ancorat în contemporaneitate slujitor al bisericii ortodoxe din câþi am cunoscut. Tânar, cu umor (era

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funny, witty and wise, regular reader of the revue Omagiu, also a poet (he publishes under the penname Adrian Urmanov), Serafim saw our previous project, the offices of the Ecumest Association. He liked the fresco, a spaceship Enterprise populated by wild horses, chubby angels and skyscrapers. And he asked us if we were interested in designing a library in a monastery. Instant enthusiasm. Liste Noire is opened to any context; the more proble­ matic, the better.

sã scriu diabolic), înþelept în toate cele, cititor regulat al revistei Omagiu, poet (publicã sub pseudonimul Adrian Urmanov), Serafim a vãzut proiectul nostru anterior, sediul Asociaþiei Ecumest. I-a plãcut fresca, o navã spaþialã Enterprise populatã de cai sãlbatici, îngeri bucãlaþi ºi zgârie-nori. Ne-a întrebat, oare ne-ar interesa amenajarea unei biblioteci într-o mãnãstire? Entuziasm instantaneu. Liste Noire e deschis oricărui context, cu cât mai problematic sau cu personalitate, cu atât mai bine.

Once in an orthodox monastery, what have you discovered there? How did the monks live? How was your collaboration with them? How has this collaboration changed on the way? The collective imagery which we brought to the monastery was so heavy on the many stone tiles, white walls, hard wood, ascetic minimalism, heavy gates, iron levers and austere saints. We realized, not without certain sadness, that the orthodox monastery is keeping its pace with the times. The century-old ecclesiastic style is now bearing the jazzy glaze of the contemporary kitsch. Unfortunately, the lack of an Aesthetic Authority and the lack of money made the most of the restoration works to be completed hastily, using bad quality materials and unqualified workforce.

Odatã intrate în mãnãstirea ortodoxã, ce aþi descoperit acolo? Cum trãiau cãlugãrii? Care a fost raportul vostru cu ei? Cum s-a schimbat raportul ãsta pe parcurs? Bagajul de imaginar colectiv cu care am plecat la mãnãstire atârna greoi de la atâtea dale de piatrã, pereþi albi, lemn masiv, minimalism ascetic, porþi grele, ivãre de fier ºi sfinþi austeri. Am constatat, nu fãrã o oarecare tristeþe, cã mãnãstirea ortodoxã se deplaseazã sprinten în pas cu vremurile. Patina centenarã a stilului ecleziast capãtã luciul strident al kitschului contemporan. Din pãcate, lipsa unei Autoritãþi Estetice ºi a banilor a facut ca cele mai multe decizii de restaurare sã fie luate în pripã, folosindu-se materiale de proastã calitate ºi mânã de lucru necalificatã.

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The days spent in the monastery were surely similar to a travel into other temporal dimension. Somehow back to the future. A fascinating hybrid of mornings when we woke up at 6 o’clock, with the deafening toll of the bells in the background and unearthly silence the rest of the day, meals at regular hours, announced by the bells and TV sets with lots of channels in the cells, the echo of the religious hymns spreading itself obsessively (for unknown reasons, they were playing the same CD) from two huge speakers and the profane buzz of the Mercedes cars that brought the lays on Sundays right to the entrance of the church. Except during the two daily religious services, the monks were working hard from dawn till dusk, each with his own task; sweeping the yard, gardening, wax and incense, secretary, administrator, cook. I only saw them passing through the monastery yard, fluttering their black wings. I used to call Father Teodosie on his mobile, for each and every nail or cable we needed. First we were regarded with a curiosity that almost reached doubt. Nevertheless, once the days, weeks, centuries, were passing by, the sight we offered (dirty with paint, carrying buckets and brushes, drill presses, saws, planks, brooms, cables, always in search of bigger or smaller nails) convinced them. No, we weren’t just some demoiselles from Bucharest. We were the same as them. Meanwhile, various rumors about what was going on up in the tower had already made the tour of the monastery; from time to time, there appeared a bearded and smiley head, wondering and asking questions in the slow Moldavian dialect. Did the monks and the abbot know what were you going to do there? Did they see any of your sketches? How did you explain your choice in front of them? What was your persuasion method?

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Sejurul la mãnãstire a echivalat în mod cert cu un salt într-o altã dimensiune temporalã. Back to the future cumva. Un hibrid fascinant de dimineþi trezite în dangãtul asurzitor al clopotelor la ora 6, liniºte nepãmânteanã în rest, mese la ore fixe anunþate cu clopoþel, televizoare cu toate posturile în chilii, ecoul imnurilor religioase revãrsându-se, obsesiv, (puneau acelaºi CD, din pricini neidentificate) din douã boxe impresionante, zumzetul mojicesc al mercedesurilor cu care mirenii nãvãleau duminica pânã în buza bisericii. În afarã de cele douã slujbe zilnice, cãlugãrii muncesc din greu de dimineaþa pânã seara, fiecare cu sarcinile lui precise, de la mãturat curtea, grãdinãrit, cearã ºi tãmâie, secretar, administrator, bucãtar. Îi vedeam doar trecând prin curtea mãnãstirii, fâlfâind din aripile lor negre. Pe Pãrintele Teodosie îl sunam pe mobil pentru fiecare cui sau cablu de care aveam nevoie. La început am fost privite cu o curiozitate vecinã cu neîncrederea. Însã, pe mãsurã ce zile, sãptãmâni, secole, ca sã zic aºa, treceau, priveliºtea pe care o ofeream (murdare de vopseluri, cãrând galeþi ºi trafaleþi, bormaºini, fierãstraie, scânduri, mãturi, cabluri, albite de praful diverselor ºlefuiri, mereu în cãutare de cuie mai mari sau mai mici) i-a convins. Nu eram doar niºte dudui de la Bucureºti. Eram de-ale lor. În acelaºi timp, zvonuri despre cele ce se înfãptuiau acolo sus în turn fãcuserã înconjurul mãnãstirii ºi, din când în când, ne trezeam cu câte o þeastã bãrboasã ºi zâmbitoare, minunându-se ºi punând întrebãri în molcom grai moldovinesc. ªtiau cãlugãrii ºi stareþul ºef ce o sã faceþi acolo? Au vãzut ceva din schiþele voastre? Cum aþi justificat alegerea voastrã în faþa lor, ce metodã de persuasiune aþi folosit? Într-un gest avangardist, Pãrintele Serafim a acceptat propunerea riscantã pe care o înaintasem, aceea de a transforma încãperea de 23m2, în formã de dom, dintr-un turn de secol XVI, într-o colivie aurie.


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In an avant-garde like action, Father Serafim accepted the risky proposal we had delivered; that of transforming the 23sqm dome-like room, from the 16th century tower, into a golden cage. The metaphor of the multiple levels attracted us at the first sight, so to speak. The room had served throughout history as prison for the renitent monks, among them being also Kogalniceanu. Then, the golden cage as a symbol of the lack of liberty, but also as a protection system, brings to the thinker’s mind an interesting idea: what does it protect? The inside world from the outside world or vice versa? Basically, you transformed the library into a cage. The monasteries, especially their libraries, don’t seem like sharing places do they? In the pop culture, they are rather seen as places where knowledge is hidden, offered only to the few. The golden bars of the cage we painted on the library walls separate the books and the humans within from the ravens that are flying vaguely menacing outside, in a 2D trompe l’oeil that invites you to think. Father Serafim closes the books into a golden cage whose small gate is left open. Last summer only, tens of young poets came here, taking part in the creative writing workshop that the monks is coordinating; also, children with AIDS came here, in a creative holiday that provided various modules, such as advertising or fashion. What do you think it was the meaning of the black color in the monastery? Except the intimidating black of the monks’s robes, in the monastery there were rather vivid colors. That’s because of the breezes, and sometimes storms, of cheerful and irreverent kitsch. How did the monks react to the ravens in the cage? Are they ravens or crows? In the old times, the crows and the ravens were seen as symbols of wisdom. Since the stage of idea, I saw the ravens circling the cage. Their dramatic potential subdued us; not to mention their successful literary career in the old times, their menacing aura and their deprecatory notoriety nowadays. That’s because irony is mandatory in Liste Noire’s character. Countless times, up on the scaffolds, while painting the ravens, we had to counter the only complaint of the monks who were visiting the site. „Why don’t you paint pigeons, as they are more beautiful?”; and we had to say that it wouldn’t be wise to discriminate God’s creatures. And that they are not crows, but ravens.

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Metafora pe multiple niveluri ne-a ispitit din prima, ca sã zicem aºa. Încãperea servise de-a lungul istoriei drept temniþã pentru cãlugari recalcitranþi, printre iluºtrii ocupanþi numãrându-se ºi Kogãlniceanu. Apoi, colivia de aur ca simbol al privãrii de libertate, dar ºi ca sistem de protecþie, ridicã la fileul cugetãtorului o idee interesantã: cine pe cine protejeazã? Lumea de dinãuntru de lumea de afarã sau invers? Practic, aþi transformat biblioteca într-o colivie. Mãnãstirile ºi mai ales bibliotecile mãnãstireºti nu par locuri de sharing, nu? În cultura pop sunt mai curând locuri unde cunoaºterea e claustratã, deþinutã de cei puþini. Barele aurii ale coliviei pictate pe pereþii bibliotecii despart cãrþile ºi oamenii din interior de corbii ce zboarã vag ameninþãtor în exterior, într-un trompel’oeil 2D care invitã la reflecþii. Pãrintele Serafim închide cãrþile primite într-o colivie de aur, a cãrei portiþã o lasã deschisã. ªi numai vara trecutã i-au cãlcat pragul zeci de tineri poeþi aspiranþi, participanþi la atelierul de creaþie literarã pe care îl pãstoreºte cãlugãrul; sau copii bolnavi de SIDA, veniþi într-o vacanþã-tabãrã de creaþie la Râºca, pentru care s-au desfãºurat diverse cursuri, de la publicitate la (Ioana, nu mai ºtiu ce aveau) sau modã. Ce rol avea culoarea negru acolo în mãnãstire asa cum aþi perceput-o voi? În afarã de negrul intimidant al sutanelor tuturor cãlugãrilor, o paletã coloristicã destul de vivace domnea în toatã mãnãstirea. Asta ºi din cauza adierilor, pe alocuri vijeliilor, de kitsch voios ºi ireverent. Cum au reacþionat cãlugãrii la corbii din colivie? E vorba de corbi sau ciori? Pe vremuri, ciorile ºi corbii erau simbolul înþelepciunii. Încã din faza de idee, am vãzut corbii dând rotocoale coliviei. Potenþialul lor dramatic ne-a cucerit din prima, vezi strãlucita lor carierã literarã de pe vremuri, aerul ameninþãtor, notorietatea peiorativã din zilele noastre. Asta ºi pentru cã ironia face parte obligatoriu din personalitatea Liste Noire. Cocoþate pe schele în timp ce desenam corbii, în repetate rânduri am contracarat singura nemulþumire a cãlugãrilor ce vizitau ºantierul. „De ce nu pictaþi porumbei, cã-s mai frumoºi?” ºi argumentam ca nu e înþelept sã discriminãm între creaturile Domnului. ªi cã nu sunt cioroi. Sunt corbi.


Lolita

Extraordinary Street Fashion

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Article: Lolita – Extraordinary Street Fashion Country: USA Author: Kyshah Hell Photo: Marianne Williams / Half a Second Photography

The physical look of the Lolita style of dress has been called many things – some of which are not accurate – from Rococo French maid meets Alice in Wonderland, to a Victorian doll come to life, to Street Style meets historical fashion. The Lolita look, as a whole, has links to the French Regency, Baroque, and Rococo periods, and the Victorian and Edwardian eras. These elements ground the Lolita subculture in Western dress, but with these influences the Japanese have created a unique style and lifestyle that does not reflect the Western conceptions of Lolita.           Although, in North America and Europe, one thinks automatically of Vladimir Nabokov when one sees the word Lolita, this subculture has never been about sex. Quite the opposite is true; this is girl culture for girl consumption. The Lolita wardrobe includes such demure items as high–collared, long–sleeved shirts and dresses, and skirt lengths that fall below the knee. It is quite likely that the use of Lolita, in this context of subculture, has origins in the Japanese practice of incorporating English words into their phrases and names, which creates an entirely new meaning. This may in turn have origins in the desire to enhance the prestige value of an item by linking it to the West (Miller, 180).

GOTHIC LOLITA IS A STYLE OF LOLITA DRESS The Gothic Lolita substyle of Lolita fashion (Gosurori or GothLoli) has been referred to as a perfect meshing of romance and childlike innocence, and as the LaCarmina.com Blogger Carmen Yuen states, „a real tension between cuteness and innocence combined with a little bit of darkness and morbidity.” Gothic Lolita dress is characterized by a harmonization of the macabre, by way of skulls, bats, and the color black, with chasteness through the clothing’s bell shape, the covering up of exposed skin, and the ever–present porcelain–doll–like cuteness. The ethereal quality that Gosuroris exude is one of the most striking features of this style. Gothic Lolita aficionados tend to dress all in black, or combine black with minimal accents of white. The must have Lolita accessory is a petticoat or crinoline underskirt to help create the desired silhouette. Heavy stockings or knee–high sox complement

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Aspectul vizual al stilului vestimentar Lolita a fost caracterizat în multe feluri, uneori chiar eronat: de la Rococo francez combinat cu Alice în Þara Minunilor, pânã la pãpuºã victorianã vie, pânã la stil de stradã combinat cu modã de epocã. În ansamblu, aspectul Lolita are legãturã cu regalitatea francezã, cu stilurile baroc ºi rococo ºi cu perioadele victorianã ºi edwardianã. Aceste elemente alcãtuiesc baza subculturii Lolita în vestimentaþia vesticã; însã, cu aceste influenþe, japonezii au creat un stil unic, care nu reflectã concepþia occidentalã despre Lolita. Deºi în America de Nord ºi Europa cuvântul Lolita duce automat cu gândul la Vladimir Nabokov, aceastã subculturã nu a implicat niciodatã sexul. Ba chiar din contrã; e o culturã a fetelor pentru consumul fetelor. Garderoba Lolita include elemente decente, cum ar fi bluze ºi rochii cu guler înalt ºi mâneci lungi, iar lungimea fustei trece peste genunchi. Probabil, utilizarea Lolitei în contextul acestei subculturi îºi are originea în obiceiul japonez de a încorpora cuvinte englezeºti în fraze ºi nume proprii, ceea ce dã un cu totul alt sens. Explicaþia poate fi dorinþa de a creºte valoarea unui element legându-l de cultura occidentalã (Miller, 180).

GOTHIC LOLITA UN STIL DE ROCHIE LOLITA Substilul Gothic Lolita (Gosurori sau GothLoli) al modei Lolita reprezintã o combinaþie perfectã de romantism ºi inocenþã copilãreascã sau, dupã cum afirmã Carmen Yuen pe LaCarmina.com, „o adevãratã tensiune între drãgãlãºenie ºi inocenþã, îmbinatã cu un strop de întunecime ºi morbid”. Rochia Gothic Lolita se caracterizeazã printr-o armonie a macabrului, reprezentat prin cranii, lilieci ºi culoarea negru, cu castitatea, reprezentatã prin forma de clopot a rochiei, prin acoperirea pielii ºi prin omniprezenþa drãgãlãºeniei de tip „pãpuºã de porþelan”. Diafanul rãspândit de Gothic Lolita este una dintre trãsãturile cele mai evidente ale acestui stil. Fanii Gothic Lolita au tendinþa de a se îmbrãca în negru complet sau de a combina culoarea negru cu accente minimale de alb. Accesoriul obligatoriu Lolita este o fustã sau o jupã din crinolinã, care contribuie la crearea siluetei dorite. Ciorapii lungi sau ºosetele pânã la genunchi complementeazã pantofii


large platform shoes – the ne plus ultra of which are Vivienne Westwood’s „rocking horse ballerina” shoes that combine a Geta–style platform with a ballerina flat and ribbons that lace up the leg. In Japan a large purse, bag, or small suitcase is an integral subcultural accessory because in it Lolitas carry extra outfits, make–up, and necessary items of Kawaii (cute). Japanese Gosuroris often carry a very large Vivienne Westwood purse, which prominently displays her orb logo. Other styles of purses range from large leather bat–shaped handbags to handmade (from patterns supplied in The Gothic & Lolita Bible) ruffle–trimmed sacs. The final accessory of importance is a headdress, headband, or hair clips with bows, ribbons, and ruffles on them. There are a multitude of coordinating clothing pieces that make up the main Gothic Lolita wardrobe; many are homemade by crafty seamstresses, and many are purchased from authentic purveyors. Elegant Gothic Lolita (EGL) and Elegant Gothic Aristocrat (EGA) are two styles that harmonize with Gothic Lolita. Both variations lean towards a more mature version of Lolita dress, and they can accompany a Lolita as she ages. The clothing is styled by the Moi–même–Moitié clothing label. EGA can incorporate long floor–length skirts or even wide–legged pants and an androgynous appearance, while EGL almost always follows a traditional Lolita silhouette all in black. For American Lolitas, EGL is particularly attractive, and it has become a default term for describing the spin that American Lolitas have put on the traditional Japanese Gosurori look.     

cu talpã înaltã (ne plus ultra, pantofii „balerinã de lemn” ai Viviennei Westwood, care combinã talpa în stil Geta cu talpa platã ºi panglicile balerinelor, care se înfãºoarã pe picior). În Japonia, o poºetã voluminoasã, o geantã sau un geamantan mic reprezintã un accesoriu subcultural integrat, ºi asta pentru cã Lolitele poartã în ele schimburi, machiaje ºi alte elemente obligatorii pentru stilul kawaii (drãgãlaº). Goth-Lolitele japoneze poartã de obicei o poºetã Vivienne Westwood foarte mare, cu un logo foarte bine evidenþiat. Alte stiluri de poºete variazã de la poºetele de mânã din piele, în formã de liliac, la sãculeþe cu marginile încreþite, croite de mânã, dupã tiparele oferite în The Gothic & Lolita Bible. Un alt accesoriu important este o pãlãrie, o panglicã de pãr sau agrafe cu panglici încreþite. Existã o multitudine de elemente vestimentare complementare care alcãtuiesc garderoba principalã Gothic Lolita; multe dintre ele sunt croite de mânã sau sunt achiziþionate de la furnizori autentici. Elegant Gothic Lolita (EGL) ºi Elegant Gothic Aristocrat (EGA) sunt douã stiluri care armonizeazã cu Gothic Lolita. Ambele variaþiuni înclinã spre o versiune mai maturã a rochiei Lolita ºi pot însoþi o Lolitã în timp ce creºte. Acest stil vestimentar este promovat de marca Moi–même–Moitié. EGA poate încorpora fuste lungi pânã în pãmânt sau chiar pantaloni foarte largi ºi un aspect androgin, în timp ce EGL urmeazã aproape întotdeauna modelul tradiþional Lolita, în negru complet. Pentru Lolitele americane, cel mai atractiv este stilul EGL, acesta devenind termenul implicit pentru a descrie amprenta pe care au pus-o Lolitele americane pe aspectul japonez tradiþional al Gothic Lolitei.

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JAPAN AND GOTHIC LOLITA’S ORIGINS In Japan, „subcultural lifestyles are often related to music, and many... spectacular outfits... are inspired by a rock genre known as visual–kei, meaning „visual style’.” (Keet, 60). Some women get into Lolita through this musical connection, but Lolita and Gosurori is not exclusive to it. Another lead–in to the lifestyle is Cosplay (costume play) where women and men dress up as their favorite pop culture characters. Some Lolitas begin by dressing as their favorite rock star, and this is their entrée into the Gosurori culture. Of course there are also people who find Lolita on their own, without any connection to music or Cosplay, through magazines or the Internet. Today many girls are getting into Lolita via Manga (comic books) and animation, which are both becoming immensely popular in America. Mana, who was the guitar player for the Japanese rock band Malice Mizer and is currently the fashion designer for the clothing label he founded, Moi– même–Moitié, is often given credit for inventing Lolita as a style of clothing. This is inaccurate because, although he created the substyles of Elegant Gothic Lolita (EGL) and Elegant Gothic Aristocrat (EGA) as a way to promote his elite clothing label, he did not invent Lolita as a subculture.

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ORIGINEA LOLITEI JAPONEZE ŞI A GOTHIC LOLITEI În Japonia, „stilurile de viaþã subculturale sunt legate de obicei de muzicã, multe costume spectaculoase fiind inspirate de obicei dintr-un gen de rock cunoscut ca visual-kei, care înseamnã stil vizual” (Keet, 60). Unele femei ajung la Lolita prin aceastã conexiune muzicalã, dar Lolita ºi Gothic Lolita nu îi aparþin în exclusivitate. Un alt element de legãturã pentru acest stil este cosplay-ul, în care femeile ºi bãrbaþii se îmbracã asemeni personajelor preferate din cultura pop. Unele Lolite încep prin a se îmbrãca la fel ca starul rock favorit, acest lucru constituind intrarea lor în cultura Gosurori. Desigur, existã persoane care gãsesc singure stilul Lolita, prin reviste sau prin intermediul Internetului. Astãzi, multe fete ajung la Lolita prin manga ºi anime. Mana, fostul chitarist al trupei japoneze de rock Malice Mizer ºi actualul fashion designer al firmei de îmbrãcãminte Moi–même–Moitié, pe care a înfiinþat-o, este considerat „inventatorul” Lolitei ca stil vestimentar. Acest lucru este eronat, deoarece, cu toate cã a creat substilurile Elegant Gothic Lolita (EGL) ºi Elegant Gothic Aristocrat (EGA) ca metodã de promovare a firmei sale de îmbrãcãminte de elitã, nu a inventat Lolita ca subculturã.


The subcultural origins of Gothic Lolita, according to Macias and Evers, look all the way back to the 1970’s and the Nagomu Gals subculture (121). Nagomu was a Japanese record label, and its followers are described as something akin to the American art school girl. Nagomu Gals were Fushigi Chan, or mysterious girls. They made their own clothing, and they appeared „to be lost in a twisted extended childhood” (111). Because Japan does not have the Eastern European cultural origins of Goth, they did not readily relate to the Western Goth aesthetic (Macias & Evers, 118–120). While there are pockets of Goth culture in Japan, it is not entirely the same and it is not particularly influential. What ultimately gained the attention of Japanese teens was the visual look of Goth, and how it was filtered through the unique cultural experience of the early 20th century author Edogawa Rampo’s Ero– Guro (erotic and grotesque) stories (119).   The Lolita lifestyle as a whole has origins in the 1970’s and 1980’s Kawaii culture, and the Kogyaru culture, or more commonly in English Kogal meaning „high school girl”. As Miller states, „embodied in many of the new girl prototypes is a rejection of cultural proscriptions about proper female affect

În opinia lui Macias ºi Evers, originea subculturalã a Gothic Lolitei dateazã din anii 1970 ºi din subcultura Nagomu Gals (121). Nagomu era o casã de înregistrãri japonezã, iar fanii acesteia sunt asemãnaþi cu o elevã americanã de la arte. Nagomu Gals erau Fushigi Chan sau fetele misterioase. Acestea îºi croiau singure hainele ºi pãreau „a fi pierdute într-o copilãrie prelungitã ºi diformã” (111). Datoritã faptului cã Japonia nu are originea esteuropeanã a goticului, acestea nu erau legate în mod direct de estetica goticului occidental (Macias & Evers, 118–120). Cu toate cã în Japonia existã cuiburi ale culturii gotice, aceasta nu este integral aceeaºi ºi nu are o influenþã prea mare. Ceea ce a atras cel mai mult atenþia adolescenþilor japonezi era aspectul vizual al goticului ºi modul în care acesta era filtrat prin experienþa culturalã unicã a povestirilor Ero– Guro (erotic ºi grotesc) ale lui Edogawa Rampo, la începutul sec.XX (119). În ansamblu, stilul Lolita îºi are rãdãcinile în cultura Kawaii a anilor 1970 ºi 1980 ºi în cultura Kogyaru (Kogal însemnând high school girl, elevã de liceu). Conform afirmaþiei lui Miller, „în cele mai multe prototipuri ale fetei moderne e întruchipatã o

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and presentation of self” (34). At that time many Japanese girls were looking for ways to belong to a subculture that was uniquely female. According to Macias and Evers, the establishment of clothing brands catering to this new market, such as Milk, Emily Temple Cute, and in 1988 Baby, the Stars Shine Bright, brought a hyper–feminine girly look into being (122). With the establishment of Moi–même–Moitié in 1999, and the founding of The Gothic & Lolita Bible in 2001, the roots for the Gothic Lolita subcultural style were firmly entrenched.

respingere a interdicþiei culturale privind înfãþiºarea ºi prezentarea femeii” (34). În acea perioadã, foarte multe fete japoneze cãutau metode de apartenenþã la o subculturã în întregime femininã. Dupã Macias ºi Evers, înfiinþarea firmelor de vestimentaþie ca Milk, Emily Temple Cute ºi în 1988 Baby, the Stars Shine Bright, toate dedicate acestei pieþe noi, a dus la naºterea unei înfãþiºãri copilãreºti foarte feminine (122). Odatã cu apariþia Moi–même–Moitié, în 1999, ºi a The Gothic & Lolita Bible, în 2001, se fixau cu adevãrat rãdãcinile stilului subcultural Gothic Lolita.

GOTHIC LOLITA IN AMERICA

GOTHIC LOLITA ÎN AMERICA

The release of the book Fruits, by Phaidon press in January of 2001 was a watershed moment for the recognition of Japanese street style in America, and consequently for the fashions of Lolita. This book quietly infiltrated bookstores all over America, and by the release of Fresh Fruits in June of 2005 there was a full–blown phenomenon happening on American shores. Many burgeoning Lolitas saw the images published in this book and went straight to the Internet to find out more information. In 2001 there was precious little information available on the Internet in English, but thankfully there existed a LiveJournal community, J-Rock fan sites with Images of Mana and his ilk, and a few „street snap” sites with pictures of all types of Japanese street style models. From these humble origins American teens and young adults have carved out an entire subculture. It may have Japanese origins, but returned to its native Western context of Alice in Wonderland, tea parties, and Victorian dolls, Lolita has become something enticing and uniquely creative for Americans.    Another watershed moment for Lolita was the movie Shimotsuma Monogatari. Released in Japan in May of 2004, and based on the novel Shimotsuma Story by Novala Takemoto, Kamikaze Girls was made available for the American market in June of 2005. The movie follows the story of a Lolita named Momoko, and her addiction to all things Lolita. The movie centers on Momoko’s idolization of Akinori Isobe, the fashion designer for the label Baby, the Stars Shine Bright, and her dream of designing clothing for the company. When people use the term Lifestyle Lolita they are referring to a devotee who lives, breathes, sleeps, and eats Lolita, just like Momoko.      What is so amazing about the Lolita lifestyle in America is, unlike the Japanese who have Harajuku, the park, and the bridge, there are no culture specific events or central figures to draw Lolitas together. Each city, state, and region of the United States has pocket groups of people who stay in touch via the

Lansarea cãrþii Fruits de cãtre Phaidon în ianuarie 2001 a reprezentat momentul hotãrâtor în recunoaºterea stilului de stradã japonez ºi, în acelaºi timp, a modei Lolita în America. Cartea a înþesat librãriile din toatã America, iar în momentul publicãrii Fresh Fruits, în iunie 2005, fenomenul era deja în plinã desfãºurare pe coastele americane. Multe Lolite burgheze au vãzut imaginile publicate ºi s-au repezit la Internet sã caute mai multe informaþii. În 2001 erau puþine informaþii disponibile pe Internet în englezã, însã, din fericire, exista o comunitate LiveJournal, site-uri Web ale fanilor J-rock cu imagini ale lui Mana ºi ale semenilor sãi ºi câteva site-uri cu „instantanee de stradã”, cu imagini ale diverselor modele de stil stradal japonez. Din aceste origini minimale, adolescenþii ºi tinerii americani au construit o întreagã subculturã. Chiar dacã rãdãcinile erau japoneze, aceasta s-a întors la contextul occidental original al petrecerilor cu ceai în stil Alice în Þara Minunilor ºi al pãpuºilor victoriene, Lolita devenind un element ispititor ºi unic pentru americani.

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Alt moment de rãscruce pentru Lolita a fost reprezentat de filmul Shimotsuma Monogatari. Lansat în Japonia în mai 2004 ºi insiprat din romanul omonim al lui Novala Takemoto, Kamikaze Girls a apãrut pe piaþa americanã în iunie 2005. Filmul urmãreºte povestea unei Lolite pe nume Momoko ºi a dependenþei acesteia de toate elementele Lolita. Filmul este centrat pe cultul pe care Momoko îl are pentru Akinori Isobe, fashion designer-ul firmei Baby, the Stars Shine Bright, ºi pe visul acesteia de a crea haine pentru aceastã companie. Atunci când se foloseºte termenul de Lifestyle Lolita, acesta îi desemneazã pe cei care sunt devotaþi total, care trãiesc, dorm, respirã ºi mãnâncã în stil Lolita, la fel la Momoko. Cu adevãrat uimitor pentu stilul de viaþã Lolita american este faptul cã, spre deosebire de japonezi, care au Harajuku, parcul ºi podul, aici nu existã evenimente specifice culturii sau figuri centrale care sã le reuneascã pe Lolite. Fiecare oraº, stat ºi regiune


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Internet. Some participants meet for tea or shopping, and some attend Anime conventions, but for the most part this is a disparate and solitary subculture that feeds on the Internet, individual creativity, issues of The Gothic & Lolita Bible, and the distinct art of dressing for self–pleasure.       Subcultural participant Carmen Yuen states, „For me, I consider what’s provocative isn’t showing [a lot of] skin, but wearing a fashion that makes people take a step back. A style that represents an alternative view of beauty can be darker and more subversive. I find the tension within Gothic Lolita, even though it can be quite modest, is the contrast between that which is dark and that which is innocent. This is surprising, especially to Western eyes. To me, even if that isn’t sexual, in an overt sense, it is extremely provocative.”    There is something supremely attractive about dressing in a style of clothing that is the antithesis of sexy. It allows one a moment of respite from the sexed–up popular culture America breeds and feeds on. For the time that one is dressed as a Lolita one does not have to grow up; one can stay a girl, and avoid all the messy mistakes of becoming a woman. The Lolita subculture allows a form of socialization that is all female; it helps girls cement friendships within the common interest of creativity, and without the antagonism that male attention can create. This subcultural style is, according to Carmen Yuen, a way to feel very beautiful without having to sexualize yourself. It is attractive to women and girls of all body shapes and sizes, and in America it is essentially for females only, which is inspiring and encouraging at the same time. (There are some men who cross–dress as Lolitas.) When asked why they like Lolita, many girls answer that it is pretty and very girly, or that playing dress-up and looking cute is self-satisfying in its own right.  

din S.U.A. are grupuri de oameni care þin legãtura între ei prin Internet. Unii se întâlnesc la un ceai sau la cumpãrãturi, iar alþii participã la convenþiile anime; însã, în cea mai mare parte, e o subculturã solitarã ºi disparatã, care trãieºte prin Internet, prin creativitate personalã, prin numere din The Gothic & Lolita Bible ºi prin arta distinctã de a te îmbrãca pentru plãcerea personalã.

Gothic Lolita is the focus of this article, but there are many other style subsets of Lolita itself. Some styles are brand–new variations, and others have roots older than Gothic Lolita. Classic Lolita is one of the most refined and adult styles of Lolita dress, and it lacks some of the frills and ruffles that many of the other styles have. There is Country Lolita that entails a lot of patterned fabric, Pink Lolita that is a style formed around the color pink, a Blue Lolita style, and even a White Lolita style. Sweet Lolita (AmaLoli) is the most doll–like style of Lolita. It incorporates items such as stuffed animals, bows, and ribbons to create a fantasy of childhood. Punk Lolita (sometimes referred to

MAI MULT DECÂT SIMPLU GOTIC

MORE THAN JUST GOTHIC

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Carmen Yuen, membrã a acestei subculturi, afirmã: „Pentru mine, provocator nu înseamnã sã-þi arãþi cât mai multã piele, ci sã porþi un stil vestimentar care sã-i determine pe ceilalþi sã facã un pas înapoi. Un stil care reprezintã o viziune alternativã asupra frumuseþii poate fi mai întunecat ºi mai subversiv. Consider cã tensiunea dintr-o Gothic Lolita, chiar ºi modestã, e contrastul dintre ceea ce e întunecat ºi ceea ce e inocent. Acest lucru e surprinzãtor, mai ales în ochii occidentalilor. Pentru mine, chiar dacã nu e sexual în sensul explicit, acest stil este extrem de provocator”. Existã ceva extraordinar de atractiv în a te îmbrãca într-un stil care e total opusul ideii de sexy. Permite o clipã de rãgaz de la cultura pop suprasaturatã de sex care împânzeºte America. Când o persoanã e îmbrãcatã în Lolita, acea persoanã nu creºte; rãmâne fetiþã ºi evitã toate greºelile care apar în procesul devenirii unei femei. Subcultura Lolita permite o formã de socializare integral femininã; le ajutã pe fete sã-ºi cimenteze prieteniile pornind de la idei creative comune ºi fãrã antagonismul pe care-l poate crea atenþia masculinã. În opinia lui Carmen Yuen, acest stil subcultural e un mod de a te simþi frumoasã fãrã sã-þi expui sexualitatea. E atractiv pentru toate fetele ºi femeile, indiferent de dimensiunea corpului, iar în America e exclusiv pentru femei, ceea ce inspirã ºi, în acelaºi timp, încurajeazã (existã ºi bãrbaþi care se deghizeazã în Lolite). Când sunt întrebate de ce le place Lolita, multe multe fete rãspund cã li se pare drãguþ, copilãresc, sau pentru cã joaca de-a costumele ºi o înfãþiºare dulce aduce o anumitã satisfacþie personalã.

Subiectul central al acestui articol e Gothic Lolita, dar existã foarte multe substiluri ale Lolitei. Unele dintre ele sunt variaþiuni foarte noi; altele au rãdãcini mai vechi decât Gothic Lolita. Classic Lolita este unul dintre cele mai rafinate ºi mai adulte stiluri ale rochiei Lolita, fãrã volanele ºi încreþiturile celorlalte. Existã ºi Country Lolita, cu materiale încãrcate de modele, Pink Lolita, un stil format în jurul culorii roz, Blue Lolita ºi chiar White Lolita. Sweet Lolita (AmaLoli) este stilul Lolita cel mai apropiat de pãpuºi. Conþine elemente ca animãluþe de pluº, funde ºi panglici, pentru a crea o fantezie a copilãriei.


as Goth-Pan) is a style of dress with additions in the punk style. Many adherents use safety pins, skull motifs, bondage straps, and chains to enhance the Lolita look. Twin Lolita (Futago-Loli) is when two people dress in the same Lolita outfit, regardless of style. Wa-Lolita (WaLoli) is a newer style of dress that is predicated on traditional Japanese clothing. Variations on the Kimono, customary hair ornaments, and Geta shoes all help to inform this style. Some Lolita looks, such as Sailor Lolita and Pirate Lolita, appear to be Cosplay influenced, and consequently are seen less often in the general Lolita community. This is by no means an exhaustive list of Lolita styles. Due to its ubiquitous popularity in Japan, Lolitas are always looking for ways to stand out and be trendsetters. Creating new styles is a way to do that, and so Lolita is an evolving fashion subculture.  

„GOTHIC LOLITA FASHIONS MAKE ME HAPPY”

Many girls are attracted to the Lolita style because the beauty of it enamors them. Women of all ages admire the style, and even if they would not wear it, some want to incorporate little elements of it into their own wardrobes. There is pleasure in the donning of a youthful bell–shaped dress, skirt, or coat, which can be appreciated by any woman. Wearing Lolita clothing is an ultimate expression of girly femininity, and it is done expressly to pleasure the wearer herself.     Gothic Lolita is a style that stands out among many other subcultural styles. There is an allure to the exquisitely elegant mixture of romance and innocence. For those of the Gothic persuasion, or those who can appreciate its aesthetic, there is something undeniably beautiful in the combination of „roses and spider webs.” SOURCES: Aoki, Shoichi. Fruits. Phaidon Press: London, 2001. Keet, Philomena. The Tokyo Look Book. Kodansha International: Tokyo, 2007. Macias, Partick and Izumi Evers. Japanese Schoolgirl Inferno: Tokyo Teen Fashion  Subculture Handbook. Chronicle Books: San Francisco, 2007.   Miller, Laura. Beauty Up: Exploring Contemporary Japanese Body Aesthetics. U of California Press: Berkeley, 2006.

Punk Lolita (denumitã uneori Goth-Pan) e un stil de rochie inspirat din punk. Sunt folosite ace de siguranþã, modele cu cranii, centuri ºi lanþuri, pentru a îmbunãtãþi aspectul Lolita. Twin Lolita (FutagoLoli) înseamnã douã persoane îmbrãcate în costum Lolita identic, indiferent de stil. Wa-Lolita (WaLoli) e un stil vestimentar mai nou, orientat cãtre costumul tradiþional japonez. Variaþii de kimonouri, podoabe de pãr tradiþionale ºi încãlþãrile Geta contureazã acest stil. Existã costume Lolita, cum ar fi Sailor Lolita ºi Pirate Lolita, inspirate din cosplay, care apar mai rar în marea comunitate Lolita. Aceasta nu e nici pe departe o listã extinsã a stilurilor Lolita. Datoritã popularitãþii imense pe care o au în Japonia, Lolitele cautã întotdeauna metode de a ieºi în evidenþã ºi de a stabili tendinþe. Crearea stilurilor noi este una dintre metode; astfel, Lolita e o subculturã într-o evoluþie continuã în modã.

„MODA GOTHIC LOLITA Mà FACE FERICITÔ Multe fete sunt atrase de stilul Lolita datoritã frumuseþii acestuia. Femei de toate vârstele admirã acest stil, iar unele dintre ele, chiar dacã nu se îmbracã aºa, includ anumite elemente în garderoba lor. Existã plãcere în a îmbrãca o fustã, rochie sau hainã în formã de clopot, apreciatã de orice femeie. Sã porþi haine Lolita e expresia cea mai accentuatã a feminitãþii copilãreºti ºi se adreseazã exlusiv plãcerii purtãtorului. Gothic Lolita e un stil care iese în evidenþã între alte stiluri subculturale. Existã un anumit farmec în acest amestec elegant de romantism ºi inocenþã. Pentru cei atraºi de gotic sau pentru cei care îi apreciazã estetica, existã o frumuseþe de necontestat în combinaþia de „trandafiri ºi pânze de pãianjen”. ADDITIONAL SOURCES: Aoki, Shoichi. Fresh Fruits. Phaidon Press: London, 2005. Aoki, Shoichi. Gothic & Lolita. Phaidon Press: London, 2007. Godoy, Tiffany. Style Deficit Disorder. Chronicle Books: San Francisco, 2007. Kelts, Roland. JapanAmerica: How Japanese Pop Culture Has Invaded The U.S. Palgrave: New York, 2006.

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Article: Hayao Miyazaki – On the Path of the Spirits, with Cat Autobus (part II) Country: Romania Author: Veronica Solomon Blog: 12forever.blogspot.com

Shishigami, the vital spirit of the forest, is a gentle deity, even in its nocturnal shape, didaribotchi, huge and impressive, but in this movie the image of the forest spirits is given by the warrior kamis (huge wolves and boars, fighting against humans) and by the small kodama, the spirits of the trees, the children of the camphor-tree. The humans are depicted as belonging to two different worlds, the old and the new. Miyazaki is on the side of the humans from the old world, the ones from the tribe Emishi. These are actually the Ainu, who, the same as the forests, were extinguished by the expansion of the Yamato civilization. Their clothes, the same of San’s, the „possessed princess” (mononoke hime), are inspired from the terracotta figures of the Jomon era. They are the representatives of the hunters and gatherers community, who were still communicating with the elements.

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Shishigami, spiritul vital al pãdurii, e o zeitate blândã, chiar în forma sa nocturnã, uriaºã ºi impresionantã (didaribotchi), dar imaginea spiritelor naturii din acest film e datã pe de o parte de kami rãzboinici (lupii ºi mistreþii uriaºi care sunt angrenaþi în rãzboiul cu agresorii umani) ºi, pe de altã parte, de micuþii kodama, spiritele copacilor, copiii arborelui de camfor. Oamenii sunt înfãþiºaþi ca fãcând parte din douã lumi diferite, cea veche ºi cea nouã. Iar simpatia lui Miyazaki rezidã cu oamenii lumii vechi, cei din tribul Emishi. Aceºtia sunt de fapt populaþiile Ainu, care, la fel ca pãdurile, au fost decimaþi de expansiunea civilizaþiei Yamato. Portul lor, la fel ca cel al lui San, „prinþesa posedatã” (mononoke hime), e inspirat de figurinele de ceramicã din perioada Jomon. Ei sunt reprezentanþii societãþii de vânãtori ºi culegãtori care încã trãiau în armonie cu elementele.


The humans of the „new world”, of the iron era, are represented by the Tatara clan, who were populating the fort and were using fire guns. They are the ones who start the conflict with the spirits of nature, who come to cast their revenge upon the entire huma­ nity. That is why one of the boar-kamis arrives as a demon in the remote village of prince Ashitaka. He succeeds in defeating the monster, but it is affected by its curse and leaves in the search of the source of the evil that consumes him. The emblem figure for the modern human is Eboshi Sama, the clan leader, a pragmatic woman who’s only interested in the human progress, totally disregarding the traditional spirituality. „I sketched Eboshi as the most contemporary character, and I say contemporary and modern because she has no interest at all in the salvation of her soul. She can kill a god with only the force of her own will ….” Still, she doesn’t lack qualities; the community she’s leading is mainly made of outcasts from the traditional society: women forced to work in brothels, and even lepers. She symbolizes the breaking from the mystical past and the leap towards the non-spiritual future, also raising the question: „what’s more im-

Oamenii „lumii noi”, ai erei fierului, sunt clanul Tatara, locuitorii fortului ºi fãurarii armelor de foc. Ei sunt cei care declanºeazã conflictul cu spiritele naturii, care ajung sã îºi reverse rãzbunarea asupra întregii umanitãþi. Aºa se face cã unul dintre kami mistreþi ajunge într-o formã demonizatã în sãtucul îndepãrtat al prinþului Ashitaka. Acesta reuºeºte sã înfrângã monstrul, dar e atins de blestemul acestuia ºi pleacã sã afle sursa rãului care-l mistuie. Figura emblematicã pentru omul modern e liderul acestui clan,  Eboshi Sama, o femeie pragmaticã, interesatã doar de progresul uman, nesocotind cu desãvârºire spiritualitatea tradiþionalã. „Am conceput-o pe Eboshi ca cel mai contemporan personaj, ºi spun contemporan ºi modern pentru cã ea nu mai are pic de interes în salvarea sufletului sãu. Omoarã un zeu cu forþa propriei voinþe….” Dar ea nu e lipsitã de calitãþi; comunitatea pe care o conduce e formatã în mare parte din proscriºi ai societãþii tradiþionale: femei nevoite sã lucreze în bordeluri ºi chiar leproºi. Ea simbolizeazã ruptura de trecutul mistic ºi trecerea cãtre viitorul non-spiritual ºi ridicã întrebarea: „Ce e mai important: progresul umanitãþii sau supravieþuirea naturii?” Mai mult, în final ea realizeazã consecinþele dezastruoase ale

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portant: the progress of the humanity or the survival of nature?” Furthermore, in the end she becomes aware of the disastrous consequences of her actions and decides to change her ways... Regarding the situation as a whole, we can notice that, even if Miyazaki favors the supremacy of nature and raises awareness upon the over-industrialization, he never denies the importance of progress. He only suggests a middle way, the balance of forces that would allow modernity to integrate within the vital natural circuit. „Even in the middle of hate and slaughter there are still many things which you can live for. Miraculous events and beautiful things still exist.” Miyazaki had been long before concerned with the theme of the conflict between human and nature; actually, „Princess Mononoke” is the reshaping of the story in „Nausicaa of the Valley of the Wind”. The movie is based on the manga bearing the same name, by the same author, which hadn’t been completed when the movie was released. With a terrible eco-fatalism, nevertheless full of hope, Miyazaki chose as setting a far away, postapocalyptic future, when the nature reborn is again

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acþiunilor sale ºi decide sã îºi schimbe metodele… Privind toatã situaþia în ansamblu, vedem cã, deºi Miyazaki înclinã balanþa cãtre supremaþia naturii ºi trage un semnal de alarmã împotriva supraindustrializãrii, totuºi el nu neagã importanþa progresului, ci sugereazã gãsirea acelei cãi de mijloc, a echilibrului forþelor care sã permitã integrarea modernitãþii în circuitul vital firesc. „Chiar în mijlocul urii ºi al mãcelului, existã multe pentru care sã trãieºti. Întâmplãri miraculoase ºi lucruri frumoase încã existã.” Tema conflictului dintre om ºi naturã l-a preocupat pe Miyazaki cu mult înainte. De fapt, „Princess Mononoke” e reluarea adaptatã a poveºtii din „Nausicaa of the Valey of Wind”. Filmul e bazat pe manga cu acelaºi nume, de acelaºi autor, care nu era nici pe departe finalizatã la momentul realizãrii acestuia. Cu un eco-fatalism înfiorãtor ºi totuºi plin de speranþã, Miyazaki îºi situeazã acþiunea într-un viitor îndepãrtat, post apocaliptic, dupã ce natura renãscutã a pus din nou stãpânire pe Terra. De dimensiuni ºi forme impresionante, atât flora, cât ºi fauna au atribute divine ºi sunt ostile oamenilor, aceºtia fiind cei care au cauzat armaghedonul denumit „Cele


ruling the Earth. The flora and fauna, of impressive dimensions, have divine attributes and are hostile to humans, triggering the Armageddon known as „The 7 Days of Fire.” The benevolent kamis, bearers of earth’s conscience, are incarnated in Ohmu, a species of giant insect which is observing the ecosystem’s equilibrium. Issues such as pollution, death and rebirth of nature are here connected with the traditional Shinto theme of stain and purification. In the Japanese myth of creation, the concepts of good and evil are synonyms to those of pure and impure, and even to those of life and death. The story goes this way: when Izanami gave birth to the god of fire, she suffered terribly and died, entering the realm of the dead. She forewarned Izanagi not to look for her, in order to avoid seeing her in such an impure state. As he missed her too much, he disobeyed her request and followed her in the other world. He hardly escaped her anger and, once back into his world, he felt stained and went through a purification ritual. He washed in the source of a river, and out of the impurities left over, Magatzubi-no-Kami (the mysterious spirit of evil) was born. In order to counterbalance it, Naobi-no Kami (the mysterious spirit of adjusting the evil) emerged. Therefore, the term tsumi meant both

7 zile de Foc”. Kami benevolenþi, purtãtorii conºtiinþei pãmântului, sunt întruchipaþi de Ohmu, o rasã de insectoid gigantic care vegheazã asupra echilibrului ecosistemului. Tema poluãrii, a morþii ºi renaºterii naturii e legatã aici de tema întinãrii ºi purificãrii din tradiþia Shinto. În mitul creaþiei la japonezi noþiunile de bine ºi rãu se suprapun celor de pur ºi impur ºi chiar de viaþã ºi moarte. Povestea e aºa: când Izanami a dat naºtere zeului focului, a suferit cumplit ºi „a murit”, intrând pe tãrâmul morþilor. L-a avertizat pe Izanagi sã nu o caute, sã nu o afle într-o aºa stare impurã. Ducându-i foarte tare dorul, acesta îi nesocoteºte interdicþia ºi o urmeazã în lumea de apoi. Scapã cu greu de furia ei ºi, întors în lumea lui, se simte întinat ºi se supune unui ritual de purificare. Se spalã în gura unui râu, iar din impuritãþile rãmase ia naºtere Magatzubi-noKami (misteriosul spirit al rãului). Însã, pentru a-l contrabalansa, imediat apare ºi Naobi-no-Kami (misteriosul spirit al îndreptãrii rãului). De aici, termenul tsumi înseamnã atât „rãu”, cât ºi „murdar”, „bolnav”, „morbid”, iar yogoto - „bine/bun” are ºi înþelesul de „curãþenie” fizicã ºi  spiritualã ºi „armonie”. Într-un interviu, Miyazaki povesteºte ce anume l-a  inspirat pentru „Nausicaa”: poluarea cu mercur

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„evil”, and „dirty”, „ill”, „morbid”; the term yogoto meant both „good”, and also „clean” (physical and spiritual), and „harmony”. In one of his interviews, Miyazaki tells what had inspired him in creating „Nausicaa”: the mercury pollution in the Minamata Bay, during the 50s and the 60s. Everyone expected the local fauna to disappear or to lessen dramatically, but, strangely, the fish tanks multiplied. What had impressed him most was the solidarity of the creatures who had gathered in order to absorb pollution and to be able to survive. Similarly, in Nausicaa, instead of a radioactive desert, as the post-apocalyptic landscape is often seen like, the earth abounded in life in the Toxic Jungle. Nausicaa, a character with messianic features according to some critics, was the only connection between nature and the people in conflict. She was the bearer of that „pure heart” and of the hope to find the harmony with the elements; also, in her explorations and in her botanical laboratory, she discovered the real role of the Toxic Jungle: the trees absorbed the poison from the land and neutra­ lized it, then died and became sand, resulting in pure land and water. Nevertheless, she didn’t succeed in reconciling the humans and the nature, and wasn’t able to share her discoveries. She and the inhabitants of the Valley of the Wind are caught in the conflict between two belligerent tribes and in their campaign against Nature. Only when the Ohmu are provoked to get involved in the conflict and she sacrificed herself in order to save the Valley, the humans assisted to her communion with the spirits of Earth. She obtains forgiveness for her people’s mistakes and is brought back to life. The hope to reestablish harmony was based on the humans’ capacity to understand the meaning of all things. Shinto themes and elements also appear in „Laputa – Castle in the Sky” and in „My Neighbor Totoro.” The latter is a rural paradise in which the communion with the elements is accomplished through the rediscovery of the childhood magic, when the world is perceived similarly to the animist view of Shinto. The large popularity of this movie is based on the nostalgia it evokes, leading to a primordial blessed state. A relevant issue is that the movie was released in 1988, during the most accelerated economic growth in the history of the world (referred to as The Bubble/buburu). In a more and more robotized Japan, and in a world caught in consumerism, following the

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a Golfului Minamata în anii ’50 ºi ’60. Toatã lumea se aºtepta ca fauna localã sã disparã sau sã se împuþineze drastic, dar în mod ciudat bancurile de peºti s-au înmulþit peste mãsurã. Ce l-a înfiorat a fost solidaritatea vietãþilor care s-au adunat atât de multe pentru a absorbi poluarea ºi a continua sã supravieþuiascã. La fel, în „Nausicaa”, în locul unui deºert radioactiv, cum se obiºnuieºte a fi vãzut peisajul post-apocaliptic, pãmântul abundã de viaþã în Jungla Toxicã. Nausicaa, personaj cu caracteristici mesianice în viziunea unor critici, este singura legãturã între naturã ºi oamenii aflaþi în conflict. Ea e purtãtoarea acelei „inimi pure” ºi a speranþei regãsirii armoniei cu elementele; tot ea e cea care descoperã în explorãrile, apoi în laboratorul ei botanic, adevãratul rol al Junglei Toxice: copacii absorb otrava din pamânt ºi o neutralizeazã, apoi mor ºi devin nisip, iar solul ºi apa rezultate sunt pure. Totuºi ea nu reuºeºte sã reconcilieze oamenii cu natura, nu apucã sã-ºi împãrtãºeascã descoperirile; ea ºi poporul Vãii Vântului sunt prinºi într-un conflict între douã triburi rãzboinice ºi în campania acestora împotriva Naturii. Doar când Ohmu sunt provocaþi sã intre în conflict ºi ea se sacrificã pentru a salva Valea, oamenii asistã la comuniunea ei cu spiritele pãmântului. Ea obþine iertarea pentru greºelile semenilor sãi ºi e readusã la viaþã. Speranþa restabilirii armoniei stã în capacitatea oamenilor de a înþelege rolul tuturor lucrurilor. Subiecte ºi elemente de inspiraþie Shinto apar ºi în „Laputa-Castle in the Sky” ºi „My Neighbor Totoro”. În special acesta din urmã e o feerie ruralã în care comuniunea cu elementele e realizatã prin regãsirea magiei copilãriei, când percepþia lumii e foarte similarã cu viziunea animistã a shintoismului. Popularitatea universalã a acestui film se bazeazã tocmai pe nostalgia pe care o evocã pentru o stare primordialã binecuvântatã. E relevant cã acest film a fost lansat în 1988, în timpul celei mai accelerate creºteri economice din istoria lumii, denumitã „The Bubble/buburu”. Într-o Japonie din ce în ce mai robotizatã ºi într-o lume cuprinsã de febra consumului pe principiul „nou înseamnã mai bun”, filmele lui Miyazaki trezesc regretul de a fi renunþat la bogãþia unei copilãrii petrecute între dealuri împãdurite sau la spiritualitatea atinsã trãind ca parte a naturii ºi a tradiþiilor. Sper sã mai trãiesc încã 30 de ani. Vreau sã vãd marea înghiþind Tokyo-ul ºi turnul NTV devenind o insulã… Banii ºi lãcomia, toate se vor prãbuºi, iar deasupra vor creºte plante sãlbatice” H.M.2005  


Hayao Miyazaki

principle „new means better”, Miyazaki’s movies seed the regret of having given up the richness of a childhood spent within the forested hills or the spirituality one could attain if living as part of nature and traditions. „I hope to live for another 30 years. I want to watch the sea devouring Tokyo and the NTV Tower becoming an island… Money and greed, they will all fall, and wild plants will grow above them.” H.M.2005   Miyazaki stated that he made movies only for the Japanese audience. Having this public in mind, he actively participates in what has been termed as Nihonjinron, a theoretic movement that seeks to define „Nipponity” and to reconstruct the Nippon identity. Still, while others attempt to underline the differences between the Japanese culture and the outside cultures, Miyazaki’s vision is more extensive and more global. He seeks to find those elements that are entirely Nippon but can be regarded as transnational and generally human features. His movies intend to catch the audience with a sense of spirituality that avoids the dogmas and orthodoxies of an organized religion, trying instead to attain the original state of the human spirituality and to translate it into the language of modern life.

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Miyazaki a declarat cã el face filme doar pentru audienþa japonezã. Cu acest public în minte, el participã activ la ceea ce se numeºte Nihonjinron, o miºcare teoreticã ce urmãreºte sã defineascã „niponitatea” ºi sã reconstruiascã identitatea niponã. Însã în timp ce alþii încearcã sã sublinieze diferenþele dintre cultura japonezã ºi restul, viziunea lui Miyazaki e mai expansivã ºi globalã. El cautã sã gãseascã acele elemente profund nipone care funcþioneazã ca trãsãturi transnaþionale ºi general umane. Filmele sale urmãresc sã farmece audienþa cu un sens al spiritualitãþii care ocoleºte dogmele ºi ortodoxiile unor religii organizate, încercând în schimb sã atingã starea originalã a spiritualului uman ºi sã o traducã în limbajul vieþii moderne. BIBLIOGRAPHY: „Forest Spirits, Giant Insects and World Trees: The Nature Vision of Hayao Miyazaki” Lucy Wright – The Journal of Religion and Popular Culture. www.usask.ca/relst/jrpc/art10-miyazaki.htm „Shinto Perspectives in Miyazaki’s Anime Film «Spirited Away»” James W. Boyd andTetsuya Nishimura – The Journal of Religion and Film. www.unomaha.edu/jrf/Vol8No2/boydShinto.htm „ANIME-from Akira to Howl’s Moving Castle” – Susan J. Napier


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Interview I Interviu

Interview: Interview with Ryosuke Tei, creative director of Furi Furi. Country: Japan Artists: FuriFuri Company Web: furifuri.com

Furi Furi is a design team based in Tokyo that has expanded worldwide. It covers every aspect of design, from consulting and planning to media promotions, combining its unique manga aesthetics with a gene­ rous helping of adult madness. Well-respected right across the board, in merchandising, advertising, toy design and other media, their ability to style japanimation characters with amazing precision and inner logic, emotion and motivation, has enabled them to make people happy. Who is behind Furi Furi Company? There are six of us. Each one of us does different things. Kazu is a president / producer, Tei, me, is a creative director, Rage & Miki are designers, Yuki is a Flash creator, and Aiko is communication director. Each one of us knows what it takes to achieve something. Furi Furi is dependent on everyone. What can you tell us about the activities of Furi Furi Company? From characters’ design, development, product plan / design, media plan, animation making, to branding, Furi Furi does total design of everything that involves „characters”. Through our characters, we will keep everyone happy. Who are „SHINOBI BLACK & WHITE”, „FATBEAR”, „Vil the Devil” and „Backy and Bocky”? „SHINOBI BLACK & WHITE” (*shinobi means ninja) is a title of a flash animation we created in December 2006 for Adobe’s exhibition. We put the stereotype element of „Japan” that a lot of foreigners have (ninja, geisha, Mt. Fuji etc.) and turned them into a

Furi Furi reprezintã o echipã de designeri cu rãdãcinile în Tokyo, care s-a extins în întreaga lume. Acoperã fiecare aspect, de la consultanþã ºi planning, pânã la promovare media, combinând aspectul unic de manga cu o contribuþie generoasã a unei imaginaþii mai mature. Respectatã de întreaga lume din branºa advertising-ului, vânzãrilor, design-ului de jucãrii ºi din alte domenii, abilitatea de a atribui personajelor animate japoneze o precizie ºi introspecþie uimitoare, emoþie ºi motivaþie, le-a permis sã îºi mulþumeascã întotdeauna clienþii. Cine se aflã în spatele companiei Furi Furi? Suntem ºase oameni. Fiecare dintre noi se ocupã cu lucruri diferite. Kazu este preºedintele/producãtorul, Tei, adicã eu, sunt directorul de creaþie, Rage & Miki sunt designeri, Yuki se ocupa de lucrul în Flash, iar Aiko e directorul de comunicare (relaþii cu publicul). Fiecare dintre noi ºtie de ce ai nevoie pentru a obþine ceva. Furi Furi depinde de fiecare dintre noi. Ce ne puteþi spune despre activitãþile companiei Furi Furi? Pornind de la design-ul caracterelor, dezvoltare, schiþa/design-ul produsului, planul media, crearea animaþiei, si pânã la branding, Furi Furi realizeazã design-ul tuturor personajelor „implicate”. Prin personajele noastre reuºim sã mulþumim întreaga lume. Cine sunt „SHINOBI BLACK & WHITE”, „FATBEAR”, „Vil the Devil” ºi „Backy and Bocky”? „SHINOBI BLACK & WHITE (shinobi înseamnã ninja)” e numele unei animaþii în flash pe care am creat-o in decembrie 2006 pentru o expoziþie Adobe. Am folosit elemente stereotip ale Japoniei

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graphical black & white world. What we had made is a 5 minutes animation, but now we want to make a full-length animation with these characters. And in 2008, this „SHINOBI BLASK & WHITE” vinyl toy series will be released. „FATBEAR” is name of the USB flash we planned / designed. Solidalliance released them in 2006. As you know, the ordinary USBs are plain & boring. Thus we decided to make cute ones by ourselves. Its concept came to me when I was informed that nowadays, USB flash has 1GB or 2GB memories, and thought they were „Huge!” And it was named „FATBEAR” = a fat bear stuffed with lots of sweet memories. Not only using for yourself, it would be great if you use it for presents. „VIL THE DEVIL”������������������������������������ was a main character for an exhibition in Taipei in 2007, and its toy will be released, but was actually a character developed in 2003. We had a” fashion brand of the girls, by the girls, for the girls” called „Girls Power Manifesto,” and VIL THE DEVIL was a mischievous devil in this story. And now we developed a full side-story about VIL THE DEVIL and started its own project this year. In VIL’s world, there will be many monsters coming in, so we will develop a whole series of monster vinyl figures too. „BACKY & BOCKY” were developed as mascots of our own website. Backy, who cannot resist dancing with maracas when he hears music, and Bocky, who

cunoscute peste graniþã (ninja, geisha, Mt. Fuji etc.) ºi le-am transformat într-o lume alb-negru. Ceea ce am realizat a fost o animaþie de 5 minute, dar acum vrem să facem o animaþie mult mai extinsã cu aceste personaje. Iar în 2008 va fi lansatã aceastã serie „SHINOBI BLASK & WHITE” de jucãrii din vinil. „FATBEAR” e numele unui flash USB pe care l-am gândit/proiectat. Solidalliance l-a lansat pe piaþã în 2006. Dupã cum ºtiþi, USB-urile obiºnuite sunt plictisitoare ºi neinteresante. Aºa cã ne-am decis sã realizăm unele simpatice. Ideea pentru concept mi-a venit în momentul în care am fost informat cã în ziua de azi flash-ul USB are memoria de 1GB sau

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2GB ºi m-am gândit cã sunt imense. L-am botezat „FATBEAR” = un urs gras, îndesat cu amintiri plãcute, util atât pentru tine, cât ºi pentru a-l dãrui celorlalþi. „VIL THE DEVIL” a fost personajul principal pentru o expoziþie în Taipei în 2007; jucãria va fi lansatã pe piaþã în curând, iar personajul a fost proiectat în 2003. Am avut un brand „al fetelor, de cãtre fete, pentru fete”, denumit „Girls Power Manifesto”, în care VIL THE DEVIL era un diavol obraznic. Am realizat acum întreaga poveste a lui VIL THE DEVIL si vom începe în acest an un proiect dedicat în întregime lui. În lumea lui VIL vor apãrea mulþi monºtri, aºa cã vom face o întreagã serie de monºtri, figurine de vinil. „BACKY & BOCKY” au fost concepute ca mascote ale site-ului nostru. Backy, cel care începe sã danseze de fiecare datã când aude muzicã, ºi Bocky, partenerul de dans al lui Backy. Aceºtia formeazã un cuplu nostim, drãgãlaº ºi prostuþ. O companie de jucãrii din Singapore, Play Imaginative, au fost plãcut impresionaþi de aceste personaje ºi au lansat propriile jucãrii în 2007. Noi avem un balon de doi metri înãlþime cu Backy ca artwork, realizat pentru expoziþie. is the dancing partner of Bocky. They make a fun, cute, and silly unit. A Singapore toy company, Play Imaginative, liked these characters and released their toys in 2007. We also have a 2 meter tall balloon of Backy as exhibition artwork. What inspires you to create figures, illustration, animation…? I get inspiration from every little thing in daily lives, such as ordinary moment with my family or in the middle of the meeting with Furi Furi crews. It usually just comes all the sudden. And I reflect those little whispering inspiration into our works. What have you presented at the last Furi Furi exhibition in Asia, Singapore and Taiwan? The artworks of „VIL THE DEVIL” I mentioned above. We did that exhibition for the promotion of VIL’s new vinyl toys, and we made a variety of artworks for it: 30 cm tall sculptures, acrylic paints, photography, and silk screen paints. I think we could introduce variety sides of VIL THE DEVIL at the show. We made one blank sculpture and did live painting during the show; one and only kind of VIL with other monsters. VIL in acrylic paints was far from cute, he is rather scary. And in the photography, VIL is with a cute girl in devil costume. In this photography, I hope you can see „cute” or rather „KAWAII” in Japanese style. What about Furi Furi animation? What is the process there?

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Ce vã inspirã în crearea figurinelor, ilustraþiilor, animaþiilor…? Gãsesc inspiraþie în lucrurile mãrunte ale vieþii de zi cu zi, cum ar fi momentele obiºnuite cu familia, sau în timpul întâlnirilor cu membrii Furi Furi. În general mã loveºte brusc. Transpun toate aceste ºoapte ale inspiraþiei în lucrãrile noastre. Ce aþi prezentat ultima oarã la expoziþiile Furi Furi din Asia, Singapore si Taiwan? Lucrãrile cu „VIL THE DEVIL” pe care le-am menþionat mai sus. Am realizat acea expozitie pentru promovarea noilor jucăriii de vinil ºi am creat de asemenea o varietate de artwork-uri cu aceastã ocazie: sculpturi de 30 cm, picturi în acrilice, fotografii ºi desene „silk screen”. Cred ca am introdus diverse elemente care să îl prezinte pe VIL THE DEVIL în cadrul show-ului. Am construit o sculpturã cu VIL peste care am aplicat vopsele în timpul spectacolului. VIL în vopsele acrilice e departe de a fi drăguþ, mai degrabã înspãimântãtor. La partea de fotografie, VIL apare alãturi de o fatã drăguþã în costum de diavol. În aceastã fotografie sper sã observaþi elementele de „drăgălaº” sau mai degrabã „KAWAII”, aºa cum ar spune japonezii. Dar animaþiile Furi Furi? Cum se desfăºoarã lucrurile? Nu facem nimic special. Înainte de toate, punem la punct conceptul, scriem storyboard-ul, îl animãm, desenãm fiecare scenã, facem animaþia, sunetul, apoi


We don’t do anything special. First, we think the original concept, write the storyboard, make the animated storyboard, draw each cut, make the animation, make the sound, and edit. And it’s done. It’s the normal procedure. And I believe it is the same for all directors, but consider the editing part as the most important. Editing changes the whole thing. Do you create the animations entirely in Flash? No. We do create 3D animation or cell animation also, although the needs of flash animation are increasing these days. It really depends on what the clients want. We found on www.amazon.com the book „Furi Furi: What a Happy Life & Death!”. What can we discover in this book? This book was published by a German publisher in 2001. What you can find is our works from 1998 to 2001. You can say they are the origin of Furi Furi’s works. But Furi Furi has been keeping changing and evolving. In 2008, Furi Furi will welcome our 10th anniversary, and will release our new book from a Singapore publisher. The title is already confirmed. It is „KAWAII.” I can’t wait to introduce our latest collections.

editãm ºi suntem gata. Procedura standard. Bãnuiesc cã e la fel pentru fiecare regizor. Pentru mine partea de editare e cel mai important aspect. Editarea schimbã totul. Creaþi animaþiile în întregime în Flash? Nu. Realizãm animaþii 3D sau „cell animation”, deºi nevoia de animaþii în Flash e în continuã creºtere în ziua de azi. Totul depinde de ceea ce doreºte clientul. Am găsit pe www.amazon.com o carte, „Furi Furi: What a Happy Life & Death!”. Ce putem gãsi în ea? Aceastã carte a fost publicatã de o editurã germanã în 2001. Înãuntru gãseºti lucrãrile noastre din 1998 pânã în 2001. Se poate spune cã reprezintã baza lucrãrilor Furi Furi. Dar Furi Furi a continuat sã se schimbe ºi sã evolueze. În 2008, odatã cu cea de-a zecea aniversare, vom lansa noua noastrã carte cu ajutorul unei edituri din Singapore. Numele a fost deja confirmat, iar acesta e „KAWAII”. Abia aºtept să prezentãm noile noastre colecþii. Am gãsit pe site-ul vostru un link cãtre „Toy Saves Children”. Proiect iniþiat de Furi Furi. Despre ce e vorba? Este un proiect caritabil lansat în anul 2005. A înce-

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So what’s next for the Furi Furi Company? There are so many things that we haven’t done yet. And more ideas come out from inside of me. Although Kazu has a vision of Furi Furi in business matter, what Furi Furi will become really depends on each staff’s passion. What Furi Furi will become in the future is just a continuity of the steps that Furi Furi is taking now.

Which other artists do you rate and respect? Osamu Tezuka is the only god for me. There are many artists I respect, but Osamu Tezuka is special.

We have seen on your website a link to „Toy Saves Children”. Project initiated by Furi Furi. What is it about? This is a charity project that we started in 2005. It was right after Sumatra earthquake, and there was a movement towards charity in the design scene all over the world. But sad to say, there was no activity initiated within Japan. That was why we started it by ourselves, and it was the 3rd year in 2007. We ask famous international artists to contribute & custo­mize the toys. In 2005, 26 artists contributed, in 2006, 22 artists, and in 2007, 24 artists. The exhibition took place in November in Singapore. Furi Furi Company is in charge with the exhibition of artworks & auction. We are trying to „save the children” and „to increase awareness toward charity action” through this Toy Saves Children. The website is http://www. toysaveschidren.org.

Interview I Interviu

Ce urmeazã în agenda companiei Furi Furi? Sunt atâtea lucruri pe care nu le-am făcut încã. ªi multe alte idei care mă asalteazã. Deºi viziunea lui Kazu asupra companiei e îndreptatã mai mult spre afaceri, ceea ce va ajunge Furi Furi depinde de pasiunea fiecãrui membru. Viitorul e doar o continuare a paºilor pe care îi facem acum.

Ce alt artist apreciaþi ºi respectaþi? Osamu Tezuka e singurul zeu pentru mine. Sunt mulţi artiºti pe care îi respect, însã Osamu Tezuka e special.

put dupã cutremurul din Sumatra, moment în care a fost iniþiatã o miºcare caritabilã pe întreaga scenã a design-ului mondial. Cu toate acestea, lipsa de implicare din Japonia a fost un lucru trist. Din acest motiv am început noi, iar in 2007 s-au împlinit deja 3 ani. Am cerut ajutorul artiºtilor internaþionali pentru a colabora ºi pentru a particulariza jucãriile. În 2005 au contribuit 26 de artiºti, 22 în 2006, iar in 2007 am avut 24 de artiºti (expoziþia s-a desfãºurat în noiembrie în Singapore). Compania Furi Furi a organizat licitaþii ºi expoziþii cu lucrãrile de artã. Încercãm sã salvãm copiii ºi sã creºtem atenþia pentru acþiunile de caritate prin Toy Saves Children. Site-ul web este http://www.toysaveschidren.org./


Japanese Ghosts

Article: Japanese Ghosts Country: UK Author: Tim Screech

The Japanese world of the supernatural comprises a dizzying array of characters, from the humorously bizarre to the downright terrifying. In the 18th century, Toriyama Sekien attempted to categorize the many different types of ghostly beings that inhabit the Japanese landscape, its heavens and its hells; the results of his efforts filled four huge volumes. Here, Tim Screech takes us on a slightly more abbreviated tour.

Obake, the Japanese „ghost,” is exactly what its name suggests: o is an honorific prefix, while bake is a noun from bakeru, the verb meaning „undergo change.” Japanese ghosts, then, are essentially transformations. They are one sort of thing that mutates into another, one phenomenon that experiences shift and alteration, one meaning that becomes unstuck and twisted into something else. Obake undermine the certainties of life as we usually understand it. The Japanese ghost is a thing of summer. There are none of the scary tales told around a winter fire--flames spitting and logs crackling, as shadows deepen and listeners become too afraid to go to bed. Myths about Japanese ghosts do not talk of the ghoul on the frozen staircase, the skeleton in the musty closet, or the drafty bell-tower, but of the tangled bedclothes or the broken fan. The classic type are spawned from steamy weather--squeezed out, as if in some fetid moment, from other things. The materials that breed obake can be many, and often routine, as if it is precisely the near-at-hand object that is the most susceptible to transformation. A discarded umbrella may enter the world of the strange as an umbrella obake--steam seeming to rise oddly from the waxed-paper brim and forming a leering face. There is also the lamp (chochin) obake that grows out of a normally swinging lantern, investing its approachable, dangling form with weird life, as the shade and candle inside bounce angrily against the blasts of a gale. Obake can possess an element of cuteness as well; indeed, they sometimes evoke more amusement than fear. Children make drawings of umbrellas with grinning faces, and may giggle at the image of a ripped and gaping lantern. Most of the time such things are perfectly harmless. But therein also lies their danger--no one can ever be quite certain when the transformations will take place.

A significant number of obake are explicitly related to fire. In many societies, fire is seen as the chief helper of working people, but also as their deadliest menace, and so fire is often an indication of strange forces in the offing. A face suddenly appears and then disappears in the flames of a bonfire, a „willo'-the-wisp” (hi no tama) lingers too long above harvested paddies, the „fox fire” (kitsunebi) is both seen and not seen behind hedges and thickets. Fire is one of the greatest of all transformers, for it alters anything it touches, turning dead meat into food, frigid pallor into warmth. But fire will also reduce homes or temples to ashes, destroy the labor of many hands, or cruelly terminate life. The fire obake will not submit to anyone's control.

GHOSTLY TERMS OBAKE / BAKEMONO: Literally, „transforming thing.” Refers to any type of preternatural being. Comprises yokai and yurei, and can also be used more generally to refer to anything that is weird or grotesque. YOKAI: Literally, „bewitching apparition.” Encompasses a wide spectrum of ghouls, goblins and monsters--some frightening, some amusing, and many bizarre. Yokai usually appear at dawn or dusk. YUREI: Literally, „dim/hazy/faint spirit.” Spirits of the dead who remain among the living for a specific purpose, usually to seek vengeance. Yurei generally appear between 2 and 3 AM. ONI: „Demons” or „ogres.” Ferocious creatures with horns and fangs that are best known for manning the gates of the various Buddhist hells and performing some of the tortures that take place in them. Centuries ago in India, the Buddha tought that nothing in this world is stable, no form of existence is

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anything more than a wandering through flux. People may think they have a self, and may strive to build an ego, or worry about their personal consistencies or reputations, but these concerns are delusions. A „self” is an imaginary construct; and so, in a sense, „transformation” is actually the truest manifestation of being. Obake, the ultimate transformers, point up the folly of our human security in the unchanging status of things, and obliterate our proud sense of understanding the structure of the world. Obake both reflect and remind us of the inherent mutability in the world around us. At the same time, the elements of the observable world that appear particularly prone to change naturally come to be

thought of as obake. For example, the fox is both an animal in nature and a bakemono, or „transforming thing.” Once very common throughout Japan, foxes were nevertheless seldom seen since they moved at night; dead birds, broken fences and chicken's blood were the only evidence of their nocturnal passages. It may have been the difficulty of seeing a fox, or of keeping it in view for any period of time, which led to the notion that they undergo actual physical shift. A fox might skulk into the farmyards looking like a fox, but exit in an entirely different form--as an old woman, a boy, a demon, or a princess. In Japanese lore, they live a sort of mirror image of human society, with fox lords and ladies, servants and laborers-standing on hind legs, dressed in human clothes, and carrying out their mystic rituals by lantern light in the middle of the forest. To the end of mitigating the powers that these worrisome animals possessed, shrines were erected, and the fox-god, Inari, became the most popular


roadside divinity, honored with a clap of the hands on passing by, or with a gift of flowers, sake, or fried tofu (aburage, believed to be a favorite food of foxes). Even today, it is common to see a little streetcorner shelter with a ceramic fox image housed behind a grill, offerings carefully placed in front to ward off all dangerous eventualities. Foxes have to be placated, for they are potentially disastrous to the livelihood of the farmer. They are also constant and salutary reminders of the fox-like characteristics that lie at the root of human behavior as well.

SOME WELL KNOWN YOKAI TENGU: A powerful mountain goblin, originally portrayed with a long beak and wings but gradually becoming more human-like, with a long nose instead of a beak. Tengu can assume various forms and can be kind protectors or cruel tricksters, carrying off small children, starting fires, and even inciting wars. KAPPA: A scaly river monster with a beak-like snout and a water-filled dish on its head that gives it supernatural powers. Kappa are dangerous pranksters, known for dragging people into the water and then pulling their intestines out through their anuses. Kappa love cucumbers and sumo wrestling--but if you are challenged to a bout, and value your life, you had best let the kappa win.

In the beginning, yurei were visually indistinguishable from their original human selves. Then, in the late 17th century, as kaidan („ghost stories”) became increasingly popular in literature and in the theater, yurei began to acquire certain attributes which continue to characterize them today. It is believed that the main purpose of these attributes was to make it easier to distinguish yurei in art and on the stage from ordinary, living characters. Most of the yurei's characteristics derive from Edo-period funeral rituals. For example, they appear in white, the color in which people were buried at that time--either in white katabira (a plain, unlined kimono) or in kyokatabira (a white katabira inscribed with Buddhist sutras). Yurei also appear with a white triangular piece of paper or cloth on their forehead-usually tied around the head with string--called hitaikakushi (lit., „forehead cover”). These were originally conceived to protect the newly dead from evil spirits, but eventually became just part of the ritual ornamentation of Buddhist funerals. Yurei began to appear without legs in the mid-18th century, as part of the movement toward increasingly lurid and gruesome kaidan. Some attribute this new characteristic to Maruyama Ohkyo, a

ROKUROKUBI: A female monster with an extremely flexible neck. By day they are indistinguishable from normal women, but after nightfall rokurokubi stretch their necks out to any length in search of prey. According to one theory, they are seeking out men in order to suck the life energy out of them.

ATTRIBUTES OF YUREI According to Shinto beliefs, all people are endowed with a spirit or a soul, called reikon. When a person dies, the reikon leaves the body and joins the souls of its ancestors, provided the correct funeral and post-funeral rites have been performed. Ancestral souls are a comforting presence; they are believed to protect the family, and are welcomed back to the home every summer during the obon festival. However, when a person dies in an unexpected manner or with an excess of emotion, or when he or she hasn't been given an appropriate funeral, the reikon may become a yurei, a tormented ghost who remains among the living in order to seek revenge or take care of unfinished business.

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well-known artist of the time. In the theater, actors portraying yurei wore long kimono to cover their legs, and were often hung by a hidden rope to appear more yurei-like. The outstretched arms and dangling hands typical of yurei also arose as a convention of the theater. In the 1780s the scholar and artist Toriyama Sekien began an exhaustive study of ghosts and ghouls in which he attempted to offer the reader a full list of all known types. The project was slightly absurd, of course, since ghosts cannot be counted up in that way, and by their very nature, obake resist normal categorization. The first volume appeared in 1781 under the title of The Hundred Demons' Night Parade. Toriyama produced The Illustrated Bag of One Hundred Random Ghosts (Gazu Hyakki Tsurezurebukuro) three years later, and completed two further volumes in the years that followed, ultimately compiling what remains the most definitive list of spectral types. Each volume of the set was fully illustrated with monochrome pictures, one entire page devoted to the likeness and description of each particular spook. Toriyama's books were wildly popular in their day, and went through numerous impressions. Most modern collections of Japanese rare books have at least a few copies. The various ghouls, ghosts and monsters that Toriyama set out to categorize are generically termed yokai. However, he also included some creatures that are usually thought to lie outside the realm of yokai--for example, oni, the Japanese demon, shaggy-haired and horned, and often wielding a huge gnarled club. Oni are generally malevolent towards humanity; they are fearsome creatures that guard the portals of hell. Once a year on February 3rd there is an oni-bashing ceremony, when beans-symbolizing wealth--are thrown outside of doorways and throughout the house to cries of „Oni out, good luck in!� (Oni wa soto, fuku wa uchi). But oni, like all other beings, are susceptible to shifts; it was even said that they could be turned to good. One, included in Toriyama's list, permitted itself to become the bearer of a lamp to light a Buddhist altar. But such oni remained demons nonetheless, and would likely revert to their old selves at some unsuspecting moment, for neither their good nor their bad states were constant. In a category all by itself, separate from yokai, is yet another type of Japanese ghost: the yurei. Whereas yokai, for all their creepiness, can have a certain element of fun to them, yurei are downright scary. They are the spirits or souls of the dead, and so, unlike yokai in this way as well, were once ordinary people.

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BANCHO SARAYASHIKI (THE STORY OF OKIKU) Okiku works as a maid at the home of the samurai Tessan Aoyama. One day while cleaning a collection of ten precious ceramic plates--a family treasure-she accidentally breaks one of them. The outraged Aoyama kills her and throws the corpse into an old well. Every night afterwards, Okiku's ghost rises from the well, counts slowly to nine and then breaks into heartrending sobs, over and over and over again, tormenting the samurai. Finally, vengeance is wrought when Aoyama goes insane. (In an alternate version, Aoyama wishes Okiku to become his mistress, and falsely accuses her of breaking a plate so that he can offer forgiveness in exchange for her love. When she refuses, he kills her.) More specifically, yurei are the ghosts of those who at the moment of death were deprived of the time to repose themselves. Quietness is necessary to achieve the spiritual calm required for attainment of Buddhahood, and the most common cause of ending up as a yurei is sudden death by murder, slaying in battle, or rash suicide. The soul of the Japanese person cut off too soon is left to mope through a sorry existence until it is properly laid to rest, but it will never allow itself to be laid to rest until its purpose for remaining among the living (usually revenge) has been fulfilled. Most yurei ultimately avenge themselves and rise to a better state of being, but this may take centuries--and some are never quite appeased. It is rumored that Oiwa, Japan's most famous yurei, who obtained vengeance for her husband's cruel deeds over three hundred years ago, still haunts the area around her grave. In general, yurei do not roam arbitrarily, but stick to familiar locales--such as the place marking their untimely death. A late-night sojourner (specifically one traveling between the hours of 2:00 and 3:00 AM, when yurei are apt to appear) who unwittingly crosses a field where someone once took her own life, or who traverses a bridge spanning a river in which a body was once left to float, may well encounter a yurei. Rising up from the darkness, yurei reanimate themselves with the flame of their passion. This makes them partially human again, reinvested with their original mind and something of their former bodies to--scars, blood and all. But unlike a living person, yurei are utterly concentrated on a single goal. Retribution or clearing their name occupies their entire being, and so they lack the roundedness of a mortal. A yurei is a purpose.


Many yurei are female ghosts who suffered badly in life from the vagaries of love, and whose powerful emotions of jealousy, sorrow, regret, or spite at their time of death has brought them to seek revenge on whomever it was who caused their suffering. Male yurei are less common, and less likely to be seeking revenge; a common type is the warrior who was killed in battle and so has no personal grudge (since to die was part of his profession), but cannot pull himself away from the historical events in which he figured. This type of yurei figures often in Noh plays, and he is often indistinguishable at first sight from a real person. He hangs around ancient battlefields or moss-covered temple precincts waiting for a kindly person to come along who will listen to his story of what took place there in the past. A record is set straight, a smeared reputation untarnished, a name cleared. Such ghosts let out the secrets of history, and are bent only on letting the truth be known. The matters in which they had been involved in life are too long past for the struggles to be rekindled. An interesting physical aspect of yurei is that they have no legs, trailing off instead into smoke-like wisps where a person's legs would normally be. The absence of legs fits with the general non-corporeality of the yurei, for their whole bodies are wraithlike and lacking in that outer boundary of skin or scale that holds other living things in shape. Legs serve to join creatures to the soil, they root being to the earth, and so to be legless is in a sense to be disengaged. This feature of the Japanese ghost is not dissimilar to the ability of the Western ghost to float slightly above the ground, or slightly beneath it, without using the legs it still theoretically has.

TOKAIDO YOTSUYA KAIDAN (THE GHOST STORY OF TOKAIDO YOTSUYA) The masterless samurai Iyemon has fallen upon hard times. It is a constant struggle to support his beautiful but ailing wife Oiwa and their newborn child, and he grows increasingly resentful of her. He finally succumbs to temptation when the granddaughter of a well-to-do neighbor falls in love with him. Encouraged by the grandfather, who wants Iyemon as a son-in-law, he poisons Oiwa with a supposedly „medicinal� drink. She becomes horribly disfigured from the poison and dies a brutal death. To justify his murder of Oiwa, Iyemon fabricates the story that she was having an affair with his servant, Kobotoke Kohei. He then murders Kohei, nails the two bodies to opposing sides of a door, and throws the door into a river.

Now Iyemon is free to enjoy his wedding rites. Flush with joy, he lifts his bride's veil to kiss her--but alas, he is confronted by the terrifying visage of Oiwa instead. In a panic he cuts off her head, only to find that he has really just killed his new wife. He rushes off in horror to confess to the grandfather, but his path is blocked by the appearance of Kohei's ghost. Again he slashes off its head, this time to find that he has killed the grandfather. Wherever Iyemon goes, he encounters the grisly spirits of those he has murdered. One day he goes fishing to seek solace, only to reel in the door with the corpses of Oiwa and Kohei attached. Terrified, he escapes to a mountain cottage, where he is continually tormented by frightening images, such as that of Oiwa's face emerging from a lantern that swings over his head. Finally Iyemon is put out of his misery when Oiwa's brother arrives at the cottage to take vengeance for his sister's death. There is another point to be made of the legless ghost: by binding people to the soil, legs stress what part is on top and what is on bottom; they advertise a right way up and a wrong one. To be without legs is to be devoid of this proper standard. Ghosts are likely to come at night, not only because they relish the dark, but because people sleep lying down, their feet on the same level as their heads. At funerals, Japanese corpses were buried seated (although cremation is common today) so that they entered the next life still in the correct posture, mind firmly at the top. Ghosts are apt to invert. This would all seem quite far off to contemporary Japanese. They may know the stories, but they surely don't believe in them. Or do they? Such myths tend to run deep. And is it not intriguing that in this very year, Toriyama's books were reissued again after a lapse of over two centuries? A deluxe edition appeared a couple of years ago, just in time for a long and abnormally torrid summer. Timon Screech received a BA in Oriental Studies (Japanese) at Oxford University in 1985 and completed his PH.D in Art History at Harvard University in 1991. He has been at SOAS since graduation from Harvard. He has published widely on many aspects of Edo period art and culture, and has written several books in Japanese and English. He has also been visiting professor of Art History at the University of Chicago, and guest researcher at Gakushuin and Waseda Universities in Tokyo. He was elected to a Chair in the History of Art in 2006.

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Kaidan Music

Artist: ghOst Songs: jitenshi-kaze amatsu-kaidan Country: UK Web: lrealon.co.uk ghOst is a vehicle for experimental electronic music in the ambient/drone/noise/subsonic field. Themes of the celestial and ethereal, other-worldly soundscapes are explored within a narrative framework. The music is accompanied live with a projected film. The footage, shot on a cameraphone and MiniDV, uses the TV screen and re-contextualised digital media as source material. Debut album and dvd coming soon on Alrealon records (alrealon.co.uk). ghOst is also producing sound for a butoh dance production entitled Méduse’. „These sounds already exist when we open our ears to let them speak. Far away, the constant hum and braking of traffic. The pulsing of our machinery. Murmurings inside of our bodies. We are haunted. When we stop listening, the sound comes, whispering to us the eternities of our being...”

Artist: Ghost Song: City of Evil Country: USA Myspace: myspace.com/ghostissilentx Hello all you readers of Otaku Magazine. This is Ghost, the scrawny American boy with a big passion for dark music and candy. First off I would like to thank all of you for reading this brilliant magazine that has recently taken interest in my music project. I started this project known as „Ghost” late last year of 2007. My music has been leaning more into the Industrial/Gothic genre with an Electronic feel. I would have to say that if you like the music for „Resident Evil” or „Silent Hill” then my music may be something you’d be interested in. I plan on gathering more creative individuals later this summer to perform in front of live audiences and to play all over for our first U.S. tour. If you would like to check out more of my music you can go to my site on Myspace which features more music and pictures. I’m currently working on a Cd that I plan to have ready later this year. Make sure you contact the owner of Otaku Magazine to let them know you’d like to see more articles and my music featured in their creation. Once again I thank each and everyone of you for taking the time to read Otaku Magazine and listening to my music.

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Artist: Ghost of a flea Songs: An Ancient Riddle, The Unspeakable Country: Canada Myspace: myspace.com/ghostofaflea „Ghost of a flea is a music, ritual and performance project by Toronto artist, Nicholas Packwood. He creates dark ambient sound for feature films and would, of course, love to score a kaidan project; possibly something about cursed file sharing... Thanks again for the opportunity to participate in this issue of your publication.”


Artist: Ghost Band Song: The Winter Spiritn Country: United States Myspace: myspace.com/ghostband Ghostband is a one-man noise/electronic project from Minneapolis, Minnesota.”Skulls For Symphony” is available for download from Insides Music.

Artist: Ghostfog Song: Hangman’s Winter Dream Country: Germany Myspace: myspace.com/ghostfogweb Snot’n roll... thanks for the interest about my little piece of work... I’d never thought „ghostfog” could conquer so many minds in one year... it’s amazing. I started making music years ago but finally got the technical opportunities to set it straight... the name „ghostfog” was droped on the sound because it just fitsto the nebular style, something you feel but can neather touch nor escape... well, at least I hope so... I don’t care too much about this whole productionand mix-thing. So I compared it to the god old rock’n rollattitude and changed it into „synths, drugs, snot’n roll” which has been reduced to „snot’n roll” since the first full lenght release in October 2007. As I started „ghostfog”, I thought about it as a personal thing, just something to look at when I grew old... The feedback, I recieved through some platforms was awesome and I really wonder, if it’s something more than I expected at the beginning... I’m really gratefull for all the support... snot’n roll

Artist: Jigoku Nohara Songs: otakutrakk Country: Belgium Myspace: myspace.com/jigokunohara Jigoku Nohara aka Bert Janssens(78’02’04), living in Antwerp, Belgium. For years the Jigoku nohara project has been involved in the production of typical dreamy nightmarish surrealist sound compositions. An apocalypse of dark, ritual& traditional music, on field recordings, death noizes, sampling, resampling... a swamp of drowning creature fx ambiences&horror suspense give the tracks this unique feel that just can’t be filed under the name noize or ambient. Finding the demons and at least make them stay for a few minutes. Second passion. Graphic design. Makes the whole thing xcelerate. A double trick for the mind. All artworks & designs are currently made by the hometeam @ SYSTEMKAOS Organisation. The creative platform he is running wich includes both the visual&audio production & themed urban art projects. Currently involved in several movie projects and collaborations with artists like Kenji Siratori, Japanese cyberpunk writer/poet, The fortunate fall, a webrelease on the Fetish/avantgarde label Radical Matters and a website making project build by gtwo. net, Jigoku knows what to do and is thirsty for more.

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Kaidan Music

Artist: Selfmademusic Song: Space Creaute no. 01 Country: Romania Myspace: myspace.com/smmromania

Artist: Kaidan Eiga Song: Stop at 11 Country: Italy Myspace: myspace.com/kaidaneiga Kaidan Eiga (=Japanese for „Horror Movie”) is a solo project of Italian sonic protester Riccardo Fassone, who also plays guitar in T/M/K (check them at myspace.com/jailhousedog). Riccardo’s first project was HKO, specializing in industrial radicalism and assorted noise. HKO died after a CD-R (‘Meat and Memory’, super sold out) and a bunch of soundtracks for the works of talented Italian director Vincenzo Pandolfi. The spirit, anyway, is still there, and is now incarnated in the harsh drones of Kaidan Eiga’s avantgarde urban epics.

Artist: ManiFest Songs: The Incest Family Country: Germany Myspace: myspace.com/manifestare I started the Musik Project „ManiFest” in 2008. It’s like a Conte about the Memories and Feelings of Beings, which remain in an In-between World. Some Subject Areas are „Mental Defects, Mania and Delusion, Humanized Animals, Dreams, Frustration, Weird Love and Bad Politics, Moldered Premises, Living Toys, Dementia and Depression, Culture, Self-Destruction, Psychological Pression, Morbid and Grief, Self-Discovery, Epidemic Plague, Dying Animals, Crabby Mankind and Ugly Newborns”.

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Welcome to the 23rd Century, visit the future where love is the ultimate crime, where a robot and a man... hold the world spellbound with new and startling powers from another planet! They kill with their cunt. In the Year of Darkness, 2029, the rulers of this planet devised the ultimate plan. They would reshape the Future by changing the Past. The plan required something that felt no pity. No pain. No fear. Something unstoppable. Terror that’s hotter than hell! This year, the past, the present and the future will all meet at the crossroads of hell.

Artist: Likantropika Song: Muncaster ghost on 1956 Country: Andorra Myspace: myspace.com/likantropika1 The two members of Likantropika, Albert Bartumeu and Oriol Vilella, take a long musical trip separately, in all sort of projects and sound-tracks for different audio-visual supports, and also as members in diverse bands pop-rock. In 1996 they decided to create Likantropika, an essentially electronic project, and to intermingle purely ambient with strokes of minimalistic, experimental, and industrial.


Artist: Makunouchi Bento Song: Cenusa Farmaciei 8 Country: Romania Myspace: myspace.com/makunouchibento The Makunouchi Bento, or traditional Japanese lunchbox, is a highly lacquered wooden box divided into quadrants, each of which contains different delicacies. It is also one of the most familiar images of Japan’s domestic environment. Reading the box as both an object and a metaphor, Felix Petrescu (Waka X) and Valentin Toma (Qewza) founded this experimental / electronica project back in 2001. At the time, Felix was a member of Urban Experience - one of the pioneers of the underground electronica scene in Timisoara (Romania) focused mainly on dance music, while Valentin had his solo project. The first Makunouchi Bento album, Himette, was finished in no time, being a collection of new tracks, but also old unreleased works of Urban Experience and Qewza. With their album available for free download, further singles and EPs released on well-known netlabels like Eerik Inpuj Sound, Miasmah, Metempsychosis,

Ogredung, and also a live act and a DJ set at two important musical events in Timisoara (TM01Base Festival and TMBase Fused Series), they started to get their music heard both in Romania and abroad. By 2004, their discography included many compilations (both commercial and free) like the TMBase Festival Compilations, Collection 2: Moving (Databloem), Apegenine Volume 1 (Apegenine), VGM Mixtape #8 (No Sides Records), Fishing for Complements (Retinascan), Snowsky & No Ink and Cucina Vagabonda (Ogredung), Retork (Enough Records), 101 (One) and many othes. Also, they had two split EPs with Kaneel, called Miopedi (Kikapu) and Miopedi: Errata (One), plus various singles released on Ogredung and Camomille. On top of that, the track Rokurokubi (Part 2) has won the first battle of netlabels hosted by Numia, and thus it was printed on a limited edition vinyl (Makunouchi Bento's first 12”) along with the three other songs and a „hidden” Makunouchi bonus track.

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Acknowledgements

Copyright credits are listed by page number. COVER: Illustration © Aya Kato CUPRINS Pg. 2&3 Illustration (background) © Kuniyoshi EXHIBITION / EXPOZIŢIE Pg. 4&5 Illustration © Xenia Stan EXHIBITION / EXPOZIŢIE Pg. 6&7 Photos © Vladimir Ţăroi INTERVIEW / INTERVIU Pg. 8&9&10&11 Photos © Vasile Alboiu KAIDAN MANGA Pg. 24&25 Photos © Kazuo Umezu (umezz.com) KAIDAN MANGA Pg. 26&27 © Hideshi Hino KAIDAN MANGA Pg. 28&29 © Junji Ito KAIDAN ANIME Pg. 30 © Urotsukidoji Pg. 31 © Barefoot Gen / © Wicked City Pg. 32 © Perfect Blue Pg. 34 © Hellsing KAIDAN FILM Pg. 36 © Kaidan Pg. 37 © Tales of Moonlight and Rain / Tales of Teror / The Haunted Lantern, Pg. 38 © Ju-On or The Grudge, The Ring Pg. 39 © Carved KAIDAN GAMES Pg. 40 © Fatal Frame Pg. 41 © Cal of Cthulhu: Dark Corners of the Earth, Silent Hil 2 Pg. 42 © Resident Evil 4 ILLUSTRATIONS Pg. 45 to 48 © Aya Kato (ayakato.net) ILLUSTRATIONS Pg. 50 © Heliana (RO) Pg. 51 © Saddo (RO) Pg. 52&53 © Heliana&Saddo (RO) Pg. 54 © Aya Kato (JP) Pg. 55 © Yoskay Yamamoto (JP) Pg. 56 © Dermot Reddan (USA ) Pg. 57 © The Horror (UK) Pg. 58&59 © Yan Wei (CN)

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Pg. 60 © More Than a Friend (CA) Pg. 61 © Veronica Solomon (RO) Pg. 62 © Dave MacDowell (USA) Pg. 63 © Nikiforov Anton (RU) Pg. 64 © Arisu (PL) Pg. 65 © Nish (JP) Pg. 66 © Mihai Marcu (RO) Pg. 67 © Sam Gilbey (UK) PHOTOS Pg. 68&69 © Veronica Solomon Pg. 71 to 73 © Liste Noire PHOTOS Pg. 75&77&78&79&81 © Marianne Williams / Half a Second Photography (www.halfasecondorless.com ) PHOTOS&ILLUSTRATIONS Pg. 84 to 90 Ghibli Studio, Independenta Film PHOTOS&ILLUSTRATIONS Pg. 92 to 97 © FuriFuri Company (www.furifuri.com) ILLUSTRATIONS Pg. 98 to 112 © Veronica Solomon Pg. 113 to 128 © Nicolae Drob Pg. 129 to 138 © Akira&Mimi Pg. 139 to 148 © Asra Pg. 150&151 © Nicolae Drob PHOTOS Pg. 154 © ghOst, Ghost of a Flea Pg. 155 © Ghostfog, Jigoku Nohara Pg. 156 © Kaidan Eiga, ManiFest, selfmademusic, Likantropika Pg. 157 © Makunouchi Bento MUSIC © Jigoku Nohara – Otakutrakk (3:12) © Likantropika – (The Other Side #5/6) – Muncaster Ghost on 1956 (3:17) © ghOst – Amatsu-Kaidan (6:00) © ghOst – Jitenshi-Kaze (5:44) © Ghost of a Flea – The Unspeakable (3:34) © Ghostband – (Unknown Album #) – The Winter Spirit (6:12) © Makunouchi Bento – Cenusa farmaciei 8 (4:54) © Selfmademusic – Space Creaute no. 01 (3:55) © ManiFest – The Incest Family – (orginal short version) (4:09) © ManiFest – (scheZOID.com #) – The Waiting - Room (4:15) © Ghost – City of Evil (3:30) © Ghostfog – (The Asylum Theory #04) - Hangman's Winterdream (3:30)

Note: Any errors or omissions are inadvertent. Please contact us at info@otakumag.com so that we can make corrections in subsequent printings.

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Thanks for love and support, Otakus worldwide. ROMANIAN ARTISTS Veronica SOLOMON (Inkamon), Matei APOSTOLESCU (beaucupezero), Vasile Alboiu, Remus BREZEANU (Between), Liste Noir, Timotei Nicolae DROB (Nae), Mihai MARCU (Mistik), Alexandra Stefania GABOR (Asra), Xenia STAN (Xiusha), Alexandra Gabriela UJEUCA (Uje), Martha-Sarah CAITAR (Elle), Saddo, Heliana, Boti, Pikaciuka, videorgy.tv, Sidekicks, Gyorfi ZORAN, Radu POPESCU, Vladimir TAROI, Szolt, Cristi MAGUREANU, Loreta ISAC (povesti-de-adormit-copii), Mihai SALAJAN (Mimi), Razvan NITU (Rock Art), Anda DINESCU (Pich), Tudor STAMATE (Hisshi), Mihai NEOM, Bogdan BUTURUGA, Stefan BUTURUGA (But), Irina ANGHEL (Anir), Ilie FLORIAN (Otto), Emanuel CAPSUNA (Chester), Ovidiu HRIN, Cristian Dirstar (Akira), Ioana F., Alien Ape Star, Anca BENERA, Bogdan MARCU, Reniform, Tehas, Ovidiu FENES, Ciubi, Linda BARKASZ, Picuri de ploai, Mono. INTERNATIONAL ARTISTS Aya Kato (JP), Yoskay Yamamoto (JP), Dermot Reddan (USA), The Horror (UK), Yan Wei (CN), More Than a Friend (CAN), Dave MacDowell (USA), Nikiforov Anton (RU), Arisu (PT), Nish (JP), Sam Gilbey (UK), Kazuo Umezu (JP), Hideshi Hino (JP), Ryosuke Tei (JP), Junji Ito (JP) PARTNERS Zile ºi Nopþi, Sunete, 115.ro digital art gallery, Roland.ro, Top Invest, Level, Animax, creationstation.ro, Independenta Film, AVmotional.com, Asociaþia Musashino Japonia, Anonim TM, H2O, Rozalb de Mura, Yume Teahouse, Moking Bird, Remus Miron (DTC), Tralala Events, Rage.ro. WEB Myspace.com, Deviantart.com, Feeder.ro, Alternativ.ro, Skatebord.ro, Snowboard.ro, HipHopLive.ro, Drumandbass.ro, Manga-shop.ro, Anime-club.ro, Anime-xg.ro, Anime-mania.ro, aikan.zuavra.net, Manga-anime.ro, anime-soul.myforum.ro, Another.ro, Dordeducã.ro, GhidRomania.ro. FRIENDS Flaviu Fultman, Mihai Badescu, Albert Szolt, Silvana Bratu, Andrei Ene, Tudor Pop, Alexandra Silvestru, Mandela, Sensor, Rancha, synopsis media crew, Gojira, Bully, Bogdan Morar, Dermon, Aria Urbanã, Snow, Alina Alexa, Manuela Mazilu, Cristian Stupariu, Timea, Bobi, Miléna, Milán, Claudia ªandru, Costel Cristea, Ricã, Tibi, Marian, Capa, Dani, Z-kun, Urfe, Workbot, Alexander, Miki Birish, Andreea Apostol, Bragar Lucian, Agnes, Mihai Gurei, dj Bela, Project Sakura, Kavdanska, Noru Negru, DJ Snow, hardcomics crew (Milos, Matei Branea), carusel crew, zerounu01, Clau (dj Roli Breaker), Vlad Nanca, Helion, Daos... ºi pe toþi pe care i-am uitat îi salutãm ºi le mulþumim pentru ajutor. FOREIGN EDITORS Scott David Foutz, Kyshah Hell, Tim Screech PHOTOS Marianne Williams MUSIC ghOst, Ghostfog, Jigoku Nohara, Ghost, Kaidan Eiga, ManiFest, selfmademusic, Likantropika, Makunouchi Bento, Ghostband Special Thanks to: Aiko from Furi Furi Company, 115 Gallery


KAIDAN MUSIC 01 Jigoku Nohara – Otakutrakk (3:12) 02 Likantropika – (The Other Side #5/6) – Muncaster Ghost on 1956 (3:17) 03 ghOst – Amatsu-Kaidan (6:00) 04 ghOst – Jitenshi-Kaze (5:44) 05 Ghost of a Flea – The Unspeakable (3:34) 06 Ghostband – (Unknown Album #) – The Winter Spirit (6:12) 07 Makunouchi Bento – Cenusa farmaciei 8 (4:54) 08 Selfmademusic – Space Creaute no. 01 (3:55) 09 ManiFest – The Incest Family – (orginal short version) (4:09) 10 ManiFest – (scheZOID.com #) – The Waiting - Room (4:15) 11 Kaidan Eiga – Stop at 11 (4:44) 12 Ghost – City of Evil (3:30) 13 Ghostfog – (The Asylum Theory #04) - Hangman’s Winterdream (3:30) http://otakumag.com/cd/kaidan


Kaidan  

KAIDAN is the term used for the Japanese ghost stories, and, extensively, for the J-Horror culture. The Buddhist moralizing stories were rap...

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