1862, Japanese comic magazine punch》(ジャパン? パンチ) was issued in a foreign residence in Yokohama.
1877 The comic magazine Tuan Tuan Pearl Krabs is a representative of the Meiji era.
Japanese cartoonist Lotte Kitazawa founded Tokyo パック on 1905, which made great contributions to the development of Japanese satirical cartoons.
とんだはねね, serialized by Lotte in current affairs comics 1928, is the first comic series featuring girls in Japan, and it is the pioneering work of girls' comics.
19 15, Japanese cartoonist Kazuhiro Okamoto founded the cartoonist group Tokyo Cartoon Society (later Japan Cartoon Society).
During the Second World War, due to Japan's participation in the war and the lack of regulations and paper used by intelligence agencies, Japan's comic industry was in a state of decline.
After World War II, Japanese animation industry revived.
1954 founded zhongji, a monthly comic book for girls.
From 65438 to 0959, the original weekly comic magazines "Weekly Youth Sunday" and "Weekly Youth Magazine" were founded.
1968 "Weekly Youth Jump" was founded.
Osamu Tezuka's Astro Boy is the representative work that influenced the history of modern Japanese comics in the early postwar period.
After 1950s, more and more Japanese cartoonists were inspired by Osamu Tezuka's works.
In the1960s, the works of Shotaro Ishinomori, Fujio Akatsuka and Fujio Fujio were very popular.
With the rapid development of television, popular cartoons began to be put on the screen, and Japan began the animation era.
After 1990' s, the types of comics were further expanded, the number of comic magazines increased rapidly, and online comics and other cultures came into being.
Some people think that the development of Japanese comics began during the post-war allied military occupation of Japan. This view emphasizes that Japanese comics are greatly influenced by American culture. These include cartoons brought to Japan by American soldiers during the Japanese occupation, as well as American TV, movies and cartoons (especially Disney).
However, some writers, including Frederik L. Schodt Kinko Ito and Adam L. Kern, emphasize that the continuation of Japanese culture and aesthetic tradition is the key to the history of Japanese comics.
The development stage of modern Japanese comics: the social status of comics in Japan and people's understanding of it have been changing for more than half a century after World War II.
Osamu Tezuka once divided the development of Japanese modern comics into six stages:
The first stage (the first decade after World War II): "Toy Age". At this stage, cartoons are only props for children's entertainment.
The second stage: "Qingming Festival", comics are regarded as vulgar and shallow reading materials.
The third stage: the "dim sum era", parents and teachers reluctantly allow their children to read a little comics without hindering their studies.
The fourth stage: "staple food era", 1963 TV animation Astro Boy was broadcast continuously on TV, watched by adults and children in many families, and the cartoon was affirmed by the society.
The fifth stage (1970s-1980s): "Air Age", comics have become an inseparable part of teenagers' life.
The sixth stage (after the mid-1980s): "Symbolic Age", in which cartoons are called the symbols of communication between teenagers.