[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-151846-en":3,"doc-seo-151846-105":29,"detail-sidebar-cat-0-en-105":90},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":4,"is_deleted":4,"is_public":11,"is_downloadable":11,"audit_status":11,"page_count":20,"language":21,"language_code":22,"site_id":23,"html_lang":22,"table_of_contents":24,"faqs":25,"seo_title":26,"seo_description":14,"update_tm":27,"read_time":28},151846,687208528416,"Cipher","https://ap-avatar.wpscdn.com/davatar_9964176cb1d06d4a9deccf72a44ae3dc",1,"Story & Novel","REVIVING THE POWER OF STORYTELLING - POST-3/11 ONLINE “AMATEUR” MANGA","Post-3/11 online “amateur” manga examines how Japanese cartoonists used vernacular visual storytelling to respond to the March 11, 2011 triple disaster and its political, social, and cultural aftershocks. It traces how manga-ka shaped sorrow, confusion, and frustration, ranging from reportage and research-based comics to speculative and fantasy conventions, and highlights how social media enabled creation, distribution, and communication. The study focuses on non-professional authors who self-published online and later attracted broader commercial attention.","REVIVING THE POWER OF STORYTELLING: POST-3/11 ONLINE “AMATEUR” MANGA  \nShige (CJ) Suzuki  \nThe City University of New York – Baruch College  \nProse writers, of course, can be very evocative, and I appreciate what they do, but I find there is nothing like thrusting someone right there. And, that’s what I think a cartoonist can do.1  \n– Joe Sacco, comics journalist  \nThere is, or used to be, this concept of the ‘objective reporter’ who goes out and records the facts. But that’s bullshit.2  \n– Sarah Glidden, creator of graphic novel How to Understand Israel in 60 Days or Less  \nIntroduction: Comics Respond to Japan’s Triple Disaster  \nJapan’s triple disaster – the massive earthquake on March 11, 2011 that caused the tsunami and the subsequent nuclear meltdown – prompted vexing questions about postwar national policies and the economic structure, raising citizens’ awareness of social and political concerns after along period of “depoliticization.”3 The catastrophe, collectively referred to as “3/11,” triggered a massive civic demonstration not seen since the 1960s’Anpo opposition movement.4 The 3/11 disaster also has prompted cultural  \n1 Joe Sacco,“Underground(s): Robert Williams’ Presentation from 2002 UF Comics Conference,” ImageTexT: Interdisciplinary Comics Studies, 2004 (accessed November 3, 2013, [http://www.english.ufl.edu/imagetext/archiv](http://www.english.ufl.edu/imagetext/archiv)[es/v1_1/sacco](es/v1_1/sacco)) .  \n2 Sarah Glidden, “Meanwhile…Comics Journalism and Sarah Glidden,”Bad at Sports: Contemporary Art Talk, May 12, 2013 (accessed October 13, 2013, [http://badatsports.com/2013/meanwhile-on-comics-journalism-and-an](http://badatsports.com/2013/meanwhile-on-comics-journalism-and-an)[-interview-with-sarah-glidden](-interview-with-sarah-glidden)) .  \n3 Masao Miyoshi and Harry Harootunian,“Introduction,” in Masao Miyoshi and Harry Harootunian, eds., Postmodernism and Japan (Durham: Duke University Press, 1989) .  \n4 For the post-disaster anti-nuclear demonstration, see Piers Williamson,“Largest Demonstrations in Half a Century Protest the Restart of Japanese  \nproduction by artists in diverse fields through which they urged us to reflect on what the 3/11 disaster brought to the victims, local people, the nation, and beyond.5 Such responses have not been limited to socially established“art” forms. Some artists have chosen more familiar and everyday forms of cultural expression such as street performances, graffiti, and cover songs.6 Japanese comics or manga is also one of such vernacular media employed in response to this disaster.  \nIn Japan, where manga are embraced by the public, it is not surprising that manga would be one of the cultural outlets for narrating, discussing, and examining the 3/11 disaster and its aftermath. In fact, several Japanese manga-ka (comics artists) produced works to give shape to their sorrow, confusion, and frustration as well as the compassion that they felt for disaster victims. Within a couple of years after the disaster, several manga about 3/11 were published, including: Shiriagari Kotobuki’s Anohi kara no manga [Manga from That Day], Hagio Moto’s Nanohana [Cole Flowers], Hirai Toshinobu’s Higashi Nihon daishinsai: Kimi to mita fûkei [Great East Japan Earthquake: The Scenes I Saw with You], Suzuki Miso’s Boku to Nihon ga furueta hi [The Day I and Japan Trembled], and Imashiro Takashi’s Genpatsu genma taisen [Nuclear Plants: The Great Battle with Genma] .7 Some of these manga employ the generic conventions of fantasy or speculative fiction; others document the disaster through “reportage manga,” based on the artists’ own experience and research.8 All of these  \nNuclear Power Plants,” The Asia-Pacific Journal: Japan Focus 10 (2012)(accessed August 8, 2013, [http://www.japanfocus.org/-Piers_Williamson/](http://www.japanfocus.org/-Piers_Williamson/)[ ](http://www.japanfocus.org/-Piers_Williamson/)[3787](3787)) .  \n5 In her essay for Women’s Studies Quarterly, Akiko Mizoguchi introduces","cbCaio9Ibsq3EEsl","https://ap.wps.com/l/cbCaio9Ibsq3EEsl","pdf",808937,22,"English","en",105,"# Introduction: Comics Respond to Japan’s Triple Disaster\n## Manga as Cultural Outlet After 3/11\n## “Post-3/11 Manga” and Disaster Narration\n## Amateur Online Manga and Social Media","[{\"question\":\"What does the paper mean by “post-3/11 manga”?\",\"answer\":\"“Post-3/11 manga” refers to visually narrated works that depict how authors experienced the crisis and confusion, along with daily struggles to recover while facing worries about nuclear power pollution.\"},{\"question\":\"How do different manga works document the 3/11 disaster?\",\"answer\":\"Some manga use fantasy or speculative conventions, while others rely on “reportage manga” that documents the disaster through the artists’ own experience and research.\"},{\"question\":\"How did online amateur cartoonists contribute after the 3/11 disaster?\",\"answer\":\"Non-professional cartoonists mobilized websites, blogs, and social network services to produce, publish, distribute, and communicate their works, quickly building reader followings that shared links and comments via social media.\"}]","REVIVING THE POWER OF STORYTELLING - 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