Shifting memories in vignettes - Depictions of World War II ingakushū manga and their impact on Japanese nationalism and pacifism

Aug 23, 2026

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This study examines how gakushū manga, educational Japanese comics, shape collective memory narratives of World War II. It tests whether these works depart from or reinforce Japancentric interpretations by analyzing thematic trends, representational strategies, and selective memory frameworks. Results show strong emphasis on Japanese victimhood via graphic depictions of civilian suffering, while foreign victimhood such as Chinese and Korean civilians is abstracted or marginalised. Leadership responsibility is portrayed selectively, often mitigating figures like Emperor Hirohito through contextualised systemic ideologies. The study argues these manga reproduce postwar memory patterns, foregrounding social complicity while minimising Japan’s aggressor responsibilities, and calls for more balanced memory to support reconciliation and inclusive understanding of wartime legacies in East Asia.

LanguageEnglish

CategoryResearch & Report

FormatPDF

Pages16

Reading Time40 min

AccessFree to download

Abstract

War memory and emotional pedagogy in Japanese educational manga

Research focus and analytical approach

Findings on victimhood and responsibility portrayal

Implications for reconciliation and inclusive memory

Memory, Mind & Media (2026), 5, e1, 1–16 doi:10.1017/mem.2025.10024 R E S EARC H ARTI CLE Shifting memories in vignettes: Depictions of World War II ingakushū manga and their impact on Japanese nationalism and pacifism Esteban Córdoba-Arroyo Osaka University, Japan Email: [esteban.cordoba83@gmail.com](esteban.cordoba83@gmail.com) (Received 28 November 2025; revised 28 November 2025; accepted 08 December 2025) Abstract This study examines the role of gakushū manga, or educational Japanese comics, in shaping collective memory narratives of World War II. It explores whether these works diverge from or perpetuate Japancentric interpretations of World War II by analysing thematic trends, representational strategies, and selective memory frameworks. The findings reveal a dominant emphasis onJapanese victimhood, mainly through graphic depictions ofcivilian suffering, while representations offoreign victims, such as Chinese and Korean civilians, remain abstract or marginalised. The responsibility of those in positions of leadership is selectively portrayed, often exonerating figures like Emperor Hirohito, and the actions of such militaristic leaders are contextualised within broader systemic ideologies. These manga replicate postwar narratives by foregrounding societal complicity, deliberate omission, and the delegation of the ‘Other’ to the periphery, in line with broader patterns of media-driven nationalism. They provide nuanced critiques of Japan’s wartime conduct but simultaneously maintain a selective focus that minimises Japan’s responsibilities as an aggressor. This research underscores the need for a balanced collective memory to foster reconciliation and a more inclusive understanding of wartime legacies in East Asia. Keywords: gakushū manga; Japanese nationalism; collective memory of World War II; comics and war; memory and reconciliation Topic: Gakushū (educational) Manga and the Memory of WWII. War memory and emotional pedagogy in Japanese educational manga In contemporary Japan, the collective memory of WorldWar II (WWII) is shaped not only by institutionally curated sites, such as textbooks and museums, but also by commercially Esteban Córdoba-Arroyo (Osaka University) is a JSPS Postdoctoral Fellow in Contemporary Japanese Studies. His research examines nationalism, cultural memory, and visual media in East Asia. He has published on Japanese war memory in film and television and is completing a book on the links between Japanese visual media and nationalism. © The Author(s), 2025 . Published by Cambridge University Press. This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence ([http://creativecommons.org/licenses/by/4.0](http://creativecommons.org/licenses/by/4.0)), which permits unrestricted re-use, distribution and reproduction, provided the original article is properly cited. [https://doi.org/10.1017/mem.2025.10024](https://doi.org/10.1017/mem.2025.10024 Published)[ Published](https://doi.org/10.1017/mem.2025.10024 Published) online by Cambridge University Press 2 Esteban Córdoba-Arroyo circulated manga–particularly gakushū (educational) titles–consumed by young readers in homes, libraries, and classrooms. These are not marginal materials; they are central to historical education. Publishers such as Shōgakukan, Kōdansha, and Kadokawa distribute them widely in bookstores, libraries, classrooms, and through reading initiatives. Surveys show that more than 90 per cent of school libraries had already stocked such manga by the mid-1990s (Japan Library Association, 2009) . By blending word-based narratives with emotionally charged illustrations, these manga not only teach children about the war but also influence how they internalise Japan’s moral position within it (McCloud, 1993; Hirsch, 2012) . This article examines how WWII is remembered in educational manga, focusing on whether these narratives are one-sided, reproduce propaganda, or

FAQs

How do gakushū manga influence collective memory of World War II?

They blend word-based narratives with emotionally charged illustrations that shape how young readers internalise Japan’s moral position in the war and learn whose suffering matters.

What patterns appear in portrayals of victims in the study’s findings?

Japanese civilian suffering is given sustained visual attention, while foreign victims such as Chinese and Korean civilians are comparatively abstract, marginalised, or relegated to paratexts.

How does the article describe depictions of leadership responsibility?

Leadership responsibility is portrayed selectively, with figures such as Emperor Hirohito often exonerated, while militaristic leaders’ actions are contextualised within broader systemic ideologies.

Aug 23, 2026

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