Today on the site: Ryan Holmberg gets back into Matsumoto Katsuji’s work.
Last time, I provided a brief overview of Matsumoto Katsuji’s early career, in honor of an excellent retrospective at the Yayoi Museum in Tokyo. I argued that Matsumoto’s famous Kurumi chan (b. 1938), oftentimes seen as one of the first commodity icons of Japanese kawaii, was probably based on a mix of Grace Drayton’s New Kids dolls and American jazz age cartooning. This time I want to focus on The Mysterious Clover (Nazo no kurobaa), a sixteen-page comic published as a premium insert furoku for “a girl’s best friend,” the magazine Shōjo no tomo, in April 1934. There’s a buzz around the manga’s formal innovations, and in a future article I will add my two cents about them. First I think it useful to see how Clover introduced a novel character type – a type reminiscent of the athletic and righteous young man described above, and thus more in line with stereotypes of proper Japanese boyhood than those of prewar shōjo culture, even though the character is a girl. It was a type, as we will see, that additionally reflects the influence of a specific form of American masculinity.
Gil Roth interviews Katie Skelly.
Caitlin McGurk has a brief CAKE report over at The Comics Reporter.