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The native form of thispersonal nameisHagio Moto.This article usesWestern name orderwhen mentioning individuals.
Moto Hagio
Thu vĩ vọng đô
Hagio in 2008
Born(1949-05-12)May 12, 1949(age 75)
Ōmuta, Fukuoka,Japan
OccupationManga artist
Years active1969–present
Notable work
TitlePerson of Cultural Merit
Awards
Signature

Moto Hagio(Thu vĩ vọng đô,Hagio Moto,born May 12, 1949)is a Japanesemanga artist.Regarded for her contributions toshōjomanga(mangaaimed at young and adolescent women), Hagio is considered the most significant artist in the demographic and among the most influential manga artists of all time, being referred to as the "god ofshōjomanga "(Thiếu nữ mạn họa の thần dạng,shōjo manga no kami-sama)by critics.

Hagio made her debut as a manga artist in 1969 at the publishing companyKodanshabefore moving toShogakukanin 1971, where she was able to publish her more radical and unconventional works that had been rejected by other publishers. Her first serializations at Shogakukan – the vampire fantasyThe Poe Clan,theshōnen-ai(male–male romance) dramaThe Heart of Thomas,and the science fiction thrillerThey Were Eleven– were among the first works ofshōjomanga to achieve mainstream critical and commercial success. Hagio subsequently emerged as a central figure in theYear 24 Group,a grouping of female manga artists who significantly influencedshōjomanga in the 1970s by introducing new aesthetic styles and expanding the category to incorporate new genres. Since the 1980s, Hagio has drawn primarily adult-oriented manga in the manga magazinePetit Flowerand its successor publicationFlowers,notablyMarginal,A Cruel God Reigns,andNanohana.

While Hagio primarily authors works in the science fiction, fantasy, andshōnen-aigenres, her manga explores a wide range of themes and subjects, including comedy, historical drama, and social and environmental issues. She has been recognized with numerous awards both in Japan and internationally, including theOrder of the Rising Sun,aMedal of Honor,and commendation as aPerson of Cultural Merit.

Biography[edit]

Early life and career[edit]

Moto Hagio was born on May 12, 1949, inŌmuta, Fukuoka.[1]The second of four siblings, Hagio's father worked as dockworker, while her mother was a homemaker. Because of her father's job, the Hagio family moved frequently between Omuta andSuitainOsaka Prefecture.[2]Hagio began to draw at an early age in her spare time, and attended private art lessons with her older sister.[3]In her third year of elementary school, she began readingmangathat she acquired atkashi-hon(book rental stores) and her school library.[1][4]Her parents discouraged her interest in illustration and manga, which Hagio states they viewed as "something for children not old enough to read" and "an impediment to studying"; this would be a major contributing factor to what would become a lifelong strained relationship with her parents.[3]

During her childhood, Hagio read and became influenced by the works of manga artistsOsamu Tezuka,Shōtarō Ishinomori,Hideko Mizuno,andMasako Watanabe,as well as literary fiction by Japanese authors such asKenji Miyazawaand western science fiction and fantasy authors such asIsaac Asimov,Arthur C. Clarke,andRobert A. Heinlein.[3][4]She began to seriously consider a professional career in manga after reading Tezuka's manga seriesShinsengumiin 1965,[5]and in 1967 began submitting manga manuscripts to various publishers, includingKodansha,Shueisha,and Tezuka's own manga magazineCOM.[2]

In her senior year of high school Hagio met manga artistMakiko Hirata[ja],who also lived in Ōmuta and was pursuing a professional career at Kodansha while still in high school. After graduating, Hirata moved toTokyoand offered to introduce Hagio to her editor, which Hagio accepted.[3]Hagio made her professional debut as a manga artist in Kodansha'sNakayoshimanga magazine, with the short storiesLulu to Mimiin August 1969 andSuteki na Mahōin September 1969.[3]Hagio began working forNakayoshiunder a new editor, but struggled under the editorial constraints of the magazine:Nakayoshipublished primarilysports mangafor children, while Hagio preferred to write science fiction and fantasy stories focused on mature themes and subject material. Her next four manuscripts submitted toNakayoshiwere consequently rejected, with her editors instructing her to write stories that were "more interesting and cheerful".[6]In 1970, Hagio published theone-shot(single-chapter) manga storiesCool CatandBakuhatsu GaishainNakayoshi.[7]

Breakthrough and the Year 24 Group[edit]

Main article:Year 24 Group

Shortly after her debut, Hagio beganpen palcorrespondence withNorie Masuyama[ja],a fan of Hagio's who discovered her work throughNakayoshi.Masuyama gifted Hagio a copy of the novelDemianbyHermann Hesse,an author whose novels came to greatly affect Hagio and significantly influenced her manga.[6]Contemporaneously, Hagio's editor assigned her to assist manga artistKeiko Takemiya,whose work had been published inNakayoshi,COM,andMargaret.The two artists became friends, and Takemiya suggested that they move to an apartment in Tokyo together; Hagio, who was still living with her parents in Ōmuta and unsure of her future as a manga artist, initially refused her invitation.[7]Shortly thereafter, Takemiya introduced Hagio toJunya Yamamoto[ja],an editor atShogakukanand editor-in-chief of the manga magazineBessatsu Shōjo Comic.Yamamoto agreed to publish Hagio's previously rejected manuscripts, and Hagio accepted Takemiya's offer to move to Tokyo.[7]

In 1971, Hagio and Takemiya moved to a rented house inŌizumigakuenchō,Nerima,Tokyolocated near the home of Norie Masuyama. Together, the three women decided to create a living space modeled off of 19th French literarysalons,nicknamed the "Ōizumi Salon". The Ōizumi Salon aimed to improve the quality and reputation ofshōjomanga, a demographic which at the time was dismissed by critics as publishing frivolous stories for young children.[8][9]Numerousshōjoartists visited the Ōizumi Salon, includingShio Satō,Yasuko Sakata,Yukiko Kai,Akiko Hatsu,Nanae Sasaya,Mineko Yamada[ja],Aiko Ito[ja],Michi Tarasawa[ja],andMisako Nachi[ja].[10]This grouping of artists would come to be referred to as theYear 24 Group.[a]The Year 24 Group contributed significantly to the development ofshōjomanga by introducing new aesthetic styles and expanding the demographic to incorporate elements ofscience fiction,historical fiction,adventure fiction,and same-sex romance: both male–male (shōnen-aiandyaoi) and female–female (yuri).[12]During this period, Hagio published theshōnen-aione-shotThe November Gymnasiumin 1971, followed by the vampire fantasyThe Poe Clanin 1972,[13]with the latter series becoming Hagio's first major critical and commercial success.The Poe Clanwas also the first series that Shogakukan published as atankōbon(collected edition);[1]the firsttankōbonedition ofThe Poe Clansold out its initial print run of 30,000 copies in three days, an unprecedented sales volume at the time for a shōjo manga series that had not been adapted into ananime.[14]

Following a 1973 trip to Europe by Hagio, Masuyama, and Yamagishi, Takemiya announced that the Ōizumi Salon would cease, as she preferred to continue her career alone.[15]Decades later, both Hagio and Takemiya would disclose that the pair had a falling out in 1973 that remains unreconciled; Takemiya has written in her memoirs about feelings of jealously and aninferiority complextowards Hagio, while Hagio has written that their relationship was strained by accusations from critics that she plagiarized hershōnen-aiworks from Takemiya.[16]Nonetheless, the innovation introduced toshōjomanga by the Year 24 Group significantly contributed to the development of the demographic, bringing it to what critics have described as its "golden age".[8][9]

Career as a manga artist[edit]

In the wake of the critical and commercial success ofThe Rose of Versaillesby Year 24 Group memberRiyoko Ikeda,Hagio's editorJunya Yamamoto[ja]asked her to create a series of similar length and complexity for publication in the manga magazineShūkan Shōjo Comic.The resulting series wasThe Heart of Thomas,a long-form serialized version of Hagio's earlierThe November Gymnasium,which began serialization in the magazine in 1974.[17]Though initially poorly received by readers, by the end of its serializationThe Heart of Thomaswas among the most popular series inShūkan Shōjo Comic.[17]The critical and commercial success of bothThe Poe ClanandThe Heart of Thomasfreed Hagio from most editorial constraints and allowed her to publish her previously rejected works ofscience fiction,a genre which at the time was perceived as inappropriate for female audiences and thus was effectively non-existent inshōjomanga.[7][18]

They Were Eleven,Hagio's first published science fiction manga series, began serialization inBessatsu Shōjo Comicin 1975.[19]Hagio began to establish herself as a science fiction writer and moved away from the constraints ofshōjomagazines, publishing a manga adaptation of science fiction writerRyu Mitsuse's novelHyakuoku no Hiru to Sen'oku no Yoruin theshōnenmanga(boys' manga) magazineWeekly Shōnen Championin 1977.[19]This was followed by several manga adaptations of the works ofRay Bradburypublished as the one-shot anthologyU wa Uchuusen no Ubeginning in 1977,[18]Gin no Sankakuin 1980, and various one-shots in the science-fiction focusedS-F Magazine.Hagio did create science fiction works forshōjomagazines during this period, notablyStar RedforShūkan Shōjo Comicfrom 1978 to 1979.[19]

In 1980 Yamamoto became the founding editor ofPetit Flower,a new magazine at Shogakukan that published manga aimed at an adult female audience. Hagio moved to the magazine, where she was given full editorial control over the manga she produced.[1]In the subsequent decades Hagio would publish many works inPetit Flowerand its successor publicationFlowersthat are distinguished by their mature themes and subject material. Notable works include the crime thrillerMeshin 1980, the post-apocalyptic science fiction seriesMarginalfrom 1985 to 1987, the semi-autobiographicalIguana Girlin 1992, andA Cruel God Reignsfrom 1993 to 2001. Hagio's works during this period were generally not influenced by developments in contemporaryshōjomanga, such as the erotic manga of artists likeKyoko Okazakiand thejoseimangaor artists likeErica Sakurazawa.[1]

Hagio began teaching manga studies as a visiting professor at theJoshibi University of Art and Designin 2011.[20]That same year, theFukushima nuclear disasteroccurred; with the publication of her manga seriesNanohana,Hagio became one of the first manga artists followingKotobuki Shiriagarito address the disaster directly in her work; Hagio's prominence as an artist is credited with influencing other manga artists to address the disaster in their works.[13][21]To mark the fifteenth anniversary ofFlowersin 2016, Hagio launched a revival ofThe Poe Clanin the magazine, publishing new chapters nearly forty years after the conclusion of the original series.[22]

Style and influences[edit]

A page from Hagio'sThe Poe Clan(1972–1976), exhibiting the artist's characteristic use of symbolic decorativemotifs,superimposed close-ups of characters, andmise-en-scènedistinguished by a strong contrast of shadow and light

When asked about her visual influences, Hagio responded that she was influenced byShotaro Ishinomori's page layouts,Hideko Mizuno's clothing, andMasako Yashiro's eyes.[3]

In the early 1970s, Hagio and her fellow Year 24 Group members contributed significantly to the establishment ofshōjomanga as a distinct category of manga,[23]iterating on contributions made to the category in the 1950s and 1960s by artists such asMacoto Takahashito establish a "visual grammar ofshōjomanga ".[24]Chief among these developments was the use ofinterior monologue,which was written outside ofspeech balloonsand scattered across the page. These monologues allow the exploration of the characters' interiority and emotions, and serve to compensate for the absence ofthird-person narrationin manga.[24]

In Hagio's manga specifically, interior monologues are often accompanied by symbolicmotifsthat extend beyondpanelborders and overlap in a manner resembling a montage or a collage, creating a three-dimensional effect.[24]These motifs are often composed of decorative elements (flowers, clouds,screentones,etc.)[25]but are also often lines, sparkles, andonomatopoeiawhich serve to reinforce the "exploration of the interiority" of the characters.[26]Hagio also makes use of full-body portraits of main characters, a technique originated Macoto Takahashi, as well as superimposed close-ups of these characters, to mark the character as important in the narrative.[25]Hagio also usesmise-en-scèneand lighting marked a strong contrast of shadow and light, giving a theatrical effect to her works.[26][27]

When Hagio began to create manga for an adult audience beginning withMeshin 1980, she adopted a morerealiststyle. In particular, she changed the body shape of her characters, who until then exhibited the typicalshōjostyle of heads that were proportionally larger than the rest of their bodies.[28]She also gradually altered her page layouts, especially during the 2000s, to make her style more accessible to a new readership.[21]

Themes and motifs[edit]

Hagio primarily authors works in the science fiction, fantasy, andboys' lovegenres, though her works explore a wide variety of themes and subjects. This is especially true of her short stories, which have depicted a variety of topics and genres including comedy, historical drama, and social and environmental issues. Though her works are primarily aimed at a female audience, she does also attract a male readership.[1]

Dysfunctional families[edit]

A documentary aboutmarine iguanas(pictured) inspired Hagio to writeIguana Girl(1992), a semi-autobiographical manga about her relationship with her mother.[29]

Hagio has long had a difficult relationship with her parents, who disapproved of her career as a manga artist even after she achieved mainstream critical and commercial success; it was not until 2010, when Hagio was 61 years old, that her mother accepted her profession.[27]This strained relationship, combined with Hagio's own interest in family psychology, has had a significant impact on her manga.[1]Families and familial drama recur as common motifs in Hagio's manga, especiallytwins,which are inspired by Hagio's childhood fantasy of having a twin sister so that her mother would pay more attention to her,[1]and mothers, who are typically portrayed as incapable of loving their children and frequently die.[30]

Initially, Hagio approached manga as an opportunity to depict "something beautiful", rather than an "ugly" reality. Consequently, she avoided contemporary Japanese settings for her early works, instead preferring European or otherworldly sci-fi settings.[29]These early works nevertheless address dysfunctional family relationships, such as her one-shotBianca(1970), a "gothic revenge plot" by a child against their parents and older authority figures.[31]Her 1992 one-shotIguana Girlbecame a turning point in both her life and career. In this semi-autobiographicalstory, a mother perceives her daughter as an iguana and rejects her; the daughter internalizes this rejection, and is in turn convinced that she is an iguana. Hagio has described the process of writing the story as a means of making peace with her family, and following its publication, she became more comfortable writing works set in contemporary Japan.[29]Familial drama nevertheless remains a common theme in her works, as expressed in stories that address topics of child abandonment, incestual rape, and abortion.[1]

Bishōnenandshōnen-ai[edit]

Hagio'sbishōnenare inspired in part by films featuring young men in homoerotic scenarios, such asDeath in Venice(starBjörn Andrésenpictured).[32]
Further information:BishōnenandYaoi

Hagio's works typically feature male rather than female protagonists, especiallybishōnen(lit."beautiful boys", a term for handsome andandrogynousyoung men). She has described a "sense of liberation"[33]that comes from writing male characters, as they allow her to express thoughts and concepts freely, in contrast to female protagonists who face the restrictions of a patriarchal society.[33][34]Hagio first introducedbishōnenprotagonists to her works withThe November Gymnasiumin 1971. The series is set in an all-boys boarding school, though an early draft of the story had a girls boarding school as its setting in order to conform to the conventions of theshōjomanga of the time, resulting in a story of theClass Sgenre. Dissatisfied with the draft, Hagio changed the protagonists tobishōnen;this aligned the story with the then-nascent genre ofshōnen-ai,the precursor to modernboys' love(male–male romance manga).[34]

Thebishōnenof Hagio's works are both non-sexual and androgynous: socially masculine, physically androgynous, and psychologically feminine.[35]The meaning ofgender ambiguityhas been variously considered by critics: from a queer perspective by manga scholar James Welker as an expression ofsublimatedlesbian identity,[33]and from a feminist perspective by sociologistChizuko Uenoit as an attempt to break out of the patriarchal dichotomy by creating a "third sex".[34]

Feminist science fiction[edit]

Hagio's science fiction works depict themes and subjects typical of the genre, such ashuman cloningandtime travel,but also take advantage of the genre's ability to depict worlds in which gender-based differences and power imbalances differ from that of the real word. Hagio's science fiction manga frequently explores topics relating to the place women in society, motherhood, andgender fluidity,taking particular inspiration from the works ofUrsula K. Le Guin.[36]

Notable examples includeThey Were Eleven,which depicts characters who belong to a race where individuals are asexual at birth and whose sex is determined at adulthood;[37]Star Red,which depicts a protagonist who is birthed by a male character,[38]andMarginal,which is set in a society that has become majority male through the use of sexualbiological engineering.[39]Thisfeminist science fiction,where characters that blur distinctions of sex and gender, challenges notions of dualism andsexual dimorphism[39]and has been argued by sociologistChizuko Uenoas representing an evolution of the feminist use of theboys' lovegenre to explore these themes.[34]It has also inspired the works of othershōjoscience fiction manga artists, such asReiko ShimizuandSaki Hiwatari.[1]

Works[edit]

Manga[edit]

The following is a list of Hagio'sserializedandone-shotmanga works. Serializations refer to multi-chapter works that are typically later published as collected editions (tankōbon), while one-shots refer to single-chapter works that are sometimes later collected inanthologies.Titles for works that have not received an official English-language translation or do not have an English title are listed usingHepburn romanization.All dates and publishers are sourced fromThe 50th Anniversary of The Poe Clan and the World of Moto Hagiounless otherwise noted.[40]

Serials[edit]

Start End English/Hepburn title Original title Publisher
1971 1974 Seirei Kari[ja] Tinh linh thú り('Spirit Hunting') Shogakukan
1972 present[b] The Poe Clan ポーの nhất tộc Shogakukan
1972 1976 Totemo Shiawase Moto-chan とってもしあわせモトちゃん('Very Happy Moto-chan') Shogakukan
1974 1974 The Heart of Thomas トーマの tâm 臓 Shogakukan
1975 1975 Kono ko Urimasu![ja] この nương うります!('I'll Sell You This Girl!') Shogakukan
1975 1975 Aroisu アロイス('Alois') Hakusensha
1975 1975 They Were Eleven 11 nhân いる! Shogakukan
1975 1976 Akagge no Itoko Xích ッ mao のいとこ('Red Haired Cousin') Shueisha
1976 1976 American Pie[ja] アメリカン・パイ Akita Shoten
1976 1976 Europe Migihidari ヨーロッパみぎひだり('Europe Right and Left') Akita Shoten
1977 1977 Shoujo Roman Thiếu nữ ろまん(Shōjo Roman) Akita Shoten
1977 1978 Bradbury Kessaku-sen Gensaku Bradbury kiệt tác tuyển nguyên tác('BradburyMasterpiece Original Selection') Shueisha
1977 1978 Ten Billion Days and One Hundred Billion Nights[ja] Bách ức の trú と thiên ức の dạ Shogakukan
1978 1979 Star Red スター・レッド Shogakukan
1979 1979 Les Enfants Terribles Khủng るべき tử どもたち Shogakukan
1980 1983 Mesh[ja] メッシュ Shogakukan
1980 1982 Gin no Sankaku Ngân の tam giác('Silver Triangle') Hayakawa
1981 1984 A, A Prime A-A' Akita Shoten, Shogakukan
1982 1982 Mozaiku Rasen[ja] モザイク・ラセン('Mosaic Rasen') Akita Shoten
1985 1985 Bara no Kabin ばらの hoa びん('Vase of Roses') Shogakukan
1985 1987 Marginal マージナル Shogakukan
1988 1988 Kanzen Hanzai Fearī Hoàn toàn phạm tội フェアリー('Perfect Crime Fairy') Shogakukan
1988 1989 Furawā Fesutibaru フラワーフェスティバル('Flower Festival') Shogakukan
1988 1991 Umi no Aria Hải のアリア('Aria of the Sea') Kadokawa Shoten
1980 1990 Rōma e no Michi ローマへの đạo('Road to Rome') Shogakukan
1991 1992 Kanshashira Zunootoko Cảm tạ tri らずの nam('Thankless Man') Shogakukan
1992 2001 A Cruel God Reigns Tàn khốc な thần が chi phối する Shogakukan
1992 1994 Abunai Oka no Ie あぶない khâu の gia('The House on the Dangerous Hill') Kadokawa Shoten
2002 2005 Otherworld Barbara バルバラ dị giới Shogakukan
2006 2007 Abunazaka Hotel あぶな bản HOTEL Shueisha
2006 2012 Anywhere but Here[ja] ここではない★どこか Shogakukan
2008 2012 Lil' Leo レオくん Shogakukan
2009 2010 Hishikawa-san to Neko Lăng xuyên さんと miêu('Mr. Hishikawa and His Cat') Kodansha
2011 2012 Nanohana なのはな Shogakukan
2013 2020 Queen Margot[ja] Vương phi マルゴ Shueisha
2013 2015 Away アウェイ Shogakukan

One-shots[edit]

Year English/Hepburn title Japanese title Published in
1969 Lulu to Mimi ルルとミミ('Lulu and Mimi') Nakayoshi
Suteki na Mahō すてきな ma pháp('Wonderful Magic') Nakayoshi
1970 Kūru Kyatto クールキャット('Cool Cat') Nakayoshi
Bakuhatsu Gaisha Bạo phát hội xã('Dummy Company') Nakayoshi
Bianca ビアンカ(Bianka) Shōjo Friend
Kēki Kēki Kēki ケーキケーキケーキ('Cake Cake Cake') Nakayoshi
1971 Girl on Porch with Puppy ポーチで thiếu nữ が tiểu khuyển と(Pōchi de Shōjo ga Koinu to) COM
Belle to Mike no Ohanashi ベルとマイクのお thoại し('The Story of Belle and Mike') Shōjo Comic
Yuki no Ko Tuyết の tử('Snow Child') Shōjo Comic
Tō no Aru Ie Tháp のある gia('House with a Tower') Shōjo Comic
Jenifer no Koi no Oaite Wa ジェニファの luyến のお tương thủ は('Who Is Jennifer's Boyfriend?') Nakayoshi
Hanayome o Hirotta Otoko Hoa giá をひろった nam('The Man Who Fetched the Bride') Shōjo Comic
Katappo no Furu Gutsu かたっぽのふるぐつ('Worn Out Shoes') Nakayoshi
Kawaisō na Mama かわいそうなママ('Poor Mama') Shōjo Comic
Seirei-gari Tinh linh thú り('Spirit Hunting') Shōjo Comic
Mōdorin モードリン('Maudlin') Shōjo Comic
Sayo no nū Yukata Tiểu dạ の phùng うゆかた('Yukata Sewn by Sayo') Shōjo Comic
Kenneth Ojisan to Futago ケネスおじさんとふたご('Uncle Kenneth and the Twins') Shōjo Comic
Mō Hitotsu no Koi もうひとつの luyến('Another Love') Shōjo Comic
Jū-gatsu no Shōjo-tachi 10 nguyệt の thiếu nữ たち('Girls in October') COM
Autumn Journey Thu の lữ(Aki no Tabi) Shōjo Comic
The November Gymnasium 11 nguyệt のギムナジウム(Jūichigatsu no Gimunajiumu) Shōjo Comic
Shiroki Mori Shiroi Shōnen no Fue Bạch き sâm bạch い thiếu niên の địch('White Forest White Boy Flute') Shōjo Comic
Shiroi Tori ni Natta Shōjo Bạch い điểu になった thiếu nữ('The Girl Who Became a White Bird') Shōjo Comic
Sara-hill no Seiya セーラ・ヒルの thánh dạ('Sacred Night on Sailor Hill') Shōjo Comic
1972 Asobi-dama あそび ngọc('Toy Ball') Shōjo Comic
Keito-dama ni Jarenaide Mao mịch ngọc にじゃれないで('Don't Play with the Ball of Yarn') Shōjo Comic
Mitsukuni no Musume みつくにの nương('Mitsukuni's Daughter') Shōjo Comic
Gomen Asobase! ごめんあそばせ!('I'm Sorry!') Shōjo Comic
San-gatsu Usagi ga Shūdan De 3 nguyệt ウサギが tập đoàn で('March Hares in a Group') Shōjo Comic
Yōsei no Komori Yêu tinh の tử もり('Fairy Slipper') Shōjo Comic
Roku-gatsu no Koe 6 nguyệt の thanh り('Voice of June') Shōjo Comic
Mamarēdo-chan ママレードちゃん('Marmalade-chan') Shōjo Comic
Mia ミーア Shōjo Comic
1973 Senbon-me no Pin Thiên bổn めのピン('The Thousandth Pin') Shōjo Comic
Kyabetsu-batake no Isan Sōzokunin キャベツ điền の di sản tương 続 nhân('Heir to the Cabbage Field') Shōjo Comic
Ō mai Keseira Sera オーマイ ケセィラ セラ('Oh My, Que Sera, Sera') Shōjo Comic
1974 Hawādo-san no Shinbun Kōkoku ハワードさんの tân văn quảng cáo('Howard's Newspaper Advertisement') Shōjo Comic
Unicorn no Yume ユニコーンの mộng('Unicorn's Dream') Shōjo Comic
Manga ABC まんがABC Shōjo Comic
Pushikyatto Pushikyatto プシキャット・プシキャット('Pussycat Pussycat') Shōjo Comic
1975 Onshitsu Ôn thất('Greenhouse') Seventeen
Supēsu Sutorīto スペース ストリート('Space Street') Shōjo Comic
Violita ヴィオリータ Jotomo
1976 Hana to Hikari no Naka Hoa と quang の trung('In Flowers and Light') Shōjo Comic
By the Lake Hồ bạn にて Strawberry Fields
1977 Onshitsu Ảnh のない sâm('Shadowless Forest') Big Comic Original
Marié, Ten Years Later Thập niên mục の cầu hội Big Comic Original
Marine マリーン Seventeen
1978 Gōruden Rairakku ゴールデン ライラック('Golden Lilac') Shōjo Comic
Hidarikiki no Izan Tả ききのイザン('Left-Handed Izan') SF Fantasia
1979 Hanabana ni Sumu Kodomo Hoa 々に trụ む tử cung('Children Living in Flowers') Princess
Chrysalis さなぎ Seven Comic
1980 Gesshoku Nguyệt thực('Lunar Eclipse') Vampirella
Rāginī ラーギニー S-F Magazine
The Visitor Phóng vấn giả Petit Flower
A Drunken Dream Túy mộng Kingin Sagan
Kin'yō no Yoru no Shūkai Kim diệu の dạ の tập hội('Friday Night Gathering') S-F Magazine
1983 Shiro Thành('Castle') Petit Flower
4/4 (Quatre-Quarts) 4/4カトルカース Petit Flower
1984 Hanshin: Half-God Bán thần Petit Flower
Egg Stand エッグ・スタンド Petit Flower
Nise ō Ngụy vương('False King') Petit Flower
Herbal Beauty ハーバル・ビューティ Bouquet
Tenshi no Gitai Thiên sử の nghĩ thái('Angel Mimic') Petit Flower
Fune Thuyền Petit Flower
1985 Slow Down スロー・ダウン Petit Flower
Bara no Kabin ばらの hoa びん('Ship') Petit Flower
Yūjin K Hữu nhân K Grapefruit
Kimi wa Utsukushii Hitomi きみは mỹ しい đồng('You Have Beautiful Eyes') Asuka
1989 Kaizoku to Himegimi Hải tặc と cơ quân('Pirates and Princesses') Petit Flower
Aoi Tori Thanh い điểu('Bluebird') Petit Flower
1990 Manatsu no yo no Wakusei (Planet) Chân hạ のの hoặc tinh ( プラネット('Planet of Midsummer') Petit Flower
1991 Rotbarth ロットバルト Petit Flower
Juliette no Koibito ジュリエットの luyến nhân('Juliette's Lover') Petit Flower
Catharsis カタルシス Petit Flower
1992 Iguana Girl イグアナの nương Petit Flower
1994 Gogo no Hizashi Ngọ hậu の nhật xạ し('Afternoon Sunshine') Big Gold
Gakkō e Iku Kusuri Học giáo へ hành くクスリ Big Gold
1998 The Child Who Comes Home Quy ってくる tử Child Igyō Collection 7
2006 Nagagutsu o Haita Shima Neko Trường ngoa をはいたシマ miêu('Puss in Boots') Neko Moto
2007 Birthday Cake バースディ・ケーキ SF Japan
The Willow Tree の mộc Flowers
2008 Nekomoto Clinic Miêu bổn クリニック Neko Moto 2
2016 Through Yura's Gate Do lương の môn を Monthly Afternoon
2018 Basutei Nite バス đình にて('At the Bus Stop') Morning
2020 Galileo no Uchū ガリレオの vũ trụ('Galileo's Universe') App Store[41]
2021 Kirin Kari Kỳ lân thú り('Kirin Hunting') Daijiro Morohoshi50th Anniversary Tribute[42]

English-translated works[edit]

  • Four Shōjo Stories(1996, Viz Media,ISBN1-56931-055-6)
  • A, A Prime(1997,Viz Media,ISBN978-1569312384)
    • CollectsA, A',4/4,andX+Y.
  • A Drunken Dream and Other Stories(2010,Fantagraphics Books,ISBN978-1-60699-377-4)
    • CollectsBianca;Girl on Porch with Puppy;Autumn Journey;Marié, Ten Years Later;A Drunken Dream;Hanshin: Half-God;Angel Mimic;Iguana Girl;The Child Who Comes Home;andThe Willow Tree.
  • The Heart of Thomas(2013, Fantagraphics Books,ISBN978-1606995518)
  • Otherworld Barbara(Fantagraphics Books), published as:
  • Neo Parasyte m(2017,Kodansha Comics,ISBN978-1632366047)
    • Multi-author anthology containingThrough Yura's Gate.
  • The Poe Clan(Fantagraphics Books), published as:
  • Lil' Leo(2021,Denpa,ISBN978-1634429788)
  • They Were Eleven(2024, Denpa,ISBN978-1634428156)

Essays & memoirs[edit]

Other[edit]

Reception[edit]

Influence[edit]

Hagio is regarded by critics as the most influentialshōjomanga artist of all time and among the most influential manga artists in the entirety of the medium,[1][45][4]and is referred to as the "god ofshōjomanga "(Thiếu nữ mạn họa の thần dạng,shōjo manga no kami-sama)by the Japanese press and critics, as styled off ofOsamu Tezuka's sobriquet "the god of manga".[46][47]She, along with the other artists associated with theYear 24 Group,is credited with "revolutionizing"shōjomanga[48][49]and bringing it into its "golden age", makingshōjomanga central to manga production in the 1980s and attracting a male readership to the category for the first time.[50]Hagio andKeiko Takemiyaoriginated theshōnen-aigenre, which was developed throughout the 1980s and 1990s to becomeyaoi,a major genre of manga.[51]She is further credited with establishing science fiction as a subgenre ofshōjomanga,[21]though Hagio's impact on science fiction extends beyond manga to literature through her illustrations of science fiction and fantasy novels,[18][21]with science fiction novelists such asAzusa NoaandBaku Yumemakuraciting Hagio as among their influences.[52]

Awards and nominations[edit]

Award Year Category Recipient(s) Result Ref.
Asahi Prize 2016 Asahi Prize — Won [53]
Angoulême International Comics Festival Awards 2023 Fauve d'honneur — Won [54]
Eisner Award 2011 Best U.S. Edition of International Material—Asia A Drunken Dream and Other Stories Nominated [55]
2014 The Heart of Thomas Nominated [56]
2018 Otherworld Barbara Nominated [57]
2020 The Poe Clan Nominated [58]
2022 Will Eisner Award Hall of Fame — Won [59]
Harvey Awards 2020 Best Manga The Poe Clan Nominated [60]
Inkpot Award 2010 Inkpot Award — Won [61]
Iwate Manga Awards 2018 Special Award Nanohana Won [62]
Japan Cartoonists Association Award 2011 Minister of Education, Science and Technology Award — Won [63]
Medal of Honor 2012 Purple Ribbon — Won [64]
Nihon SF Taisho Award 2006 Grand Prize Otherworld Barbara Won [65]
Order of the Rising Sun 2022 3rd Class, Gold Rays with Neck Ribbon — Won [66]
Person of Cultural Merit 2019 Person of Cultural Merit — Won [67]
Seiun Award 1980 Best Comic Star Red Won [68]
1983 Gin no Sankaku Won [68]
1985 X + Y Won [68]
Sense of Gender Award 2012 Lifetime Achievement Award Nanohana Won [69]
Shogakukan Manga Award 1975 Shōnen(Boys' Manga) They Were ElevenandThe Poe Clan Won [70]
Tezuka Osamu Cultural Prize 1997 Award for Excellence A Cruel God Reigns Won [71]

Notes[edit]

  1. ^The group was so named because its members were born in or around year 24 of theShōwa era(or 1949 in theGregorian calendar).[11]
  2. ^Originally serialized from 1972 to 1976, revived from 2016 to present.

References[edit]

Citations[edit]

  1. ^abcdefghijkBrient 2013.
  2. ^abNakagawa 2019a.
  3. ^abcdefThorn 2005.
  4. ^abcPinon & Lefebvre 2015.
  5. ^Tamura 2019,pp. 25–26.
  6. ^abTamura 2019,pp. 27–28.
  7. ^abcdNakagawa 2019b.
  8. ^abTamura 2019,p. 18.
  9. ^abTakeuchi 2010,p. 82.
  10. ^Takemiya 2016,pp. 67–72.
  11. ^Hemmann 2020,p. 10.
  12. ^Toku 2004.
  13. ^abToku 2015,p. 206.
  14. ^Nakagawa 2019f.
  15. ^Nakagawa 2019c.
  16. ^Morrissy, Kim (May 18, 2021)."Moto Hagio Publishes Memoir Addressing Her Feud With Keiko Takemiya".Anime News Network.RetrievedFebruary 3,2022.
  17. ^abTamura 2019,pp. 5–7.
  18. ^abcNakagawa 2019e.
  19. ^abcNakagawa 2019d.
  20. ^"Thu vĩ vọng đô, nữ tử mỹ thuật đại học の khách viên giáo thụ に tựu nhậm".Comic Natalie(in Japanese). June 2, 2011.RetrievedAugust 14,2022.
  21. ^abcdTakeuchi 2018.
  22. ^"Thu vĩ vọng đô “ポーの nhất tộc” tân tác が40 niên ぶりに đăng tràng! flowersに yết tái ".Comic Natalie(in Japanese). April 28, 2016.RetrievedAugust 14,2022.
  23. ^Shamoon 2012,p. 101.
  24. ^abcShamoon 2012,p. 114.
  25. ^abShamoon 2012,p. 116.
  26. ^abHébert 2010,pp. 36–38.
  27. ^abUrasawa 2016.
  28. ^Toku 2015,p. 209.
  29. ^abcKawakatsu 2010.
  30. ^Anan 2016,p. 90.
  31. ^Parille, Ken (March 9, 2011)."Moto Hagio'sBianca:Against Culture ".The Comics Journal.Fantagraphics Books.
  32. ^Magera 2020,p. 111.
  33. ^abcShamoon 2012,p. 107.
  34. ^abcdHarada 2015,pp. 43–44.
  35. ^Harada 2015,p. 58.
  36. ^Ebihara 2002.
  37. ^Harada 2015,pp. 83–86.
  38. ^Fujimoto 2004,p. 104.
  39. ^abHarada 2015,pp. 89–90.
  40. ^Hagio 2019b,pp. 184–187.
  41. ^"アップル, thu vĩ vọng đô のiPad miêu き hạ ろし mạn họa 『ガリレオの vũ trụ 』を vô liêu công khai. App Storeで sang tác を ngữ るインタビューも".Engadget(in Japanese). August 6, 2020. Archived fromthe originalon August 6, 2020.RetrievedDecember 2,2022.
  42. ^"Phổ trạch trực thụ, thu vĩ vọng đô, tinh dã chi tuyên, sơn ngạn lương tử らが miêu き hạ ろし “Chư tinh đại nhị lang トリビュート” ".Comic Natalie.September 7, 2021.RetrievedDecember 2,2022.
  43. ^"Thời không の lữ nhân -Time Stranger".Madhouse(in Japanese).RetrievedAugust 12,2022.
  44. ^Quintet(1993).Illusion of Gaia(Super Nintendo Entertainment System).Enix.
  45. ^Tokuhara & Toku 2019.
  46. ^"“Thiếu nữ mạn họa の thần dạng” thu vĩ vọng đô dị đoan giả ký り thiêm った50 niên ".Nikkei(in Japanese). October 1, 2019.RetrievedAugust 14,2022.
  47. ^"Thủ trủng trị trùng nhân gian の bổn âm を miêu く thu vĩ vọng đô 100 chu niên ký niệm xí họa “100 niên の100 nhân” ".Bungei Shunjū(in Japanese). December 27, 2021.RetrievedAugust 14,2022.
  48. ^Chapuis 2014.
  49. ^Croquet 2020.
  50. ^Galbraith 2019.
  51. ^McLelland et al. 2015,p. 303.
  52. ^Harada 2015,p. 49.
  53. ^Hodgkins, Crystalyn (January 2, 2017)."Heart of ThomasManga Creator Moto Hagio Wins Asahi Prize ".Anime News Network.RetrievedMarch 12,2021.
  54. ^"Thu vĩ vọng đô がアングレーム quốc tế mạn họa tế で đặc biệt vinh dự thưởng “Mạn họa に xuất hội うことで tư の nhân sinh は phong かに” ".Comic Natalie.January 29, 2024.RetrievedJanuary 29,2024.
  55. ^Cavna, Michael (April 7, 2011)."2011 EISNER AWARDS: Comic-Con announces the nominees..."Washington Post.RetrievedAugust 11,2022.
  56. ^Wheeler, Andrew (July 26, 2014)."2014 Eisner Awards: Full List Of Winners And Nominees".ComicsAlliance.RetrievedAugust 11,2022.
  57. ^Ridgeley, Charlie (April 26, 2018)."Complete List of 2018 Eisner Award Nominees Announced".ComicBook.com.RetrievedAugust 11,2022.
  58. ^McMillan, Graeme (June 4, 2020)."2020 Eisner Nominees: The Complete List".The Hollywood Reporter.RetrievedAugust 11,2022.
  59. ^Hodgkins, Crystalyn (July 23, 2022)."Moto Hagio Inducted into Eisner Hall of Fame".Anime News Network.RetrievedJuly 24,2022.
  60. ^Mateo, Alex (August 31, 2020)."Harvey Awards Nominates The Poe Clan, The Way of the Househusband, Witch Hat Atelier for Best Manga".Anime News Network.RetrievedJanuary 3,2022.
  61. ^Loo, Egan (July 23, 2010)."Moto Hagio Receives Inkpot Award from Comic-Con Int'l".Anime News Network.RetrievedJuly 23,2010.
  62. ^"いわてマンガ đại thưởng ・マンガ hương いわて biểu chương thức đặc biệt thưởng thụ thưởng thu vĩ さん tri sự と ký niệm トーク".Iwanichi OnLine.December 21, 2018.RetrievedJanuary 2,2021.
  63. ^Hodgkins, Crystalyn (May 10, 2011)."40th Japan Cartoonist Awards Honor Moto Hagio".Anime News Network.RetrievedSeptember 27,2019.
  64. ^Multiple Languages:
  65. ^"Nihon SF Taisho Award Winners List".Science Fiction and Fantasy Writers of Japan. Archived fromthe originalon August 7, 2011.RetrievedAugust 5,2010.
  66. ^Mateo, Alex (November 11, 2022)."Manga Creator Moto Hagio Inducted Into Order of the Rising Sun".Anime News Network.RetrievedNovember 11,2022.
  67. ^Kim, Allen (October 29, 2019)."Mario Bros.creator Shigeru Miyamoto to be given one of Japan's highest honors ".CNN.RetrievedOctober 30,2019.
  68. ^abcNhật bổn SFファングループ liên hợp hội nghị: Tinh vân thưởng リスト(in Japanese).RetrievedDecember 31,2007.
  69. ^"2012 niên độ đệ 12 hồi Sense of Gender thưởng sinh nhai công 労 thưởng".Sense of Gender Awards(in Japanese).RetrievedJanuary 2,2021.
  70. ^Tiểu học quán mạn họa thưởng: Lịch đại thụ thưởng giả(in Japanese). Shogakukan. Archived fromthe originalon August 5, 2015.RetrievedAugust 19,2007.
  71. ^"Manga Award for Excellence: Hagio MotoZankoku na kami ga shihai suruExhibition ".Archived fromthe originalon April 25, 2008.RetrievedJune 10,2008.

Bibliography[edit]

External links[edit]

Retrieved from "https://en.wikipedia.org/w/index.php?title=Moto_Hagio&oldid=1223458808"