Bat Kid by Inoue Kazuo (review)

Germeen Tanas
{"title":"Bat Kid by Inoue Kazuo (review)","authors":"Germeen Tanas","doi":"10.1353/nin.2023.a903331","DOIUrl":null,"url":null,"abstract":"Reviewed by: Bat Kid by Inoue Kazuo Germeen Tanas Inoue Kazuo. Bat Kid Translated by Ryan Holmberg. Richmond, VA: Bubbles Zine Publications, 2021. 104 pp. Paperback, $14.99. When first opening Bat Kid, readers will immediately be captivated by the drawing on the first page. Nagai Batto jumps off the page and holds hands with two kids who look just as animated as he appears. Above this sketch is a note from the original author, Inoue Kazuo, declaring that he has \"put [his] heart and soul into drawing the manga you hold in your hands\" and he hopes that \"you and bat kid become the best of friends!\" (1). Via this playful, vibrant, and lighthearted manga, Kazuo brings to life Batto's short yet positively delightful story, and it's indeed difficult not to get invested in his journey. Although the story is focused on the bat kid's growth as a baseball player, the manga is a great learning experience for baseball fans and curious people alike. However, it's Ryan Holmberg's attached essay that gives this baseball story value to the layperson. In a little over forty-five pages, Holmberg, an historian and the book's translator, offers indispensable historical context on the origins, impact, and development of the Japanese baseball manga as well as extensively describes Inoue Kazuo's career and character. Holmberg's version of the manga is translated and condensed from the original, which was published in the monthly Manga Shonen in January 1948. It's important to keep in mind that Holmberg's translation only offers a segment of the original manga, with the original totaling \"fifteen chapters and nearly seventy pages\" (xxxvi). The manga itself indeed holds allegiance to Japanese traditions of \"yoiko\" (\"good kid\"). Yoiko comics were \"good-natured,\" conservative, and fun stories which were precisely what parents and teachers thought should be administered to little kids. The bat kid is a middle school student who is obedient to his parents, hardworking, and learns to rely on himself rather than the power he thought he received from a red bat. On page fifty-eight, Nagai says to his bat, \"I'm countin' on you, red,\" but eventually he finds solace in his own capability [End Page 146] and earns himself a spot on the team. In another instance, when Nagai encounters a thief, the thief asks why Nagai doesn't turn him in to the police. The bat kid replies, \"Why would I? You're just a kid\" (23). As the plot develops, Nagai develops this same empathy and compassion for himself. However, according to Holmberg, Bat Kid's success is surprising from a historical perspective because it reaffirmed ideas from the Imperial past and celebrated an American sport, yet somehow captured the imagination of children who had suffered from the chaos of World War II. Set in the early post World War II era, Bat Kid gives readers a rare opportunity to learn about the effects of WWII on Japanese baseball and the game's reconciliatory power during a very sundering time. Holmberg describes Bat Kid as a testament to how baseball held \"the prewar past and postwar present together\" (v). Because baseball originated as America's pastime, Kazuo's use of the enemy's sport in his genre of literature could lead people to perceive him as a traitor. Yet, his manga didn't divide the Japanese; rather, it brought them together—so much so that historian Sayuri Guthrie-Shimizu calls baseball a \"national iconography of peace, democracy, and freedom\" during that era (xxxiii). Holmberg goes on to discuss the cultural legitimacy of baseball as an American sport celebrated in Japan. According to evidence dating back to the 1920s, Holmberg asserts that while Bat Kid was not the very first baseball manga, it pioneered postwar baseball manga as a sustainable genre and influentially paved the way for artists like cartoonist Terada Hiroo, Japan's renowned graphic designer; Yokoo Tadanori; animator Fukui Eiichi; and manga artist Takisawa Michiko. Kazuo's art was not limited to panels, but he also concluded his chapters of Bat Kid with beautifully illustrated picture games and riddles. In Bat Kid, Kazuo illustrates \"A Celebration of...","PeriodicalId":88065,"journal":{"name":"Ninety nine","volume":"4 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Ninety nine","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1353/nin.2023.a903331","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0

Abstract

Reviewed by: Bat Kid by Inoue Kazuo Germeen Tanas Inoue Kazuo. Bat Kid Translated by Ryan Holmberg. Richmond, VA: Bubbles Zine Publications, 2021. 104 pp. Paperback, $14.99. When first opening Bat Kid, readers will immediately be captivated by the drawing on the first page. Nagai Batto jumps off the page and holds hands with two kids who look just as animated as he appears. Above this sketch is a note from the original author, Inoue Kazuo, declaring that he has "put [his] heart and soul into drawing the manga you hold in your hands" and he hopes that "you and bat kid become the best of friends!" (1). Via this playful, vibrant, and lighthearted manga, Kazuo brings to life Batto's short yet positively delightful story, and it's indeed difficult not to get invested in his journey. Although the story is focused on the bat kid's growth as a baseball player, the manga is a great learning experience for baseball fans and curious people alike. However, it's Ryan Holmberg's attached essay that gives this baseball story value to the layperson. In a little over forty-five pages, Holmberg, an historian and the book's translator, offers indispensable historical context on the origins, impact, and development of the Japanese baseball manga as well as extensively describes Inoue Kazuo's career and character. Holmberg's version of the manga is translated and condensed from the original, which was published in the monthly Manga Shonen in January 1948. It's important to keep in mind that Holmberg's translation only offers a segment of the original manga, with the original totaling "fifteen chapters and nearly seventy pages" (xxxvi). The manga itself indeed holds allegiance to Japanese traditions of "yoiko" ("good kid"). Yoiko comics were "good-natured," conservative, and fun stories which were precisely what parents and teachers thought should be administered to little kids. The bat kid is a middle school student who is obedient to his parents, hardworking, and learns to rely on himself rather than the power he thought he received from a red bat. On page fifty-eight, Nagai says to his bat, "I'm countin' on you, red," but eventually he finds solace in his own capability [End Page 146] and earns himself a spot on the team. In another instance, when Nagai encounters a thief, the thief asks why Nagai doesn't turn him in to the police. The bat kid replies, "Why would I? You're just a kid" (23). As the plot develops, Nagai develops this same empathy and compassion for himself. However, according to Holmberg, Bat Kid's success is surprising from a historical perspective because it reaffirmed ideas from the Imperial past and celebrated an American sport, yet somehow captured the imagination of children who had suffered from the chaos of World War II. Set in the early post World War II era, Bat Kid gives readers a rare opportunity to learn about the effects of WWII on Japanese baseball and the game's reconciliatory power during a very sundering time. Holmberg describes Bat Kid as a testament to how baseball held "the prewar past and postwar present together" (v). Because baseball originated as America's pastime, Kazuo's use of the enemy's sport in his genre of literature could lead people to perceive him as a traitor. Yet, his manga didn't divide the Japanese; rather, it brought them together—so much so that historian Sayuri Guthrie-Shimizu calls baseball a "national iconography of peace, democracy, and freedom" during that era (xxxiii). Holmberg goes on to discuss the cultural legitimacy of baseball as an American sport celebrated in Japan. According to evidence dating back to the 1920s, Holmberg asserts that while Bat Kid was not the very first baseball manga, it pioneered postwar baseball manga as a sustainable genre and influentially paved the way for artists like cartoonist Terada Hiroo, Japan's renowned graphic designer; Yokoo Tadanori; animator Fukui Eiichi; and manga artist Takisawa Michiko. Kazuo's art was not limited to panels, but he also concluded his chapters of Bat Kid with beautifully illustrated picture games and riddles. In Bat Kid, Kazuo illustrates "A Celebration of...
《蝙蝠小子》作者井上一雄(评论)
书评:《蝙蝠小子》作者:井上和夫蝙蝠小子(Ryan Holmberg译)里士满,弗吉尼亚州:泡泡杂志出版社,2021年。104页平装本,14.99美元。第一次打开《蝙蝠小子》,读者会立刻被第一页上的图画所吸引。永井巴托从书中跳出来,牵着两个孩子的手,他们看起来和他一样活跃。在这幅素描的上方是原作者井上一雄的留言,他说他“全身心地投入到你手中的漫画中”,他希望“你和蝙蝠孩子成为最好的朋友!”通过这部俏皮、充满活力、轻松愉快的漫画,一雄将巴托的故事娓娓道来,让人很难不被他的旅程所吸引。虽然故事的重点是蝙蝠孩子成长为一名棒球运动员,但对于棒球迷和好奇的人来说,这部漫画是一个很好的学习经历。然而,是Ryan Holmberg所附的文章赋予了这个棒球故事外行人价值。在45页多一点的篇幅里,作为历史学家和这本书的译者,霍尔姆伯格为日本棒球漫画的起源、影响和发展提供了不可或缺的历史背景,并广泛描述了井上一雄的职业生涯和性格。霍姆伯格的版本是根据1948年1月发表在《漫画少年》月刊上的原著进行翻译和浓缩的。重要的是要记住,霍尔姆伯格的翻译只提供了原漫画的一部分,原漫画总共有“15章,近70页”(xxxvi)。漫画本身确实忠于日本传统的“yoiko”(“好孩子”)。阳子漫画是“善意的”、保守的、有趣的故事,正是父母和老师认为应该给小孩子看的。蝙蝠孩子是一名中学生,他听父母的话,努力学习,学会了依靠自己,而不是他认为自己从红色蝙蝠那里得到了力量。在第58页,永井对他的球棒说:“我就指望你了,红魔。”但最终他在自己的能力中找到了安慰,并在球队中赢得了一席之地。在另一个例子中,当永井遇到一个小偷时,小偷问永井为什么不把他交给警察。蝙蝠小孩回答说:“我为什么要呢?你只是个孩子。”随着情节的发展,永井对自己也产生了同样的同理心和同情心。然而,根据霍姆伯格的说法,从历史的角度来看,《蝙蝠小子》的成功令人惊讶,因为它重申了帝国过去的观念,颂扬了一项美国运动,但不知怎么的,它抓住了那些遭受第二次世界大战混乱的孩子们的想象力。《蝙蝠小子》以二战后早期为背景,为读者提供了一个难得的机会,了解二战对日本棒球的影响,以及在一个非常分裂的时期,棒球运动的和解力量。霍姆伯格将《蝙蝠小子》描述为棒球如何将“战前的过去和战后的现在结合在一起”的证明(v)。由于棒球起源于美国人的消遣,一雄在他的文学类型中使用敌人的运动可能会让人们认为他是叛徒。然而,他的漫画并没有分裂日本人;相反,它把他们团结在了一起——以至于历史学家清水小uri Guthrie-Shimizu称棒球是那个时代“和平、民主和自由的国家象征”(xxxiii)。霍姆伯格接着讨论了棒球作为一项在日本受到庆祝的美国运动的文化合法性。根据20世纪20年代的证据,霍尔姆伯格断言,虽然《蝙蝠小子》不是第一部棒球漫画,但它开创了战后棒球漫画作为一种可持续发展的类型,并为漫画家Terada Hiroo(日本著名的平面设计师)等艺术家铺平了道路;Yokoo Tadanori;动画师福井荣一;以及漫画家泷泽美智子。Kazuo的艺术并不局限于面板,他还用精美的插图游戏和谜语来结束《蝙蝠小子》的章节。在《蝙蝠小子》中,一雄阐述了“庆祝……
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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