Ero Guro
Ero-guro: Suehiro Maruo, Kazuichi Hanawa, Shintaro Kago, Toshio Saeki. The work is erotic and grotesque by intent and is described here as what it is.
Part of Underground Comics
55 moments in this segment.
- - Inada Kyuzo Shinsuke
- - Twenty-Eight Famous Murders, title page. Title sheet for Eimei nijushasshuku, the series of twenty-eight murder prints Tsukioka Yoshitoshi and Utagawa Yoshiiku issued between 1866 and 1867.
- - Gosho Gorozo Battling a Shadow. Gosho Gorozo fights his own shadow, the blood drawn in the thick lacquer-like red the series is known for.
- - Prostitute Ohyaku and a seated ghost. Ohyaku confronts a seated ghost, one of the sheets Yoshiiku contributed alongside Yoshitoshi.
- - Inga Kozō Rokunosuke wiping his sword. Inga Kozo Rokunosuke wipes his blade clean after the killing.
- - Danshichi Kurobei murdering the old man in the mud. Danshichi Kurobei kills his father-in-law in the mud, a scene taken from the kabuki stage.
- - Katsuma Gengobei reading a blood-stained letter. Katsuma Gengobei reads a letter marked with blood.
- - Naosuke Gonbei. 1866 to 1867 run of murder prints that fed a taste for bloody subjects in late Edo publishing.
- - Enjō Kihachiro. Enjo Kihachiro lies fallen at the foot of a Jizo statue, the eighth print in the series.
- - Yurugi Sogen with a head on a go board. Yurugi Sogen contemplates a severed head resting on a go board.
- - Fukuoka Mitsugi with flying papers, severed head. Fukuoka Mitsugi amid scattering papers, a severed head at his feet.
- - Shirai Gompachi slashing an assailant by a fire. Shirai Gompachi cuts down an attacker beside an open fire.
- - Furuteya Hachirōbei murdering a woman in a graveyard. Furuteya Hachirobei kills a woman among the gravestones.
- - Murder of Kasamori Osen. The killing of Kasamori Osen, a teahouse beauty who had been a favourite subject of earlier print artists.
- - Takekura Sukekichi and overturned palanquin. Takekura Sukekichi beside an overturned palanquin.
- - Kyosai's One Hundred Demons, plate 1. Opening sheets of Kyosai hyakki gadan, the 1890 picture book that runs the night parade of one hundred demons across a continuous page.
- - Kyosai's One Hundred Demons, plate 2. Yokai crowd the page in Kyosai hyakki gadan, drawn in the fast brush line Kawanabe Kyosai used for his demon subjects.
- - Kyosai's One Hundred Demons, plate 3. A sheet from the 1890 demon-parade book, printed in black and grey from woodblocks after Kyosai’s drawings.
- - Kyosai's One Hundred Demons, plate 4. Kyosai hyakki gadan sets its monsters in procession rather than in single portraits, a format borrowed from older hyakki yagyo handscrolls.
- - Kyosai's One Hundred Demons, plate 5. Spirits and animated objects share the sheet in Kyosai’s 1890 book, published the year before his death.
- - Kyosai's One Hundred Demons, plate 6. Further sheet of the parade from Kyosai hyakki gadan, its figures drawn without colour blocks.
- - 【VICE Photo Issue 2013】特別対談！新田桂一 × 駕籠真太郎 - Keiichi Nitta x Shintaro Kago. Shintaro Kago and photographer Keiichi Nitta discuss the collaboration they made for a VICE photo issue, combining Nitta's self portraits with the distorted caricature portraits Kago draws to order.
- - 丸尾末広、少女椿・画集他. Shojo Tsubaki shown alongside the art collections, among them SM Gaho and the Muzan-e woodblock series, the books held open to pages that can be filmed.
- - 【TORICO】脚本・監督を務めた映画 『少女椿 』 告知インタビュー！. A longer promotional sit down for the live action Shojo Tsubaki, covering the 52 minute animated version of 1992 and the decades of stalled attempts to film Maruo's story before this one reached cinemas.
- - 中村里砂＆風間俊介が共演！衝撃作『少女椿』予告編. Trailer for the live action version with Risa Nakamura as the fourteen year old Midori, thrown among the circus performers and then unsettled further by a man claiming psychic powers.
- - 第２回ビームマンガ実況 ゲスト：丸尾末広 古屋兎丸 カネコアツシ. Suehiro Maruo joins Usamaru Furuya and Atsushi Kaneko to read pages on screen and talk through them panel by panel, a live broadcast built around a Maruo and Tamakichi Sakura feature.
- - 第７回ビームマンガ実況 ゲスト：寺田克也 朝倉世界一 カネコアツシ 丸尾末広. Katsuya Terada, Sekaiichi Asakura, Atsushi Kaneko and Suehiro Maruo read comics aloud together on a live stream, projecting the pages as they argue about how each panel works.
- - 異色の経済漫画！花輪和一の最新作『風水ペット』. Kazuichi Hanawa turns to money and household fortune in Fusui Pet, a departure for the artist behind Doing Time and the 1988 Muzan-e woodblock series he made jointly with Suehiro Maruo.
- - 【書評】丸尾末広『少女椿』 & 僕のサイコパスなおかんの話【漫画】. A secondhand book collector recommends Shojo Tsubaki as work that stayed obscure, describing what happens to Midori without softening the account.
- - VLOG🐩ENG _sub🍒ASAKUSA🇯🇵浅草🎌丸尾末広先生ご登場🎌少女椿🎌【TLV】Mr.SUEHIRIO MARUO🎌【#6】. A director's Asakusa walk turns into an unplanned meeting with Suehiro Maruo, who appears on camera and talks briefly about Shojo Tsubaki.
- - 駕籠真太郎『雪だるま』/"Snowman" by Shintaro kago. Shintaro Kago animates his own short Snowman, one of the self produced films he adapts from his manga, posted to the channel he runs himself.
- - ネットラジオ 第39回 刑務所の中 ／ 花輪和一. A manga radio show works through Kazuichi Hanawa's Doing Time, the account he drew of the roughly two years he served after a 1994 firearms conviction, recording cell routine in fine detail.
- - MANGA 駕籠真太郎 SHINTARO KAGO | POST-FAKE. Panels, gutters and page turns treated as the actual material, with Kago describing what he can do to a reader using sequence alone.
- - COLLECTION 駕籠真太郎 SHINTARO KAGO | POST-FAKE. Shelves of source books and reference material in the studio, the printed matter Kago keeps to hand while working.
- - MOVIE 駕籠真太郎 SHINTARO KAGO | POST-FAKE. Kago talks about moving image work, and why his manga panels already borrow the cutting logic of film.
- - GIANT 駕籠真太郎 SHINTARO KAGO | POST-FAKE. Scale as a device, with figures enlarged until a body fills the frame and stops reading as a body at all.
- - COLORING 駕籠真太郎 SHINTARO KAGO | POST-FAKE. Colour as a late decision, laid over line work that was built to function in black and white first.
- - STRANGE 駕籠真太郎 SHINTARO KAGO | POST-FAKE. On what counts as strange, and why a premise only interests him once it has been followed past the point where it stops making sense.
- - EXPRESSION 駕籠真太郎 SHINTARO KAGO | POST-FAKE. A short piece on facial expression, Kago drawing faces that hold still while everything around and inside them is rearranged.
- - BLACKHUMOR 駕籠真太郎 SHINTARO KAGO | POST-FAKE. On the joke inside the horror, and why he considers the punchline rather than the gore to be what the page is organised around.
- - GRANDFATHER 駕籠真太郎 SHINTARO KAGO | POST-FAKE. A short built around an old man as subject, Kago talking about drawing age and slackening flesh with the same attention he gives to anything else he takes apart.
- - 駕籠真太郎 SHINTARO KAGO（1／2）| POST-FAKE. Shintaro Kago, who calls himself a maker of strange-idea manga, sets out his subjects plainly: erotic and grotesque material, horror, and above all bodies rebuilt or taken apart.
- - 駕籠真太郎 SHINTARO KAGO（2／2）| POST-FAKE. The second half of the studio visit, in which Kago works through how a single page gets built and what he is after when a body comes apart in panel sequence.
- - ART MANGA 駕籠真太郎 SHINTARO KAGO | POST-FAKE. Where gallery work and printed comics meet for him, and why he resists treating either as the more serious of the two.
- - HELL 駕籠真太郎 SHINTARO KAGO | POST-FAKE. On hell as a picture problem, Kago setting his own dismemberment scenes beside the older Buddhist hell scrolls that laid out punishment in detail.
- - MANDALISM 駕籠真太郎 SHINTARO KAGO | POST-FAKE. Radial and mandala-like arrangements, Kago fitting repeated figures into symmetrical patterns so the eye reads design before it reads content.
- - EMA 駕籠真太郎 SHINTARO KAGO | POST-FAKE. Votive ema tablets as a format, borrowing the wooden plaques hung at shrines and putting his own figures where the prayers would go.
- - 駕籠真太郎 SHINTARO KAGO | POST-FAKE. A later studio visit, Kago describing the strange-idea label he gives himself and how a premise gets pushed until the body has to give way.
- - 「少女椿」日本アニメのタブー作品。【映画紹介】. An account of the 1992 animated Chika Gentou Gekiga version directed by Hiroshi Harada, made independently and long kept from general screening.
- - Manga Talks #2: Maruo's Beautiful Monster, Mizuki & Revisiting Books!. A collector revisits Shojo Tsubaki, in which Midori is taken into the Red Cat Theatre after her mother's death, alongside Mizuki's phantom beast encyclopedia and Takato Yamamoto's vampire box.
- - 【神回ですよ！丸尾末広先生が出演！】東京グランギニョルの世界から執筆中の新作まで見せてくれちゃいました！. Suehiro Maruo talks with Usamaru Furuya about the Tokyo Grand Guignol years, when he made the troupe's publicity art and appeared on stage, then shows pages from work still in progress.
- - 少女椿/丸尾末広【精神科医がゆっくり解説】. A psychiatrist reads Shojo Tsubaki for what it shows about hallucination, treating Midori's visions as material rather than symptom.
- - 刑務所の中. An account of Doing Time and the 2002 film Sai Yoichi made from it, with Tsutomu Yamazaki playing the inmate whose days Hanawa recorded meal by meal and inspection by inspection.
- - 【マンガ解説】丸尾末広の代表作『少女椿』あらすじ＆解説/コラージュの技法と高畠華宵の画風/元ネタになった文献『見世物の歴史』/寺山修司の分析. An analysis of how Maruo builds pages by collage and borrows the line of Kasho Takabatake, tracing the freak show material back to a history of Japanese sideshows and to Shuji Terayama's writing.
- - 丸尾末広はなぜ魔神と呼ばれるのか？初心者が緩く語ります. A livestream asks where the epithet majin attached to Suehiro Maruo came from, finding it in publisher copy and magazine blurbs rather than any documented origin.