Today in pulp I'm looking back at one of #Japan's greatest science fiction magazines: Hayakawa S-F!
Esu-Efu Magajin (S-F Magazine) was first published in February 1960 by Hayakawa Shobō publishing, and has gone on to shape both Japanese SF and champion Japanese authors for many decades.
Science fiction had been reasonably popular in Japan before the war, but it was in the mid-1950s that specialist story magazines, such as Takumi Shibano's subscription fanzine Uchūjin (Cosmic Dust) began to appear.
Hayakawa S-F soon followed. It was a 'prozine' - a professionally produced commercial fanzine - first edited by Masami Fukushima: "The demon of SF".
Initially it specialised in translations of western SF stories, mainly from The Magazine Fantasy and Science Fiction. However upcoming Japanese fan writers featured in Uchūjin were published in S-F Magazine, helping to create a career path for budding SF authors in Japan.
SF Magazine also coincided with the New Wave of speculative fiction happening in Britain and America. As a result Japanese SF of the 1960s is an amazing mix of speculative fiction, hard SF, monster fiction and scientific romance, all peacefully coexisting together.
In 1962 S-F Magazine launched its Esuefu Kontesuto, a literary contest for new science fiction short stories and novellas written in Japanese. It helped pioneer the 'First Generation' of Japanese SF writers such as Sakyo Komatsu and Ryū Mitsuse.
In the 1970s Japanese SF took a more speculative turn, exploring inner space as much as outer space. It also began to question whether the First Generation had been too influenced by American SF ideas.
Kôichi Yamano led the charge with a 1969 essay arguing that SF had the capacity to be avant garde, rather than simply copying the themes of Golden Age American stories. He launched his own magazine NW-SF to champion his ideas.
With the rise of Japanese technology in the 1970s western writers began looking to Japan for SF inspiration. Cyberpunk embraced the hi-tec/low-life aesthetic, and along with growing western interest in Manga it was now Japan's turn to shape the SF novel.
S-F Magazine is still going strong, as is the influence of the New Wave. In 2006 S-F Magazine readers voted 10 Billion Days & 100 Billion Nights by Ryu Mitsuse as their all-time favourite Japanese SF novel. It includes an awesome cyborg deathmatch between Buddha and Jesus.
Many excellent artists have produced covers for S-F Magazine. Katsuya Terada provided this wonderful cover for the June 2013 edition.
If you're interested in Japanese SF a good place to start is with the Speculative Japan anthologies from Kurodahan Press. They cover a range of authors and the translations are very well done.
So here's to S-F Magazine, the kickstarter for an amazing range of science fiction books and authors from Japan. Twitter salutes you!
More stories another time...
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Today in pulp... let's look back at a Shōjo manga artist whose work celebrated friendships between women: Jun'ichi Nakahara.
Jun'ichi Nakahara was born in Higashikagawa in 1913 and worked as an illustrator, a fashion designer and a doll maker. His work is highly regarded in Japan and he was a significant influence on modern manga art.
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Why is she angry? Because people keep asking her stupid questions!
"Are you open?"
"Do you have a toilet?"
"That chair's wobbly!"
"Why isn't it available in audiobook?"
"Someone else is on the computer and that's not fair!"
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Traditional pattern camoflague had been used by the British Royal Navy to break up a ship's outline for some time. But in 1917 artist Norman Wilkinson presented the Admiralty with a different idea - camoflague that confused enemy rangefinders.
Dazzle - known in the US as Razzle Dazzle - would use high contrast colours in irregular patterns to make it difficult for enemy gunners to calculate a ship's range and bearing. This would (hopefully) lead to them taking up a poor firing position when they attacked.
Friendship is universal. So are human-eating alien lizards in sunglasses. At least that's what we thought in 1983, thanks to one blockbuster TV mini-series.
This is the story of V...
Writer Kenneth Johnson had a strong background in TV drama and sci-fi, having worked on The Incredible Hulk and The Six Million Dollar Man. In 1976 he created The Bionic Woman series.
But his next project would be more political...
Johnson was interested in Sinclair Lewis's 1935 novel It Can't Happen Here, a story about how fascism might take hold in America. He worked up a modern retelling of the story - called Storm Warning - and pitched the idea to NBC as a mini-series.