Drawing on Tradition: Manga, Anime, and Religion in Contemporary Japan

Index

189 b I N D E X Aa, megamisama! See Ah, My Goddess! academic study of religion. See religious studies Action (manga magazine), 137 actual audience, 20–21, 26 aesthetics of extremity, 127, 129–130, 151–152 afterlife, 10, 43, 72, 87, 93, 95 Ah, My Goddess! (Aa, megamisama), 69 Akira, 60, 131, 132–134, 152 Amaterasu, 89 Amaterasu (manga), 92 Amida, 37 animation, 7, 18, 39, 43, 52–55; as a cognitive process and as a technique, 22–24, 31 animation stand, 28, 52–55 anime (separate from manga), viii–ix, 3–4, 6, 15, 42, 52–55, 87–88, 103–124; apocalypse in, 70; apotheosis in 69–70; and Aum Shinrikyō, 34, 130–134; banks of cels, 7, 44; and Buddhism, 37; characters in, 19; compared to or derived from manga, 3–5, 32, 50, 54, 103, 168n1; compositing techniques, 28, 30, 156; computer graphics in, 53; conventions of, 45, 52–55; foregoing discussions on the religiosity of, 75, 103–107, 159n56; industry of, 7, 44; inspiring changes in worldview, 113–114, 123; made by religious groups, 82–83, 166n82; not based on manga, 32, 104; related to other types of film, 26; rotoscoping, 54; and Shintō, 30; teaching about religion with, 120–122; typology of, 57–101. See also manga and anime anime and manga. See manga and anime Ankoku shinwa. See Dark Myth Appleseed, 53 Aramaki Shinji, 53 Arias, Michael, 55, 71, 72 fig 2.2, 83 art history, 22 Asahara Shōkō (b. Matsumoto Chizuo), 125, 126, 128, 130, 131, 134–136, 138, 139, 171n25, 172n51 Ashita no Jō. See Tomorrow’s Joe audience reception. See reception Aum Shinrikyō, 1–2, 34, 83, 84, 124, 125–153 auteur theory, 19–20, 26, 127 authenticity, 8, 14, 27, 46, 106, 156 authorial audience, 20–21 authorial intent, 19–22, 31, 58–59, 113, 121 authors: of girls’ manga, 48; importance of opinions of, 9; intent, 19–22, 31, 62, 87, 113; of kibyōshi, 41–42; as objects of devotion or leaders of religions, ix, 91–100; and perceptions of marginal religious movements, 34, 127, 152–153; sobriquets of, xiii; who choose to deploy or manipulate religious vocabulary and imagery, 14, 17, 18, 31, 56, 58–59, 70–73, 92. See also mangaka Bagabondo. See Vagabond Baron Yoshimoto, 79 belief: in Amida’s Pure Land, 37; animistic, 85, 110; as an aspect of Edo-period illustrated fiction, 41; believability as a goal for animation technology, 53; casual, 79; “cognitive” versus “affective,” 158n37; as a description of Tezuka Osamu’s relationship with Buddhism, 51; as a goal for propagandistic or 190 Index propaedeutic manga and anime, 78–79, 83; of Kuroda Minoru, 92–100; of Miyazaki Hayao, 110, 117, 119; new forms of, 91, 106; not necessarily indicated by the use of religious language, 20, 71; of Nozawa Keiko (pseudonym), 114; as an outcome of reading manga or watching anime, 59, 71, 104, 106, 113, 115, 117; as a prerequisite for figurative animation, 23; professions of among informants, 60; in relation to religion or ritual practice, 9–12, 17, 158n27; in relation to “spirituality,” 13; as suspension of disbelief, 27, 56; in Tenman Tenjin, 38; Urasawa Naoki’s comments on, 150–151 Believers, 140–142, 143, 151 benshi, 42 Berndt, Jaqueline, 20, 103, 159n56 Big Comics Spirits (manga magazine), 140, 143 Big Lebowski, The, 171n18 Biographies of Mystics (Shinpika retsuden), 44, 79 blogs, 21, 65, 92, 167n115 Blood Pool Hell Sutra (ketsubonkyō), 37 bodhisattvas, 40, 67 Boyd, James W., 105 Buddha (Śākyamuni, the historical Buddha), 15, 30, 48–49, 51–52, 64–66, 155, 158n24 Buddha (manga), 19, 30, 48–49, 51–52, 57, 90–91, 158n24 Buddha Zone (Butsuzōn manga), 67–68 buddhas, 40, 67, 164n22 Buddhism: affiliation with due to the influence of manga or anime, 75–76; as an aspect of Aum Shinrikyō doctrine, 134; as an aspect of Japanese religion, 9–10, 61; audience interest in as a result of or cause for watching anime, 120; doctrines of 48–49, 51, 64–68; and etoki, 39, 161n17; and excessive denominationalist focus, 13, 27; and Kūkai, 36; in manga and anime, 8, 31, 64, 67–68, 75, 89, 105, 122; manga introductions to, 79–81; and Pure Land belief, 37–38; rendition of Buddhist hagiographies in manga, 50–52; and Shōtoku Taishi, 36–37; and vernacular fiction, 25 Buddhist temples, 10, 23, 36, 38, 39, 40, 61, 76, 82, 84, 88, 90, 122, 161n26, 167n118 Buddhist vernacular fiction...