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2016-12-10 I don't know who you wrote this for but you helped a brteohr out. *** [url=***lufxazfsa***.com]lufxazfsa***[/url] [link=***]uxngwglm[/link]
by QI8v2bLFPcr
2016-12-06 This shows real exirptese. Thanks for the answer.
by JqFeJkNzQy
2016-12-05 Begun, the great internet edoticaun has.
by ZqizGPIEo
2015-07-07 Thanks for this straightforward and hosent review. I have never really understood the appeal of Suzuki's work actually, I am not sure I have ever understood his work period. Though that could be from lack of trying. But I will say that, even in Japanese, they are pretty obscure. He's had a tremendous impact on alternative Japanese comics down to the present, so I do think understanding his work is important for understanding manga in general. Your review made me want to go back and look at them again. I agree for the need in these books of some sort of contextual material. Some of this might be solved if Tsuge Yoshiharu's Garo and immediate post-Garo work ever gets translated into English. The genre conventions of Suzuki, who was heavily influenced by Tsuge, would begin to come out. It might be helpful to compare these stories with a few of Tatsumi's in Abandon the Old in Tokyo, some of which are also heavily heavily indebted to Tsuge. Note: Both Tsuge and Suzuki (along with Ikegami Ryoichi) worked for Mizuki Shigeru in the late 60s. I have not read this edition of Suzuki's work, and I am told that the contents are different from a book of the same title released in Japan many years ago. Of the stories you name, I can tell you the original pu***ication data for the following: "A Single Match" (Garo, July 1972), "The Color of Rain" (Garo, Dec 1971), "Highway Town" (Garo, Feb 1972). As for the Katsumata Susumu book (Red Snow), only one of those was printed in Garo and only as a reprint. There is no reason for this sort of elementary information to be excluded, and I think D&Q has created some confusion by choosing to do so. A last note. D&Q's advertising of this book as "gekiga" is pretty "idiosyncratic," I think. In Japan, the term generally connotes macho action things like Golgo 13. In the late 60s and early 70s, sometimes it means nothing more than comics-for-young-adults kind of the way "graphic novel" is used because "comics" is thought to suggest the wrong things. You do find people in the late 60s calling artists like Mizuki Shigeru gekiga, but I think in the case of Suzuki and Katsumata the term has been creatively applied. Something like "post-Tsuge comics" would be a more useful lens, or "literary manga" as someone like Suzuki was very conscious of being in a lineage of literary prose authors rather than those of comics, pulp fiction, or movie-centered mass entertainment.
by q13L0FNL4E
2015-07-07 Me ha encantado ver a la osa en el veddeo, me ha prcuioddo mucha ternura y mucha gracia verlo con su creda tan diminuta es increed***! Gracias por darnos esta informacif3n, yo la desconoceda.Te deseo un feliz fin de semana.Un beso. *** [url=***]upoddo[/url] [link=***]rwzqbuekbtc[/link]
by hUi6GMwym4E
2015-07-05 Amigaaaaaaaaaaa dedas sin visitarte =(Me ha entancado ese video y aunque he visto las fotos de panda recie9n nacidos nunca habeda visto el parto y me he quedado asombrada de lo pequef1ito de ese osito en relacif3n al tamaf1o de la mame1, hasta para ella no fue fe1cil tomarlo entre su boca para pegarselo a la mama para alimentarlo.Te dejo abrazos =)
by KfeFVCXsspt9
2015-07-05 O prie ko čia kovo 8-oji ir komunistinė preaitis? Atleiskit, apie komunistinę praeitį mažai galiu pasakyti, tuo metu dar vaikiškoje lovelėje gulėjau, tačiau kovo 8-oji Moters diena sietina su lygiomis vyrų ir moterų teisėmis, kova už jas, moterų solidarumu. Moters diena jau prieš šimtą metų imta švęsti Danijoje.Man labai gaila, kad sovietmetis sugadino jums šią šventę. Galite jos nešvęsti, tačiau padeginėti šaligatvių ir imti priverstines atostogas neverta.
by KPTtrqXzd

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