In 1959, weekly magazines such as Kodansha's "Shounen Magazine" and Shogakukan's "Shounen Sunday" were launched.

In the same year, the Tokyo TV Tower was built, and the number of household TV sets exceeded 7 million.

Since then, the postwar generation has grown up under the influence of television.

With the rapid development of television, popular comics began to be put on the screen. The huge success of "Moonlight Mask" (original work by Yasunori Kawauchi and drawing by Jiro Kuwata) accelerated the pace of television comics.

Osamu Tezuka's "The Strange Boy" is listed as a continuous broadcast program on NHK.

The cartoon "Astro Boy" is deeply rooted in the hearts of the people; "Iron Man 28".

", "Person 8" (original work by Hirai Masakazu, drawing by Kuwata Jiro) and Kojima Isao's "Sage Tribe" were also great successes.

These are cartoons with a science fiction nature.

Although Fujio Akatsuka's comic "Osomatsu" was shown on TV, it did not cause much response.

The TV series "Maruide" and "Kennedy Knights" launched in a realistic style are both works of this era. The former reflects the fierce entrance examination situation; the latter begins with the assassination of President Kennedy in 1963, reflecting

life in real society.

After the outbreak of the Vietnam War, a ninja war started, led by Tomoyoshi Murayama's "Ninja".

Fujiko Fujio's "Monster Q Taro" was adapted into a cartoon. This was the first time that a cartoon other than science fiction cartoons achieved great success. Along with the theme song, it set off a craze across Japan.

During this period from 1975 to 1985, the leading works were "Eleven People" by Okanato Oshima and "Star of Mateokuni" by Oshima Yumiko.

In addition, "The Sons of Ivan" by Yasuko Aoiike is deeply touching, and "Daughters of the Nile" by Chieko Hosokawa is colorful, causing great shock among readers.

Looking around, there are female cartoonists everywhere.

In 1977, Suzue Minauchi's super-long novel "Glass Mask" began to be serialized.

This is a rare long story, serialized for more than ten years, with great success.

During this period, Fujiko Fujio's "Magic Beauty" and Leiji Matsumoto's "Galaxy Express 999", both of which were big names in shounen comics, were published.

At the same time, Fujiko Fujio also created a sci-fi short story series for youth comics; Leiji Matsumoto also published "Space Pirate Harrock".

"The Emperor at the Rise of the Sun" (Ryoko Yamagishi) and "Diary of a Fishing Fan" are also eye-catching.

Fujiko Fujio's "Doraemon" was made into an animated film; Toriyama Akira's "Arale" was also highly praised.

At the same time, "The Muscle Man" (Torida Nakai) and "Fist of the North Star" (Tetsuo Hara) are also very popular.

The work that attracts readers with real descriptions and stories is undoubtedly Otomo Katsuhiro's "Akira", which shows an extremely high level.

In 1982, Hayao Kanzaki's "Nausicaa of the Valley of the Wind" also began serialization.

Among the juvenile comics, Mitsuru Adachi's representative works "Contact" and "Mikiko" are the most eye-catching.

Among the youth comics, "Gourmet" was the first, which led to the appearance of food comics one after another.

"Lucky Boy" by female writer Rumiko Takahashi left a deep impression on readers.

In the early 1990s, the circulation of "Shounen Jump" continued to increase.

Because it has a stable serial lineup with Akira Toriyama's "Dragon Ball" as the protagonist, Akimoto Haru, Tobihihiko Araki, and Masaya Tokuhiro.

The readers who grew up with comics are now adults.

"The Silent Fleet" by Kaiji Kawaguchi, despite being criticized, still attracts the attention of young people.

Following the success of "Introduction to Comics' Japanese Economy" (Shoutaro Ishimori), Takao Saito's "Graphic Novel Yoshida School" was also published by the Yomiuri Shimbun.

Shotaro Ishimori's "History of Manga Japan" is also being serialized. These are comics aimed at adult readers, which shows that comics, as a propaganda medium, are increasingly valued by people.

"Farming on Kochojima" (Hirokane Kenshi) also became a major topic among businessmen.

In the 1990s, Japanese comic genres were competing with each other in terms of painting styles, themes, storylines, etc., each showing its own abilities, and a hundred flowers bloomed in the comics industry.

What needs to be pointed out in particular is that the personality of cartoonists has become more distinct. Comics have grown from being children's companions before the war to a mass media in society after half a century of growth.