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As the feared assassin of the Bakumatsu, Himura Kenshin killed in the name of the new era. As the rurouni of Meiji, he wielded a sakabatô to protect those who couldn't protect themselves, all along holding true to his vow to never take another life. Now Kenshin's fight with Enishi has entered its final stage, as has his quest for atonement. Will another life be required to complete the circle? The road of redemption has been a long one for the world-weary swordsman, but now that Kenshin has found the will to live, can he muster the strength to survive? Find out in the final, unforgettable volume of Nobuhiro Watsuki's international manga sensation, Rurouni Kenshin. Exclusive double-sided poster inside! -- VIZ Media
One hundred and forty years ago in Kyoto, with he coming of the American "Black Ships," there arose a warrior who, felling men with his bloodstained blade, gained the name Hitokiri, manslayer! His killer blade helped close the turbulent Bakumatsu era and slashed open the progressive age known as Meiji. Then he vanished, and with the flow of years, became legend. -- VIZ Media
Change your perspective: get BIG Packed with action, romance and historical intrigue, Rurouni Kenshin is one of the most beloved and popular manga series worldwide. Set against the backdrop of the Meiji Restoration, it tells the saga of Himura Kenshin, once an assassin of ferocious power, now a humble rurouni, a wandering swordsman fighting to protect the honor of those in need. A Collection of Volumes 4 - 6! Shinomori Aoshi was once the leader of Edo Castle's elite guard, the Oniwanbanshū. When the shōgunate was overthrown, Aoshi and his men were deprived of both home and purpose. All that's left to them now are their fighting skills, which they've put to service as a mercenary guard for the industrialist Takeda Kanryū. However much sympathy Kenshin might feel for the Oniwanbanshū, he's sworn to stop Kanryū's corrupt plans. But in order to do so, he'll have to defeat Aoshi, a shinobi prodigy and master of a deadly twin-sword style. Later, Isurugi Raijūta, a swordsman of incredible strength and ferocity, requests Kenshin's aid in reforming Japan's swordsmanship schools, to save them from their decline in the modern age. Although Kenshin is intrigued by Raijūta's ideals, he's disturbed by his increasingly brutal methods. Sanosuke runs into some trouble of his own when he's reunited with a member of the Sekihō Army--the doomed civilian-run unit that they both served in during the revolution--who's determined to exact revenge from the Meiji government.
Grand in its scope, Asian Comics dispels the myth that, outside of Japan, the continent is nearly devoid of comic strips and comic books. Relying on his fifty years of Asian mass communication and comic art research, during which he traveled to Asia at least seventy-eight times and visited many studios and workplaces, John A. Lent shows that nearly every country had a golden age of cartooning and has experienced a recent rejuvenation of the art form. As only Japanese comics output has received close and by now voluminous scrutiny, Asian Comics tells the story of the major comics creators outside of Japan. Lent covers the nations and regions of Bangladesh, Cambodia, China, Hong Kong, India, Indonesia, Korea, Malaysia, Myanmar, Nepal, the Philippines, Singapore, Sri Lanka, Taiwan, Thailand, and Vietnam. Organized by regions of East, Southeast, and South Asia, Asian Comics provides 178 black-and-white illustrations and detailed information on comics of sixteen countries and regions—their histories, key creators, characters, contemporary status, problems, trends, and issues. One chapter harkens back to predecessors of comics in Asia, describing scrolls, paintings, books, and puppetry with humorous tinges, primarily in China, India, Indonesia, and Japan. The first overview of Asian comic books and magazines (both mainstream and alternative), graphic novels, newspaper comic strips and gag panels, plus cartoon/humor magazines, Asian Comics brims with facts, fascinating anecdotes, and interview quotes from many pioneering masters, as well as younger artists.
In this novel based on the top-selling manga Rurouni Kenshin, the simple case of a missing book soon becomes a dangerous mystery as Kenshin and his friends are tangled in deep secrets and dark plots.
Once upon a time, one had to read Japanese in order to enjoy manga. Today manga has become a global phenomenon, attracting audiences in North America, Europe, Africa, and Australia. The style has become so popular, in fact, that in the US and UK publishers are appropriating the manga style in a variety of print material, resulting in the birth of harlequin mangas which combine popular romance fiction titles with manga aesthetics. Comic publishers such as Dark Horse and DC Comics are translating Japanese "classics", like Akira, into English. And of course it wasn't long before Shakespeare received the manga treatment. So what is manga? Manga roughly translates as "whimsical pictures" and its long history can be traced all the way back to picture books of eighteenth century Japan. Today, it comes in two basic forms: anthology magazines (such as Shukan Shonen Jampu) that contain several serials and manga 'books' (tankobon) that collect long-running serials from the anthologies and reprint them in one volume. The anthologies contain several serials, generally appear weekly and are so thick, up to 800 pages, that they are colloquially known as phone books. Sold at newspaper stands and in convenience stores, they often attract crowds of people who gather to read their favorite magazine. Containing sections addressing the manga industry on an international scale, the different genres, formats and artists, as well the fans themselves, Manga: An Anthology of Global and Cultural Perspectives is an important collection of essays by an international cast of scholars, experts, and fans, and provides a one-stop resource for all those who want to learn more about manga, as well as for anybody teaching a course on the subject.
Offering a critical yet constructive response to the perceived crises in tertiary foreign language education in the Japanese university, the contributors to Bringing Forth a World provide theoretical and practical solutions which together act as a prolegomena to bringing forth a world. Theirs is an ecology of contribution in liberal arts education which takes responsibility for the care for youth, and contests intellectual passivity and indifference in foreign language instruction. The editors proffer a transformative, engaged and multidisciplinary liberal arts pedagogy, one at odds with forms of lowest common denominator, one-size-fits-all, and standardized provision. In response to the prevalent business-dominated model, they demonstrate an applied format of multiliteracy theory—one with semiotic, multimodal, feminist dimensions—which is regionally specific and better accounts for divergent forms of human expression and perception. The writers not only take account of the intellectual and mental issues in the student demographic but also in the teaching profession which suffers from widespread anxiety, job insecurity and a lack of autonomy, experimentation and innovation. Philosophically, the contributors to this book demand a form of meaning-making which is fundamentally social and creative, and which celebrates processes of ‘becoming-other’ in-between the student and teacher that seldom, if ever, follow a predictable trajectory. It is hoped that readers will embrace the spirit of the book, pick up its philosophical gauntlet to think otherwise than prevalent standardized models of teaching and learning, and therefore will use its core tenets to experiment with different ways of educating the youth of today.