This talk introduces a variety of manga produced after the 2011
disaster, ranging from the mainstream to the underground, and
examines them for their commentary on the nuclear accident. I begin
with a comparison of Kariya Tetsu’s Oishinbo (2014) and Tatsuta
Kazuto’s Ichi-F: A Worker’s Graphic Memoir of the Fukushima Nuclear
Power Plant (2013-15). The former set off a national controversy when
the depiction of a bloody nose was taken as harmful to the local
communities in Fukushima. By contrast, Ichi-F claims to depict the
reality of the clean-up as it defends the plant owners and downplays
the dangers of radiation. From there, I move to the award-winning
manga of Shiriagari Kotobuki (2011-2015) and trace the anti-nuclear
message as it shifts to one of despair over the course of his post-disaster manga collections. I end with Imai Arata’s F
(2015), an edgy, anti-nuclear manga that employs the wars in Syria and Iraq
to critique the Japanese government. The talk shows how different manga
artists use a variety of styles to represent the events—from detailed, text-
heavy images emphasizing facts to more artistic, minimalist designs. I
investigate how the visual medium of manga works to portray the effects of
the disaster, its history, politicality, and futurity.