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Die Schrift des Windes
Japan, 1649. Nach zwei Jahrhunderten kriegerischer Auseinandersetzungen herrscht die Tokugawa-Dynastie streng aber friedlich über das Land – unter Festsetzung des Kaisers innerhalb der Stadtmauern Edos. Der Diebstahl eines geheimen Manuskripts heizt die Gemüter der Bevölkerung wieder an und führt Japan an die Grenze eines neuen Bürgerkriegs. Um diesen zu verhindern, beauftragt das Shogunat den Samurai Yagyu mit der Suche nach dem Dokument.
Mit einem Mix aus philosophischer Geschichtsbetrachtung und energiegeladener Actionszenen beschreiben Kan Furuyama und Jiro Taniguchi den Weg Japans in die Moderne.
Mit einem Mix aus philosophischer Geschichtsbetrachtung und energiegeladener Actionszenen beschreiben Kan Furuyama und Jiro Taniguchi den Weg Japans in die Moderne.
239 pages, Paperback
First published January 1, 1992
4 people are currently reading
97 people want to read
About the author
Jirō Taniguchi
205 books614 followersName (in native language): 谷口 ジロー
Zodiac: Leo
He began to work as assistant of the late mangaka Kyota Ishikawa.
He made his manga debut in 1970 with Kareta Heya (A Desiccated Summer), published in the magazine Young Comic.
From 1976 to 1979, he created several hard-boiled comics with the scenarist Natsuo Sekigawa, such as City Without Defense, The Wind of the West is White and Lindo 3.
From 1984 to 1991, Tanigushi and Natsuo Sekigawa produced the trilogy Bocchan No Jidai.
In the 1990s, he came up with several albums, among which Aruku Hito (歩くひと), Chichi no koyomi (The Almanac of My Father), and Keyaki no ki.
In 2001, he created the Icare (Icaro) series on texts by Mœbius.
Jirô Taniguchi gained several prizes for his work. Among others, the Osamu Tezuka Culture Award (1998) for the trilogy Bocchan No Jidai, the Shogakukan prize with Inu wo Kau, and in 2003, the Alph'Art of the best scenario at the Angoulême International Comics Festival (France) for Harukana Machi-E.
His work has been translated in many languages.
Far from the violent storylines often associated with the manga, Taniguchi has developed a very personal style, more adult. Along with other writers, like Tsukasa Hōjō, his comics focus more on the Japanese society and culture, with a subtle analysis of its customs and habits.
Zodiac: Leo
He began to work as assistant of the late mangaka Kyota Ishikawa.
He made his manga debut in 1970 with Kareta Heya (A Desiccated Summer), published in the magazine Young Comic.
From 1976 to 1979, he created several hard-boiled comics with the scenarist Natsuo Sekigawa, such as City Without Defense, The Wind of the West is White and Lindo 3.
From 1984 to 1991, Tanigushi and Natsuo Sekigawa produced the trilogy Bocchan No Jidai.
In the 1990s, he came up with several albums, among which Aruku Hito (歩くひと), Chichi no koyomi (The Almanac of My Father), and Keyaki no ki.
In 2001, he created the Icare (Icaro) series on texts by Mœbius.
Jirô Taniguchi gained several prizes for his work. Among others, the Osamu Tezuka Culture Award (1998) for the trilogy Bocchan No Jidai, the Shogakukan prize with Inu wo Kau, and in 2003, the Alph'Art of the best scenario at the Angoulême International Comics Festival (France) for Harukana Machi-E.
His work has been translated in many languages.
Far from the violent storylines often associated with the manga, Taniguchi has developed a very personal style, more adult. Along with other writers, like Tsukasa Hōjō, his comics focus more on the Japanese society and culture, with a subtle analysis of its customs and habits.
Ratings & Reviews
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Displaying 1 - 30 of 30 reviews
August 15, 2019
Non ho gli strumenti per discutere di questo "dramma storico", così viene chiamato nella postfazione. Si tratta di un racconto che si colloca in un preciso momento della storia del Giappone, e non tutto mi è stato chiaro onestamente. Ma non è colpa del volume in sé, sia chiaro. C'è un'ottima introduzione, un glossario, due postfazioni... diciamo che mi sono goduto il manga per le illustrazioni e l'ambientazione antica, senza badare troppo alla storia.
June 23, 2017
The title and the cover showed the premise of this manga, samurai swordfight manga. And until the climax, it is true to the genre.
BUT...
The most surprising part of this samurai/swordsman manga is in the epilogue. I have mixed feeling about the epilogue. The epilogue showed readers how significant the value that main character guard faithfully; but in other hand, that kind of epilogue usually happened in another genre conspiracy/secret history stories.
I usually gave 2 star rating for unmemorable fiction. But for this one, I gave it to odd ending.
BUT...
The most surprising part of this samurai/swordsman manga is in the epilogue. I have mixed feeling about the epilogue. The epilogue showed readers how significant the value that main character guard faithfully; but in other hand, that kind of epilogue usually happened in another genre conspiracy/secret history stories.
I usually gave 2 star rating for unmemorable fiction. But for this one, I gave it to odd ending.
November 24, 2018
Nádherný příběh, poměrně složité čtení, než se zorientujete ve všech klanech, titulech, vazalech, historických událostech atd. Dojal mě osud chlapce, ze kterého jednou vyroste Bašó, jeden z nejúchvatnějších japonských básníků.
Hvězdičku odebírám za velmi zprasené české vydání - překlad super, ale redakční práce ne, chyby, někde zbyly polské poznámky, no prostě chtělo by to více něžné péče s korektorským fixem.
Hvězdičku odebírám za velmi zprasené české vydání - překlad super, ale redakční práce ne, chyby, někde zbyly polské poznámky, no prostě chtělo by to více něžné péče s korektorským fixem.
May 3, 2018
Pas très objective sur les œuvres du maître Taniguchi, ce récit de Samurai m'a emporté.
May 8, 2021
More interesting than the title suggests, but not much more.
Taniguchi draws his heroes all the same: square-chinned, long-nosed, faintly gurning. It is comical and I don’t think he means it to be, but at least it’s a style of his own.
Taniguchi draws his heroes all the same: square-chinned, long-nosed, faintly gurning. It is comical and I don’t think he means it to be, but at least it’s a style of his own.
December 13, 2020
Moje první manga, docela se mi líbila, i když příběh mi přišel hodně jednoduchý. https://milyctenarskydenicku.blogspot...
September 18, 2019
Una lettura interessante, un fumetto ben scritto e molto ben disegnato.
Certo per comprenderlo è necessario già sapere qualcosa della storia e dei costumi del Giappone, almeno di oggi, altrimenti certi aspetti restano incomprensibili. Il concetto di dovere, gli obblighi che si hanno solo per essere nati e cresciuti in determinate situazioni, il mettere i propri desideri e necessità sempre dopo, e quando arrivi al vertice della tua piramide sociale, ti ritrovi ad avere ancora doveri e obblighi.
Verso gli uomini come verso qualcosa di astratto che va oltre l'umanità e la ricomprende.
Il tutto condito da duelli alla spada, dalla sofferenza e da un velato desiderio che le cose siano diverse.
Per chi non l'avesse capito, questa è un'opera di filosofia orientale, non un fumetto.
Certo per comprenderlo è necessario già sapere qualcosa della storia e dei costumi del Giappone, almeno di oggi, altrimenti certi aspetti restano incomprensibili. Il concetto di dovere, gli obblighi che si hanno solo per essere nati e cresciuti in determinate situazioni, il mettere i propri desideri e necessità sempre dopo, e quando arrivi al vertice della tua piramide sociale, ti ritrovi ad avere ancora doveri e obblighi.
Verso gli uomini come verso qualcosa di astratto che va oltre l'umanità e la ricomprende.
Il tutto condito da duelli alla spada, dalla sofferenza e da un velato desiderio che le cose siano diverse.
Per chi non l'avesse capito, questa è un'opera di filosofia orientale, non un fumetto.
April 3, 2020
Interesante cómic sobre un período crítico de la historia de Japón, que fue el comienzo del shogunato Tokugawa. Hay pausas para explicar los acontecimientos, para explicar brevemente cada personaje histórico, etc. Hay parte que es ficción, pero se distingue perfectamente de la historia real. El cómic es además un alegato a favor de la paz, y en ese sentido invita a la reflexión.
July 23, 2025
Le dessin superbe de Taniguchi combiné à un récit historique je ne peux que recommander ce chef d'œuvre !
July 29, 2025
Samurai Legend represents an earlier point in Jiro Taniguchi’s oeuvre, a time when he illustrated the stories of other writers, and the story Kan Furuyama wrote here is a violent one, as Yagyu Jubei pursues the story’s macguffin relentlessly, cutting down the men who stand in his way. While highly violent, Samurai Legend is far from a gorefest like, say, Shigurui, but Taniguchi holds a healthy respect for the consequences of violence, and there are a few highlights worth mentioning, such as the way a man’s sinews and veins bulge in his throat when a spear pierces his neck, or the way another man, hit in the head with the weight at the end of a chain, first has his eyes bulge out and then his tongue, which remains lolled out of his mouth as he collapses to the ground. Violence is not clean business.
Some of the action follows the disappointing cliché of two warriors about to charge one another in one panel and having passed each other in the next, the finishing blow dealt in the hidden space between. It’s a common shortcut when depicting katana battles, and shortcuts are what bothers me most when it comes to Taniguchi – see for example his use of traced photos for backgrounds – because I know for a fact that he CAN draw so well, and he often does in these pages.
Furuyama is a creator I’ve never encountered before, but he’s certainly done his homework as far as the history is concerned. The untranslatable Japanese terms that fill the feudal era and the density of odd rituals and protocols that define life in this period, the interplay of social classes and the relative positions of different clans within the feudal system all call to mind Lone Wolf and Cub, it’s that level of research. Too much, almost, for a story only spanning a single volume, which even involves a frame narrative set centuries apart from the main action, the story being narrated by another historical figure – Kaishu Katsu – whom Furuyama clearly felt was important enough to include despite that gulf of time that separated him from the times and events he was narrating.
That could be the problem. The number of characters involved is not overwhelming, their motivations and goals are given proper context, and everything can be followed easily enough, but characters move great distances rapidly, as if travel time were of no concern, characters find one another or catch up to those they are pursuing far too easily, because there’s no time or room for anything else. Maybe it’s destiny at work.
As far as characters go, Jubei and his antagonist Yashamaro are the two who stand out most. There’s an image of their first proper confrontation that is iconic enough to be reprinted on the inside front cover as well, the two men standing in a temple, their swords drawn, in two completely different stances. Here Taniguchi’s figure work is fully on point; compare Jubei’s open, serene stance with Yashamaro, who looks like he’s about to swing a baseball bat rather than a sword!
In this same scene, look at the temple its set at: the gods of war trampling the oni, statues that Yashamaro points out to Jubei before their battle, while they try to still reach the other person with words. The imagery includes the gloom of the enclosed place illuminated by shafts of light entering the temple from high windows, it’s all very cinematic and would likely look gorgeous in live action.
The early introductions for both men are excellent as well, with Jubei’s intro showcasing the deceptiveness that is his calling in the service of the shogun as well as his uncanny ability as a fighter, and Yashamaro’s introduction showing him sneaking in to steal the macguffin of the story, and defiling a statue of the Buddha as he does so, showing that a ninja holds no concern for the sacred. Both men hold unsavoury duties. Jubei fights dutifully for a cruel system, Yashamaro treasonously and passionately for the forces trying to undo it. Rarely is grey morality depicted so well as through these pawns, though sadly the rushed nature of the story leaves too little room for such exploration.
Lastly the translator, Mayumi Kobayashi, deserves some special credit for her meticulous introduction – on par with the work Furuyama did for the story itself! – and pointing the reader in the direction of the historical Yagyu Jubei.
Some of the action follows the disappointing cliché of two warriors about to charge one another in one panel and having passed each other in the next, the finishing blow dealt in the hidden space between. It’s a common shortcut when depicting katana battles, and shortcuts are what bothers me most when it comes to Taniguchi – see for example his use of traced photos for backgrounds – because I know for a fact that he CAN draw so well, and he often does in these pages.
Furuyama is a creator I’ve never encountered before, but he’s certainly done his homework as far as the history is concerned. The untranslatable Japanese terms that fill the feudal era and the density of odd rituals and protocols that define life in this period, the interplay of social classes and the relative positions of different clans within the feudal system all call to mind Lone Wolf and Cub, it’s that level of research. Too much, almost, for a story only spanning a single volume, which even involves a frame narrative set centuries apart from the main action, the story being narrated by another historical figure – Kaishu Katsu – whom Furuyama clearly felt was important enough to include despite that gulf of time that separated him from the times and events he was narrating.
That could be the problem. The number of characters involved is not overwhelming, their motivations and goals are given proper context, and everything can be followed easily enough, but characters move great distances rapidly, as if travel time were of no concern, characters find one another or catch up to those they are pursuing far too easily, because there’s no time or room for anything else. Maybe it’s destiny at work.
As far as characters go, Jubei and his antagonist Yashamaro are the two who stand out most. There’s an image of their first proper confrontation that is iconic enough to be reprinted on the inside front cover as well, the two men standing in a temple, their swords drawn, in two completely different stances. Here Taniguchi’s figure work is fully on point; compare Jubei’s open, serene stance with Yashamaro, who looks like he’s about to swing a baseball bat rather than a sword!
In this same scene, look at the temple its set at: the gods of war trampling the oni, statues that Yashamaro points out to Jubei before their battle, while they try to still reach the other person with words. The imagery includes the gloom of the enclosed place illuminated by shafts of light entering the temple from high windows, it’s all very cinematic and would likely look gorgeous in live action.
The early introductions for both men are excellent as well, with Jubei’s intro showcasing the deceptiveness that is his calling in the service of the shogun as well as his uncanny ability as a fighter, and Yashamaro’s introduction showing him sneaking in to steal the macguffin of the story, and defiling a statue of the Buddha as he does so, showing that a ninja holds no concern for the sacred. Both men hold unsavoury duties. Jubei fights dutifully for a cruel system, Yashamaro treasonously and passionately for the forces trying to undo it. Rarely is grey morality depicted so well as through these pawns, though sadly the rushed nature of the story leaves too little room for such exploration.
Lastly the translator, Mayumi Kobayashi, deserves some special credit for her meticulous introduction – on par with the work Furuyama did for the story itself! – and pointing the reader in the direction of the historical Yagyu Jubei.
January 28, 2025
I guess the objective of this manga was to give people insight into a part of Japanese history and samurais' fighting techniques. It ended up being quite a cumbersome and boring read.
Cumbersome because despite the best intentions of the author and the culture points and the glossary he included before/after the manga, a lot of things were still unclear and too complex to understand because of the richness of the historical and cultural context, which left me feeling frustrated. I had the feeling I had a history book in my hands and was left understanding very little about the time period.
And that is the second problem, this manga felt more like a non-fiction history book than historical fiction. There is almost no narration and storyline. Basically, nothing much happens, you don't get to care about what happens to any of the characters because there is zero characterization and emotion involved. This all made me wonder: in the end, what is the point of this book?
And bonus for the problematic depiction of the only female warrior portrayed here. She appears for a few seconds only but of course she needs to take off her top to fight so that we can see her huge breasts. None of the male samurais did it but I guess this scene was essential to add, both in terms of historical accuracy and storyline.
Cumbersome because despite the best intentions of the author and the culture points and the glossary he included before/after the manga, a lot of things were still unclear and too complex to understand because of the richness of the historical and cultural context, which left me feeling frustrated. I had the feeling I had a history book in my hands and was left understanding very little about the time period.
And that is the second problem, this manga felt more like a non-fiction history book than historical fiction. There is almost no narration and storyline. Basically, nothing much happens, you don't get to care about what happens to any of the characters because there is zero characterization and emotion involved. This all made me wonder: in the end, what is the point of this book?
And bonus for the problematic depiction of the only female warrior portrayed here. She appears for a few seconds only but of course she needs to take off her top to fight so that we can see her huge breasts. None of the male samurais did it but I guess this scene was essential to add, both in terms of historical accuracy and storyline.
March 6, 2024
Ce manga permet de faire la connaissance avec un autre légendaire escrimeur du Japon du 17è siècle Yagyû Kubei (1603-1650), le premier étant Miyamoto Mushashi (1584-1645), popularisé par Eiji Yoshikawa à travers ses deux romans La pierre et le sabre et La Parfaite Lumière, le premier étant vendu à plus de 120 millions d'exemplaires, indiqué sur sa quatrième de couverture.
On y parcourt rapidement quelque événements de l'histoire du Japon
On y parcourt rapidement quelque événements de l'histoire du Japon
June 23, 2018
Reading the Afterword, only then I realized that I just read the work of Taniguchi-san. What a whole world different than Kodoku no Gurume or Aruku Hito. I was really engrossed in the fighting scenes that I wasn't aware how difficult it was for him to draw every single one of them.
It is most unfortunate if you ever find yourself with an opponent like Yashamaro. When cornered, the desire to win turns to a desire to inflict harm. A hero like Yagyu Jubei will never understand this. Nothing can be done to a heart ruled by malice.
It is most unfortunate if you ever find yourself with an opponent like Yashamaro. When cornered, the desire to win turns to a desire to inflict harm. A hero like Yagyu Jubei will never understand this. Nothing can be done to a heart ruled by malice.
August 9, 2025
Samurai, ninja, daymio... un dramma storico che tratta delle sfida tra due guerrieri esponenti di due fazioni diverse che incarnano differenti ideologie.
Mi ha ricordato molto i film di Kurosawa nella regia delle immagini e in come vengono rappresentati i combattimenti; è interessante lo studio dell'arte della spada e delle varie tecniche e scuole che nello svolgimento dei combattimenti vengono citate.
Mi ha ricordato molto i film di Kurosawa nella regia delle immagini e in come vengono rappresentati i combattimenti; è interessante lo studio dell'arte della spada e delle varie tecniche e scuole che nello svolgimento dei combattimenti vengono citate.
November 2, 2018
Manga Muy chulo y exquisito el trazo de Taniguchi pero hay que estar muy puesto en la historia reciente de Japón para entenderlo 100%. Con todo, hay notas al principio que te aclaran personajes y te sitúan en el contexto social e histórico del relato que cuenta.
November 13, 2024
L'histoire du Japon est complexe! Je n'ai pas tout compris, mais ça km'a mis dans le mood historique du Japon. J'ai bien apprécié mon expérience. Surtout au lendemain de la victoire de Trump, ça changeait de voir des gens qui agissaient avec honneur.
January 18, 2020
Very good story. Always a fan of a good Japanesesword epic. My lack of knowledge of Japanese history was what made it hard to follow.
February 2, 2020
Bela arte e história que nos faz pensar se é verdade ou não e leva-nos para o mundo feudal japonês.
June 21, 2021
Najsłabsza manga jaką na ten moment czytałem, mocno chaotyczna, wielu rzeczy nie rozumiałem i niektóre zdarzenia mam wrażenie że były wyciągnięte z wątku
August 21, 2024
Un manga storico che parla di samurai, disegni divini e anche la storia è molto bella.ottimo per spezzare manga più lunghi, consigliato
May 19, 2013
Taniguchi démontre une fois de plus sa polyvalence avec un récit d'action samurai (Jidai mono). Ce serait une histoire relativement simple si ce n'était des nombreuses références culturelles et historiques qui ne sont pas toujours évidentes pour les occidentaux (heureusement il y a des notes en bas de page et un glossaire) et qui alourdissent un peu la lecture.
Ici le style de Taniguchi diffère de la clarté et de la précision qu'on retrouve dans ses récits plus personnels. Il adapte son trait aux besoins du genre historique avec des scènes toujours détaillées mais aussi beaucoup plus chargées (on retrouve beaucoup de “ligne de vitesse” en trame pour exprimer le mouvement et l'action). Une autre conséquence de ce choix de genre est que les déambulations paisibles auxquels Taniguchi nous a habitué laissent place à des combats sanglants et à des scènes de violence. L'histoire est cependant intéressante et nous fait découvrir bien des aspects méconnus de l'histoire japonaise mais la lourdeur tant du texte que des planches en rend la lecture moins agréable que la plupart de ses autres ouvrages.
C'est donc une oeuvre mineure mais qui mérite tout de même d'être lue, car ce manga seinen (pour jeune homme) est plus réaliste et éducatif que la plupart des manga shōnen (pour jeune garçon) de baston pseudo-historique—les Naruto, Rurouni Kenshin, Samurai Champloo, Samurai Deeper Kyo, etc., qui sont malheureusement beaucoup plus populaires—et il se compare pas trop mal aux canons du genre (les Habitant de l'infini, Lone Wolf & Cub ou Vagabond, qui sont tous avantagés par le fait que ce sont des séries).
Voir mon commentaire complet sur : http://clodjee.blogspot.ca/2010/03/ka...
Ici le style de Taniguchi diffère de la clarté et de la précision qu'on retrouve dans ses récits plus personnels. Il adapte son trait aux besoins du genre historique avec des scènes toujours détaillées mais aussi beaucoup plus chargées (on retrouve beaucoup de “ligne de vitesse” en trame pour exprimer le mouvement et l'action). Une autre conséquence de ce choix de genre est que les déambulations paisibles auxquels Taniguchi nous a habitué laissent place à des combats sanglants et à des scènes de violence. L'histoire est cependant intéressante et nous fait découvrir bien des aspects méconnus de l'histoire japonaise mais la lourdeur tant du texte que des planches en rend la lecture moins agréable que la plupart de ses autres ouvrages.
C'est donc une oeuvre mineure mais qui mérite tout de même d'être lue, car ce manga seinen (pour jeune homme) est plus réaliste et éducatif que la plupart des manga shōnen (pour jeune garçon) de baston pseudo-historique—les Naruto, Rurouni Kenshin, Samurai Champloo, Samurai Deeper Kyo, etc., qui sont malheureusement beaucoup plus populaires—et il se compare pas trop mal aux canons du genre (les Habitant de l'infini, Lone Wolf & Cub ou Vagabond, qui sont tous avantagés par le fait que ce sont des séries).
Voir mon commentaire complet sur : http://clodjee.blogspot.ca/2010/03/ka...
August 16, 2016
Samurai Legend is unique, as it is a blend of Japanese historical fiction and fantastical samurai fiction of the famous samurai character Yagyu Jubei. Unlike a lot of current popular culture and anime, this manga attempts to capture Jubei in a more historically accurate portrayal, which I thought was refreshing and enjoyed very much. The manga does a good job of explaining some of the history and context of what was happening. The art work by Jiro Taniguchi is exceptional. The manga is violent and does focus a lot on battle scenes, so there is a good mix of action and history for those in it for the combat or both. Taniguchi's art is not only beautifully executed, well proportioned and realistic, but does a great job of capturing the movement of the characters, making it easy to follow the movements of those in battle, which is difficult to do with any martial art. Some of the history does seem glossed over. But containing not too much allows the reader, especially if they are young, a small glimpse into Japanese history and left me wanting to research more about the place and time period. Where the manga lacks is dialogue. The English publishers wanted to keep the manga as close to the Japanese publication as possible, however Japanese does not translate directly into English very well and while I appreciate their attempt for a more authentic experience, some of the text could have used some rearranging or editing to fit better into an English context. Overall though, a very good read for any manga, Japanese history, samurai or comic fan. It is also a great jumping off point for those interested in manga, but don't know what to read first.
May 19, 2025
Fumetto recente (la mia edizione è del Gennaio 2011) di Jiro Taniguchi, un mangaka molto famoso che io stessa ammiro moltissimo. Ho un altro suo volume pubblicato dalla Panini, “L’Olmo e Altri Racconti”, una raccolta che forse ho apprezzato leggermente di più per la sua meravigliosa atmosfera nostalgica e silenziosa. Il Libro del Vento, invece, è di tutt’altro genere. Le scene di azione sono incredibili, i complotti e la complicata situazione politica vengono intrecciati con grande maestria alla trama, mentre i numerosi momenti di quiete che vengono ad interrompere il caos degli avvenimenti sono colmi di una commuovente poesia, che personalmente sono riuscita a trovare soltanto con opere di autori asiatici. Devo dire che conosco pochissimo della storia del Giappone: ho iniziato a studiarla seriamente solo dall’epoca Meiji in poi, forse perché nei manga in generale è quella l’era storica che viene maggiormente rappresentata. Tuttavia, la chiarezza di questo volume non mi ha fatto perdere il filo neanche una volta. La trama, le tavole, i particolari e i personaggi: adoro ogni piccola cosa di questo manga. La cosa che forse amo di più sono Yashamaro e Jubei, i due protagonisti, così diversi sia nell’indole che nel design, i cui destini s’intrecciano in maniera tanto sottile (eppure palesemente voluta dal fato) da lasciarmi con il fiato sospeso anche ad una seconda lettura.
September 27, 2015
E' incredibile pensare che fino alla meta' del periodo Edo nessuno aveva letto il Kojiki, praticamente era un libro sconosciuto...
Esattamente, quel libro ha cambiato la storia.
Ha completamente sovvertito l'idea secondo cui l'imperatore era solo un ornamento politico...
...al contrario lo ha designato padrone del nostro paese.
I libri segreti degli Yagyu hanno svolto il loro compito per duecento anni...
Mentre il Kojiki ha permesso al Giappone di rinascere come nazione divina col Mikado al proprio centro.
Esattamente, quel libro ha cambiato la storia.
Ha completamente sovvertito l'idea secondo cui l'imperatore era solo un ornamento politico...
...al contrario lo ha designato padrone del nostro paese.
I libri segreti degli Yagyu hanno svolto il loro compito per duecento anni...
Mentre il Kojiki ha permesso al Giappone di rinascere come nazione divina col Mikado al proprio centro.
December 30, 2015
Celkem milé překvapení - prostě svižná akční jízda se spoustou historických vložek. Musím říct, že jako sonda do poupraveného světa feudálního Japonska, která se opírá o skutečné události, postavy a bojové styly se to opravdu vydařilo. Nebýt až moc zjednodušeného děje těmi příliš rychlými přechody a malého důrazu na atmosféru, klidně bych šel s hodnocením výš. Obzvlášť doporučuji lidem, které zajímají tradiční japonské školy šermu.
May 15, 2016
Zapadlá, lehce otlučená knížečka na stánku Crwe v rámci Světa knihy. A takové překvápko! Kniha větru se soustředí na souboje katanami, techniky, vysvětluje historické souvislosti - snad jen může působit trochu stereotypně... Zároveň jí ovšem nechybí ta poetičnost, která je na Japonských příbězích snad tím nejskvělejším. A závěr. Parádní.
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July 25, 2011Excellent.
August 19, 2015
Z těch všech jmen a názvů se mi motala šiška, ale stálo to za to. Akční, napínavé, melancholické, krása.
May 17, 2017
Pekny historicky japonsky akcnak z obdobia samurajov a nezdolnom ochrancovi rise.
March 30, 2017
Ce manga fera le bonheur des fans d'histoire, de ninjas et de samouraïs!
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