-A diary observing my son aiming for a high-school art department- I quietly kept observing my son, a third-year junior high school student who is applying to the relatively rare high-school art program, and turned those observations into a zine. Thanks to your support, 400 copies have been sold so far.

A poet and essayist beloved by the gods of clumsiness and mishaps. Winner of the Ono Jusaburo Prize for the poetry collection "stork mark." She also runs a literary creative-writing workshop. https://x.com/aoi_inukai?s=21&t=ku15K8Lv7neUmhNVhZwIZA https://www.instagram.com/aoi_inukai?igsh=ZHcwNTQ3Z2pia3I0&utm_source=qr https://note.com/aoiinukai Currently looking for stores that will carry "受験生観察日記". Thank you 🌷 📩[email protected]

The 11th market event focused on stationery. Held on June 27, 2026 at the Large Exhibition Hall of Ota City Industrial Plaza PiO in Tokyo. Features many exhibitors, workshops, a venue-wide puzzle orienteering, a sticker exchange event, and more. Multiple advance and same-day ticket types are available.

A market where ZINE (small books) creators and readers meet. This inaugural event sells and exhibits ZINEs filled with individuals' passions and questions—words, drawings, photographs, and more. Food trucks will also be on site.

A stationery event themed around paper. A two-day event featuring shops and workshops, with paper stationery and zines on display. On Saturday, May 23, 13:00–14:30, there will be a special lecture by Tetsu Wada titled "Interesting Historical Walks in Northern Sapporo" (admission tickets limited to 40). Recommended for those interested in stationery and making things.

This “My Tezuka Osamu 1” is an extremely valuable text that records, from an insider’s perspective, the rarely told 1960s scene at Mushi Production. A5 size Main text: 144 pages Produced by: Mamoru Masaki Project This is a Comiket item, so there isn’t a fixed retail price. On BOOTH the price is 2,500 yen. If you come to Equal Books (イコール書店), it will be sold for 1,500 yen. The author is Mamoru Masaki, who—before debuting as a manga artist—served as production coordinator on TV anime such as Astro Boy and Jungle Emperor, and was in the thick of Mushi Pro’s production hell. In 1963 (Showa 38), at 22 years old, a young man from the countryside was thrown straight into the forefront of Japanese anime history. Tezuka Osamu’s obsession, drawing until blisters formed on the paper (not pen blisters). Endless all-nighters. A schedule on the verge of collapse. Chaos in each department, broken outsourcing, and the psychological pressure concentrated on the production staff. Even so, to finish a work the site had to overcome everything. The precariousness of having a “genius” at the center. Friction within an organization that was losing control as it grew. The raw energy and unrefined passion of young talents. The handmade rush that characterized the early days of anime rises not as a record but as an experience. This is not a polished story; it is unvarnished reality. It realistically depicts the workplace’s contradictions, exhaustion, shouts, and anxieties. There is another reason this book suits Comiket. Masaki used the pen name Toge Akane in COM magazine and founded a nationwide organization for aspiring manga artists called Gura-Kon, where he: - actively introduced doujinshi and ran feature articles - built networks crossing readers and creators - provided pathways for amateur artists to debut in commercial magazines In other words, he actually stood at the source of the doujin culture that later led to Comic Market. Commercial and doujin. Professional and amateur. Production sites and reader communities. This is the record of someone who lived at those boundaries in an era when no one had yet named them. For those interested in anime history. For those who want to know Tezuka Osamu not as a myth but as a real person. And for those who like the reality of creative workplaces. This is not a retrospective commentary compiled after the fact. It is writing that retains the warmth of a person who was in the midst of it. ▼ Online sales https://booth.pm/ja/items/7821700

We sell books related to Equal at the Digital Media Laboratory every Monday from 10:00 to 15:00. It's a regular apartment in a residential neighborhood. For inquiries, please contact the person in charge, Eisuke Nakajima .

Cancelled in case of rain

※On Thursday the 7th we will have shortened hours and will close at 5:00 PM ※Closed temporarily on Tuesday the 12th

Japan’s largest event dedicated to art publications, the Tokyo Art Book Fair is a multi-day fair (Mid–Late Dec 2026) bringing together 350+ independent publishers, galleries, bookshops and artists. Features include a marketplace for creators, special exhibitions, panels and film screenings.

A work by Yukio Tachikawa (橘川幸夫) featuring the generative AI persona Sibyl that he trained. https://booth.pm/ja/items/7922267

Half a century devoted to participatory media.

Held as part of the Aozora Tengoku "Ikoi no Hiroba".

Venues: 33 locations around town, Nojima Oiso Square (2F & 3F), Oiso Town Library, and Oiso Town Local History Museum.

Venue: 33 locations throughout the town, Nojima Oiso Square 2F & 3F, Oiso Town Library, and Oiso Town Local History Museum.

* Closed on Thursdays; on the final day open until 16:00 * Number of exhibited works is negotiable (varies depending on wall displays and table/platform displays) * Participation fee (exhibition fee): ¥10,000 (commission on sold works: 30%)

Announcement of the confirmed holding of Paper Summit 2026. The event will take place on Saturday, May 30, 2026, at the Osaka Merchandise Mart Building (OMM Building), Grand Hall B. Please note that the date and venue have been significantly changed from last year.

Professor 野口武悟 (Aoyama Gakuin University, Library and Information Science), a leading researcher in reading accessibility, and 藤坂康司, a former library director and now bookstore staff who helped realize a library that's more than just a place to borrow books together with citizens and librarians, will have an in-depth conversation about the possibilities of libraries that can only be understood through practice and about the potential for books that reading accessibility brings.

地方で営業するストリップ劇場で、裏方スタッフとして勤務した経験を綴ったエッセイ本です。 B6サイズ / 32ページ ---------------------------------------------- 地方にある小さなストリップ劇場で、四年間、投光スタッフとして働いていた。投光とは業界用語で照明を指す言葉だが、実際には、音響操作や場内アナウンス、受付のもぎり、楽屋の掃除など、裏方業務のほとんどを担っていた。 劇場で過ごした日々は、大きなトラブルや特別な出来事に満ちていたわけではない。むしろ、何気ないエピソードのほうが鮮明に思い出される。淡々と、粛々と、ごく当たり前に鼓動を続ける劇場で生きた四年間は、私の人生を豊かに変えていった。 裸の女性にスポットライトを当てる、ストリップ劇場。ここに綴るのは、そんな少し特別な場所で積み重ねられた、私にとっての日常の記録である。 （本文より抜粋）