Yoshinori Kobayashi

1.1. Birth and Family Background

Yoshinori Kobayashi was born on August 31, 1953, in his maternal grandparents' Buddhist temple in Ōno, Chikushi District, Fukuoka Prefecture, which is now Ōnojo City. He was the elder of two siblings. His paternal ancestors include Kobayashi Denshichi, a samurai from the Tosa Domain who suppressed the Tosa Kinōtō during the Bakumatsu period. His father, born in 1927 and who passed away in January 2006, was a former Japanese soldier. He was conscripted in 1945 during the final stages of the Pacific War and was initially slated for deployment to Okinawa Prefecture for the Battle of Okinawa. However, due to the timing, he ended up preparing for the mainland defense in Miyazaki Prefecture. After the war, his father became a public servant, working for the postal service, and joined a labor union, becoming a Marxist. Despite his Marxist leanings, he enjoyed impersonating Emperor Hirohito as a royal joke. He was a diligent, savings-oriented individual.

Kobayashi's mother, born between August 16, 1932, and August 15, 1933, was 12 years old at the end of World War II and was the daughter of a Shingon temple. Her great-grandfather on her side was a Konoe soldier who participated in the First Sino-Japanese War and the Russo-Japanese War during the Meiji period. This family background led to ideological conflicts in his household, with his father supporting idealistic communism and his mother supporting realistic Buddhism. Although Kobayashi belongs to the "Shirake Generation" (those born after the 1950s), he perceives himself as unique among his peers. In the early 1990s, during the Heisei era, he witnessed the issue of Burakumin discrimination in the Fukuoka community, which became a subject in his book Gōmanism Sengen Sabetsu Ron Special. Growing up, Kobayashi felt a sense of unease with the prevailing post-war Japanese thought, especially the criticism from leftist circles towards the pre-war Empire of Japan, its ancestors, national defense, and patriotism. By his thirties, he had become a young manga artist who felt a strong dissonance with post-war Japanese society. He developed a philosophy that directly challenged post-war ideologies, distinguishing him from the baby-boom generation. His younger sister inspired the character of a girl who aspired to be both an idol singer and a female professional wrestler in his manga Gyokufunsha Kazoku.

Kobayashi has stated in his manga that his wife suffers from a gynecological illness that prevents her from having children, and thus, they have no children. He also mentioned that his wife is tolerant of his interactions with other women. Financial considerations, in addition to his wife's infertility, were also a factor in their decision not to have children.

1.2. Childhood and Education

From a young age, Kobayashi suffered from bronchial asthma, which at its worst, made breathing so difficult that he had to adopt a push-up posture. He was very thin, earning him nicknames like "Bean Sprout," "Skeleton," and "Golden Bat." His parents reportedly told him, "You'll die before you grow up. We've already taken out life insurance," and even gave him a separate room, which he interpreted as a detached attitude. While they claimed this was to foster independence, Kobayashi later revealed it was because his loud mahjong games with neighbors often angered him, leading to the creation of his separate space.

During long breaks like summer vacation, he was sent to his grandfather Shinohara Ryūshō's Shingon Buddhist temple in the countryside. His grandfather, despite being a monk, was unconventional, even having relationships with women. He took great pride in having performed慰問芝居 (comfort plays) for soldiers with actor Daisuke Katō on New Guinea Island during the Greater East Asia War, an experience later adapted into the film Snow Falls on the South Island. Kobayashi frequently heard these stories. His experiences at the temple deeply influenced his later works, especially Gōmanism Sengen, leading him to metaphorically refer to himself as the "reincarnation of Fudō Myōō" (Immovable Wisdom King), a symbol of his mental fortitude.

As a child, his parents' policy of not buying many things instilled in him a lack of attachment to material possessions. This influenced his decision not to own a private car for many years. In elementary school, despite his physical weakness, he was popular and served as class president. His male homeroom teacher, a strict disciplinarian common in the post-war era (many ex-military personnel became teachers), would hit both boys and girls. This teacher rigorously trained Kobayashi in leading class activities. He befriended an intellectually disabled classmate with a pig nose, often eating lunch with him when no one else would.

With the advent of television, he watched shows like Ninja Butai Gekkō and Star Trek. His childhood idol was Dr. Smith from Lost in Space. In 1964, when he was in sixth grade, the Vietnam War broke out. Influenced by his father, Kobayashi created a scrapbook of articles from the newspaper Akahata for a summer homework assignment, criticizing the war as an American invasion. This assignment won an honorable mention in a school competition and was exhibited. However, his anti-communist mother reprimanded him for using Akahata articles. In junior high, he co-created a handmade manga magazine called "Kimagure" with two classmates.

For high school, he chose Fukuoka Municipal Fukuoka Commercial High School (now Fukuoka Municipal Fukusho High School), believing it would allow him to avoid intense exam preparation and focus on manga. It was a vocational school attended by children of local business owners, offering courses in abacus, bookkeeping, and tax accounting. He had also passed the entrance exam for a college preparatory school but deliberately chose the commercial high school because it was close to home, offered free time for drawing manga, had a high female student population (two-thirds), and he could easily excel with minimal effort. He obtained certifications in Nissho Bookkeeping Level 2 and Soroban Level 3 in his first year, spending the rest of his high school life mostly playing guitar. He often got into trouble with teachers for growing his hair long after having a shaved head in junior high. Yoshihiro Kai was a classmate.

After high school, he initially intended to move to Tokyo and apprentice under Shotaro Ishinomori to become a manga artist. However, his homeroom teacher advised him to attend university and read books, leading him to enroll in the French Literature Department of Fukuoka University. He stated that preparing for the university entrance exam later inspired him to create Tōdai Itchokusen. His motivation for studying French was not academic but rather a desire to impress women by singing French pop songs like those by Michel Polnareff. This influence is evident in his works, such as "Fumantarebū" in Irohani Hōsaku and the names of the turtles in Obocchama-kun, which have French origins. He recounted an experience in France where a female shop assistant ignored Japanese tourists who spoke only Japanese but looked at him strangely when he spoke to her in French.

During his university years, he briefly engaged in leftist activities. However, he grew disillusioned, noticing that recruitment efforts were ineffective, and religious groups attracted more followers. Realizing it was "a different world" for him, he parted ways with his leftist comrades. He then immersed himself in reading, sometimes to the point of anemia, and worked various part-time jobs to create his own path. He once had to study sumo diligently to converse with a sumo-loving yakuza executive at a coffee shop where he worked. At a construction job, he endured unreasonable demands from seniors, such as being told to "complain" to passing cars or being yelled at for not finding something. Despite his frail physique making him unsuitable for physical labor, his colleagues intervened to keep him employed, covering for him. These experiences made him realize his own smallness while also appreciating the kindness of his peers. In Sensōron 2, he recounts that a popular university friend committed suicide after a long phone call with Kobayashi, who had become a successful manga artist.

1.3. Early Career and Debut

Yoshinori Kobayashi made his debut as a manga artist in 1976 with Tōdai Itchokusen (Beeline to Tokyo U), which was serialized in Weekly Shōnen Jump until 1979. Its sequel, Tōdai Kaishingeki (Tokyo U's Rapid Advance), ran in Weekly Young Jump from 1980 to 1981. Initially, he worked from Fukuoka, but in 1982, he moved to Tokyo, residing in Shinanomachi. He humorously recounted choosing the location near the Tōgū Palace, thinking it was the center of Tokyo, only to move soon after due to inconvenience.

After Tōdai Kaishingeki concluded, Kobayashi faced struggles. His series (Chū) Tenbatsu Kenkyūkai ((Punishment) Divine Retribution Research Society), intended to critique the "softening" of young people, was canceled after its first chapter ranked last in popularity polls. He then ended his exclusive contract with Shueisha. During this period, he produced works such as Fūun Wanage Yarō and Menpatchin. He briefly adopted Osamu Tezuka's star system, reusing characters like Chonmage-sensei from Tōdai Itchokusen. He developed a character named Tabun into a one-shot called "Tabun the Gigolo" and later "Nunuki Hōsaku Den" in Young Jump. This character evolved into the protagonist of Irohani Hōsaku, which was serialized in Weekly Shōnen Champion from 1984 to 1986, spanning nine volumes.

1.4. Assassination Attempt

Kobayashi became a target of the Aum Shinrikyo cult after he began satirizing them in his work. In 1993, members of the cult made an assassination attempt on him, highlighting the significant risks he faced due to his provocative public commentary.

2.1. Early Works and Success

Yoshinori Kobayashi achieved early success with popular manga series that showcased his unique comedic style. His debut work, Tōdai Itchokusen (Beeline to Tokyo U), serialized in Weekly Shōnen Jump from 1976 to 1979, established his presence in the manga industry.

A major breakthrough came with Obocchama-kun (Little Princeling), which ran in CoroCoro Comic from May 1986 to September 1994. This satirical manga about a mischievous rich boy, set during the height of Japan's bubble economy, became a massive hit. In 1989, Obocchama-kun was awarded the Shogakukan Manga Award in the children's manga category. The series was also adapted into a popular anime television series by TV Asahi starting in 1989, and inspired video games for the Famicom and PC Engine.

At the award ceremony for the Shogakukan Manga Award, Kobayashi was reportedly infuriated by a cynical remark from a judge. In retaliation, he delivered a scathing, sarcastic acceptance speech, stating, "I thank the judges for having the guts to give an award to such a vulgar manga." This incident reportedly led to a complete overhaul of the judging panel for subsequent years and became a pivotal moment that prompted a 180-degree shift in his manga style. He also concurrently serialized Inaka Ō Chōsaku in CoroCoro Comic and saw a re-recording of Irohani Hōsaku. Around this time, his commentary on current affairs, delivered through the new medium of manga, began to attract significant attention.

2.2. Transition to Political Commentary

A pivotal moment in Kobayashi's career occurred in 1992 with the launch of Gōmanism Sengen (literally "Arrogance-ism Declaration," a portmanteau of Japanese "gōman" for arrogance and English "-ism"). Serialized in SPA! magazine, this series marked a radical 180-degree shift from his previous comedic works, transitioning into political and social commentary. This new style established his distinct, often provocative, public persona and became his third major hit.

Following the success of Gōmanism Sengen, he continued to publish related ideological books and founded the quarterly magazine Wascism in 2002, serving as its editor-in-chief until 2012. Kobayashi's approach in Gōmanism Sengen often involves intentionally arrogant, controversial, and extreme portrayals of himself to provoke discussion in Japan's often apolitical society. He is known for prioritizing engaging content over strict adherence to plot consistency, believing that "being too particular about minor details makes the content boring." He is willing to discard past settings if he conceives of a better idea.

In 2006, he began serializing the story-gag manga Osozaki Jijii (Late-blooming Old Man) in Big Comic, a change attributed to his personal experiences with eye disease. In May 2009, Kyōraku Sangyō released the pachinko game CR Pachinko Obocchama-kun. From 2018 to 2020, he serialized Shin Obocchama-kun in Shōsetsu Gentō, which reimagined the characters in a contemporary setting while maintaining their original ages.

2.3. Major Works

Yoshinori Kobayashi's extensive bibliography reflects his evolution from a gag manga artist to a political and social commentator. His major works include:

• Tōdai Itchokusen (東大一直線, 'Beeline to Tokyo U') (1976)
• Obocchama-kun (おぼっちゃまくん, 'Little Princeling') (1986)
• Gōmanism Sengen (ゴーマニズム宣言) volumes 1-9
  • Gōmanism Sengen Extra 1 (ゴーマニズム宣言EXTRA 1)
  • Gō-Gai! (ゴー外!, 'Gōmanism Supplement/Side Story')
  • Gōmanism Sengen Sabetsu Ron Special (ゴーマニズム宣言差別論スペシャル, 'On Discrimination') (1995)
  • Shin Gōmanism Sengen (新・ゴーマニズム宣言) volumes 1-14
  • Shin Gōmanism Sengen Special - Datsu Seigi Ron (新・ゴーマニズム宣言SPECIAL 脱正義論, 'On Escaping Correctness') (1996)
  • Neo Gōmanism Manifesto Special - On War (新・ゴーマニズム宣言SPECIAL 戦争論, Shin Gōmanism Sengen Special - Sensō Ron) (1998), volumes 1-3, which sold over 1.5 million volumes and brought him widespread fame.
  • Sabetsu Ron Special - Gōmanism Sengen (差別論スペシャル-ゴーマニズム宣言) (1998)
  • Shin Gōmanism Sengen Special - "Ko to Ōyake" Ron (新・ゴーマニズム宣言SPECIAL ｢個と公｣論, 'On the "Individual" and the "Public"') (2000)
  • Neo Gomanism Manifesto Special - On Taiwan (新・ゴーマニズム宣言SPECIAL 台湾論, Shin Gōmanism Sengen Special - Taiwan Ron) (2000)
  • Gōmanism Sengen Special - Yoshirin Senki (ゴーマニズム宣言スペシャル よしりん戦記, 'Record of the Yoshirin War') (2003)
  • Shin Gōmanism Sengen Special - Okinawa Ron (新ゴーマニズム宣言スペシャル・沖縄論, 'On Okinawa') (2005)
  • Shin Gōmanism Sengen Special - Yasukuni Ron (新・ゴーマニズム宣言SPECIAL 靖國論, 'On Yasukuni') (2005)
  • Shin Gōmanism Sengen Special - Chōsen-teki Heiwa Ron (新・ゴーマニズム宣言SPECIAL 挑戦的平和論, 'A Defiant Discussion On Peace'), volumes 1-2
  • Iwayuru A-kyū Sempan - Gōsen Special (いわゆるA級戦犯 ゴー宣SPECIAL, 'As Called A-class War Criminal')
• Honjitsu no Zatsudan (本日の雑談, 'Today's Chat')
• Live A Live (Character designer for the "Prehistory" chapter)
• Osozaki Jijii (遅咲きじじい, 'Late-blooming Old Man') (2006-2008)
• Shin Obocchama-kun (新・おぼっちゃまくん) (2018-2020)

3.1. Ideology and Core Philosophy

Kobayashi identifies himself as a conservative. He explicitly advocates for a positive re-evaluation of the Greater East Asia War (Pacific War) and expresses strong anti-Americanism. He posits that the Greater East Asia War was a self-defense war and that Japan was the first Asian nation to fully challenge the colonial system imposed by white powers.

He defines his political stance as protecting the "public" (公_kō^Japanese) rather than "power" (権力_kenryoku^Japanese), asserting that defending power is "uncool." He states that he will criticize any ruling party, whether the LDP or an opposition party, if they deviate from the "public good." He has been critical of the Abe administration, arguing that while Abe claimed to "break away from the post-war regime," his actions actually reinforced it. Kobayashi views the post-war regime not as a "public good" but as the "system itself," thus justifying his criticism. He also refers to pro-American conservatives as "pro-American lapdogs."

Regarding the issue of Japanese imperial succession, Kobayashi supports the allowance of female emperors and criticizes those who insist on male-line succession. He labels male-line proponents as "male-line absolutists" or "male-line obsessives" and dismisses them as not being "experts on imperial family discourse." He also takes a critical stance against the Unification Church, noting its generational ties to political figures like Nobusuke Kishi, Shintaro Abe, and Shinzo Abe in his co-authored work The Darkness of the Unification Church Issue.

3.2. Historical Revisionism and Controversies

Kobayashi is a prominent figure in historical revisionism, particularly regarding Japan's wartime history. He denies both the Nanjing Massacre and the existence of the comfort women system during World War II. In August 1996, in his Shin Gōmanism Sengen series in SAPIO magazine, he questioned the testimonies of former comfort women and media reports on the issue.

In December 1996, he was one of nine key figures, alongside Nobukatsu Fujioka and Ken'ichi Nishio, who founded the "Society for History Textbook Reform" (Tsukurukai). Nishio's statement at the founding press conference criticized the seven middle school textbooks that had passed the screening for adopting the "forced recruitment" theory of comfort women without sufficient evidence, calling it a "result of easy self-deprecating historical views." In January 1997, Kobayashi and six other Tsukurukai members met with then-Minister of Education Takashi Kosugi, demanding the deletion of comfort women-related descriptions from textbooks, claiming they violated screening standards.

3.3. Views on Contemporary Japanese Politics

Kobayashi holds strong opinions on current political issues in Japan. While he is a proponent of constitutional amendment, he has expressed significant reservations about the security legislation enacted under the Abe administration. He views the Japan-U.S. Security Treaty as a "subservient-to-U.S. bill" and argues that while he doesn't fully trust Article 9, the security legislation allowing for the exercise of collective self-defense is "100% unconstitutional." He emphasizes that "constitutionalism must be upheld." He also advocated for opposition parties to openly use the term "war bill" for the security legislation, stating that it is not merely a "labeling" but an accurate description if Japan is to provide logistical support, weapons, and personnel for allied nations' wars.

He has been critical of the Conspiracy Law (Act on Punishment of Organized Crimes and Control of Criminal Proceeds), expressing concerns in a House of Representatives Judicial Affairs Committee meeting that it could "intimidate citizens who speak out, preventing a healthy democracy from functioning."

Kobayashi supported Shiori Yamao, serving as the representative of the "Association to Make Shiori Yamao Prime Minister." When Yamao left the Democratic Party due to an infidelity scandal, Kobayashi strongly criticized the party and praised Yamao's press conference regarding her departure.

3.4. Social Commentary and Criticisms

Kobayashi's social commentary is often as controversial as his political views. He is frequently labeled the "father of net-uyoku" (online right-wingers), but he strongly dislikes them, calling them a "side effect of Sensōron" and asserting that "Japanese people who inflate their egos by slandering neighboring countries have no sense of aesthetics." He criticized the Fuji Television protests, stating that "net-uyoku think they're conservative or patriots by making strong remarks" and questioned their financial status, asking, "You're from the lower class with an annual income of less than 2.00 M JPY, is that okay? You're dissatisfied with your own situation, so why don't you get angry about that?" In a 2012 Asahi Shimbun column, he used a satirical illustration of Prime Minister Shinzo Abe with characters from Obocchama-kun to suggest a "symbiotic relationship" between Abe and net-uyoku.

His views on the student activist group SEALDs were mixed. Initially, he expressed "some liking" for the young people in SEALDs and even held a dialogue with member Aki Okuda. However, he later criticized their protests, stating, "A stylish protest? 'What does democracy look like?' Damn it!" He also argued that by advocating for Article 9, SEALDs implicitly supports the Japan-U.S. Security Treaty, creating a contradiction that they should study further.

Kobayashi has expressed strong negative views on foreign tourism, particularly from Chinese tourists. He questions the enthusiasm for "bakugai" (explosive shopping sprees), stating, "Why is it so good that foreign tourists come? Relying on tourist bakugai to boost the economy is too petty." He finds Chinese tourists "annoying" and wishes the government would stop promoting foreign tourism as a national policy.

Regarding LGBT rights, in response to Mio Sugita's controversial comment that LGBTQ+ people "lack productivity," Kobayashi retorted that if not having children meant lacking productivity, then Prime Minister Abe would also be unproductive. He criticized Sugita as an "unproductive Diet member who feeds on taxpayers' money but has no political goal other than discrimination." He argues that homosexuality is a congenital brain issue, not a matter of hobby, and that discrimination or prejudice against LGBTQ+ individuals is wrong, a stance he believes should be universally accepted by both conservatives and liberals.

He coined the term "Shōkokumin Generation" (少国民世代_{Shōkokumin Sedai}^Japanese, 'Little National Citizen Generation') for those who attended national schools during the late 1930s and the Pacific War and received militaristic education. This term also applies to the Showa-era generation and the "burnt-out generation."

Kobayashi is a skeptic of occult phenomena like spirits, superpowers, and UFOs, adhering to the principle of "only believing what one sees with one's own eyes." He challenges proponents to scientifically explain their existence rather than merely believing in them. He has strongly criticized occult researchers like Jirō Tsunoda, accusing him of resorting to occultism because his manga stopped selling, and even published a satirical manga called Ushiro no Nakaoka-kun. While he once admired physicist Yoshihiko Ōtsuki, he later criticized Ōtsuki for not providing definitive answers. However, Kobayashi himself has recounted a spiritual experience during a stay at a Shingon Buddhist temple in Gōmanism Sengen, indicating a nuanced, not entirely dismissive, view.

In Gōmanism Sengen Shibaraku 1, he criticized BookOff for undermining the Japanese manga industry. He argued that by selling "used books" that appear new too quickly, BookOff reduces sales of new books, thus cutting royalties for creators. He stated that manga artists incur losses from manuscript fees alone, only making a profit when tankōbon (collected volumes) sell well. He asserted that "things have a 'fair price'" and defended the resale price maintenance system and consignment system.

During a lecture with Shin'ichi Nakazawa in Fukuoka, Nakazawa claimed that religious organizations, including Soka Gakkai, had investigated the Sakamoto family murder and concluded it was not Aum Shinrikyo's doing, but that another organization had taken the family to Hachijōjima and buried them. When a newspaper reporter asked Kobayashi about this after the lecture, he dismissed it as "definitely a lie," adding that Nakazawa "will say anything to advance his position."

Regarding the introduction of a selective separate surnames for married couples system, Kobayashi expressed a positive view, stating that "de facto marriage is Japan's tradition" from the perspective of low birth rates. However, he also acknowledged the Supreme Court of Japan's ruling upholding the current system, saying he had no objection and that people could use their maiden names as a common name if convenient.

He views the COVID-19 pandemic in Japan as an "infodemic" fueled by the media, which has become a "first power" by instigating public anxiety. He considers the declaration of a state of emergency during the pandemic to be unconstitutional. He claims to have recovered from COVID-19 twice through self-immunity without medication, though he does not completely deny the use of medicine, even suggesting kakkonto for COVID-19 treatment. He dislikes conspiracy theories and emphasizes the importance of reading and studying to obtain accurate information.

4.1. Interests and Hobbies

Yoshinori Kobayashi is known for his diverse personal interests, which occasionally surface in his public commentary and works.

He was a fervent fan of the idol girl group AKB48. His preferred members included Yuko Oshima, Miori Ichikawa, and Mayu Watanabe from AKB48; Miyuki Watanabe from NMB48; and Anna Murashige from HKT48. While he publicly declared himself an "anti-fan" of HKT48's Rino Sashihara, he stated his intention to support NMB48. Although he once criticized Yasushi Akimoto in Gōmanism Sengen, he later changed his stance. When Minami Minegishi apologized with a shaved head, drawing international criticism, Kobayashi declared he would shoulder all the "boring 'sensible' people's terrible bashing." He also humorously denied a televised remark about wanting to "do something" with Yuko Oshima, to which Oshima reportedly reacted positively.

Kobayashi is a well-known fan of professional wrestling, often rushing to finish work before deadlines to attend matches. He admits to a "longing for violence," and many of his manga and gags feature professional wrestling and combat sports motifs. In Japanese wrestling, he was a supporter of Antonio Inoki, even voting for him in elections, though he later abstained due to Inoki's perceived decline. In Irohani Hōsaku, he expressed a desire to advise Riki Choshu from ringside, and a character named "Chōchōriki" (a pun on Choshu) appeared in Obocchama-kun. His work Gōmanism Sengen also played a role in popularizing disabled professional wrestling, and he has given greetings at such events.

He is an expert on kayōkyoku (Japanese popular music), having listened to it since infancy and keeping up with most popular songs. He jokingly claims to "screen songs for hits." His staff even asked if karaoke was part of the "Yoshirin Kikaku" (his company) entrance exam, as he is skilled at it and some staff have their own microphones. Early works like Tōdai Itchokusen featured artists such as Pink Lady, Kenji Sawada, Mayo Shono, and Yoshie Kashiwabara. He particularly enjoys enka, being a big fan of Ayako Fuji (and Jiro Kanmuri for male singers). Fuji appeared twice in Gōmanism Sengen, and he has met her in person.

Kobayashi has stated that if he hadn't become a manga artist, he would have pursued a career as a film director. He was an early viewer of films like Star Wars and Close Encounters of the Third Kind, which influenced parodic elements in his early works. He also self-produced films such as Seimei Itsumademo (1980) and Nakasu Kaiwai Tenbatsu Kenkyūkai (1981). An idea for a manga that was never realized became the script for the 1984 film Gyokufunsha Kazoku.

4.2. Health and Lifestyle

Kobayashi's childhood asthma, which briefly recurred in college, seemingly disappeared after he became a manga artist, making him "stronger than others." However, witnessing his father's asthma return in his later years (before his death in 2006) led Kobayashi to believe it might recur in his own old age, which it has by 2021.

He has a peculiar pen grip, holding the pen between his index finger and thumb rather than the usual index and middle fingers. This has resulted in six calluses between his index finger and thumb, leading him to self-proclaim as "the manga artist with the most pen calluses in Japan." These unique calluses even appeared on the character Kobayashi Yashanori in his manga Yasha, who is modeled after himself.

His assistants during the Obocchama-kun era described his sleep cycle as "awake for two days, sleep for six hours," and he long described himself as a night owl. However, after undergoing eye surgery, he transitioned to a morning person.

According to his former secretaries, he is "obsessively clean." At one point, he would avoid drinking water outside his home to prevent needing to use public restrooms. He has since increased his water intake after a doctor advised him against dehydration. He also favors a chair covered with a bath towel, which he calls his "towel chair."

In autumn 2005, his eyesight significantly deteriorated due to cataracts, requiring surgery. This led to a hiatus for Shin Gōsen, his first break since a previous hiatus caused by the shock of his secretary's resignation following an article in Uwasa no Shinsō. Although his vision recovered, he took another week off due to high eye pressure.

He has participated in political debate programs, such as Asamade Namaterebi, where he once found himself seated with other opponents of the Iraq War due to his stance. In discussions about Article 9, he challenged pacifists, asking if they were truly prepared for a "naked" Japan without the U.S.-Japan Security Treaty or the Self-Defense Forces, and if not, they should support constitutional revision. He argued that if one values life above all, Gandhian principles cannot be achieved.

5.1. Critical Reception

Yoshinori Kobayashi's manga and political commentary have elicited a wide range of critical responses. While some praise his directness and willingness to challenge conventional thought, he has also faced significant criticism for his controversial content.

He initially aimed to create family-friendly manga like Sazae-san, but his work evolved into something that generated strong賛否両論 (pros and cons). He reacts strongly to insults directed at manga itself or criticisms based solely on his profession as a manga artist. This was evident in his angry acceptance speech for the Shogakukan Manga Award and his later conflict with scholar Susumu Nishibe. While he initially criticized "authoritarianism" in his early Gōmanism Sengen works, he later came to understand Nishibe's perspective to some extent. Kobayashi now views manga as a subculture and criticizes the fact that it has become a cultural standard in Japan across generations, arguing that this is due to the decline of mainstream culture like literature. He asserts that "intellectuals should not lose to manga artists like me." In a 1995 debate program, he stated that while he used to get angry at Nishibe's remark that one shouldn't read manga on trains, he now agrees, acknowledging that manga is a subculture. This drew counter-arguments from figures like Shinji Miyadai and Nagisa Ōshima, with Ōshima stating that there's no meaning in categorizing culture as "main" or "sub."

5.2. Controversies and Criticisms

Kobayashi has been at the center of numerous controversies, primarily due to his historical revisionism and provocative public statements. His denial of the Nanjing Massacre and the comfort women system has drawn widespread condemnation from human rights groups, historians, and affected parties. His involvement in the "Society for History Textbook Reform" (Tsukurukai) further solidified his image as a revisionist.

His work Sensōron (On War) has been labeled a "bizarre book" by critics like the Tondemo Hon no Sekai R (World of Bizarre Books R) group. He has also faced accusations of plagiarism; Shizuo Medoruma pointed out issues in Gōmanism Sengen Special Okinawa Ron, suggesting uncredited use of other works.

Despite being seen by some as the "father of net-uyoku," Kobayashi himself vehemently criticizes them, calling them a "side effect" of his Sensōron and dismissing their nationalism as superficial and lacking aesthetic sense. He has publicly condemned their actions, such as the Fuji Television protests, and characterized them as "lower-class" individuals with low incomes who should focus on their own economic struggles rather than xenophobic rhetoric. He has also criticized SEALDs, despite initial positive remarks, for what he perceives as a lack of deeper understanding of constitutional issues and the implications of Article 9.

His commentary on social issues, such as his criticism of Chinese tourists and his nuanced but ultimately critical stance on certain aspects of the LGBTQ+ debate (despite defending against discrimination), has also generated controversy. His views on the COVID-19 pandemic, describing it as an "infodemic" fueled by the media and emergency declarations as unconstitutional, have also been contentious.

5.3. Societal and Cultural Influence

Yoshinori Kobayashi's work and public discourse have exerted a significant influence on Japanese society, particularly within nationalist and conservative circles. His manga Gōmanism Sengen became a foundational text for many who shared his revisionist historical views and anti-establishment sentiments, contributing to the rise of a more vocal right-wing presence in online and public spaces. While he criticizes the "net-uyoku," his work is acknowledged as having inadvertently fostered their emergence.

He frequently appears on Japanese political debate programs, such as Asamade Namaterebi, where his direct and often confrontational style has contributed to broader public discussions on sensitive topics. His willingness to challenge mainstream narratives, even if controversial, has made him a unique figure in Japanese media, prompting debates on history, national identity, and social values. His influence extends to shaping the discourse around constitutional reform, imperial succession, and Japan's relationship with the United States and other Asian countries. His works have also sparked academic analysis, examining his role in mediating historical revisionism and his impact on contemporary Japanese culture.