Manga Hit the Mainstream

To continue with the trend of eastern artwork, this blog will be focused on the centuries old art style of manga. Much like anime, manga has seen little exposure to the western world until recently. but regardless of it's standing in western culture, manga is incredibly popular in the east. In addition, much of eastern entertainment revolves around manga or it's animation (anime). Like anime, I first discovered manga in middle school and while reading from right to left took some getting used to, the art style remains as one of my favorite past times. 

One Piece, Eiichiro Oda

Tokyo, Japan

c. 2010

    The first manga panel comes from Eiichiro Oda's One Piece. When looking at this piece (and knowing the backstory between the two brother, Ace and Luffy) I am filled with immense sadness. We have the older brother Ace sacrificing himself in order to allow his younger brother to escape. The first element of art to not here would be the various lines that make up the bodies of the three figures in the panel. First in the background we have Akainu. His is a stance of power, flowing forward with force and leading with his fist. Next we have the midground that is Ace. His is a stance of fortitude, the lines that make up his body are straight and strong, he is acting as the last line of defense for his younger brother. Finally in the foreground we have Luffy. While straight like Ace, there are a lot of breaks in his lines, the bent arm, the bent legs, and bent torso. This gives off the impression that he was caught off balance and unaware.

    To further drive home that feeling of power from Akainu, protection from Ace and surprise from Luffy, we can look at the next element of art, space. Akainu towers over Ace and Luffy, looking down on them. Ace has less space between himself and Akainu and more between himself and Luffy, adding this to his stance and you are able to see how he has positioned himself to protect Luffy. Finally, we have Luffy, the noticeable gap between himself and the other two figures and how there is no space between his torso and the ground put him in a defensive position. 

    The third and final element of art used to portray this story of protection comes in the form of Akainu and Ace. Akainu leads with his fist, following through with his massive body makes his shape look like that of a triangle, angled to attack and penetrate. Ace is spread wide and straight. His body taking the form of a rectangle, a wall to protect his brother. 

    Knowing how much story and history is wrapped up in this piece, I would happily own a copy. 

Haikyu!!, Haruichi Furudate

Tokyo, Japan

c. 2020

    Next we have a scene from one of my favorite sport's mangas, Haikyu!!Getting right into it, we'll start with how lines work in the right two panels. Lines here help us to understand the motion and intensity of the game. One of the players has just spiked a ball with so much force and spin that even with what looks to be a perfect receive in the top panel, it shoots off to the left. The viewer is able to track the line of the ball and get a sense of the level of play that is this game. Next, we will talk about spacing. In the bottom right panel, spacing here is used to cement the idea that this is a real game. We have players realistically spaced apart with two of them being close and up to the net in order to block, three of them spaced out in the back ready to receive and the sixth player ready at the center in order to set the ball. This attention to detail in the spacing of the figures helps the viewer be invested in the action that is ongoing. Finally, I want to look at the use of color in the volleyball in the top right panel. Even though it is in black and white, Furudate uses a white strikes through what would be the black and solid design on the volleyball, this is used as a way to have the viewer understand the intense amount of spin that is placed on the ball. The ball is rotating so fast that the design is becoming blurred and hard to see. 

    When looking at this panel, I am filled with a sense of excitement. The players are mid match and the level of play is professional, each team being filled with outstanding players. I would love to own a blown up version of this panel.

Hikaru no Go, Yumi Hotta & Takeshi Obata

Tokyo, Japan

c. 2003

    Finally, I will talk about Hotta & Obata's Hikaru no Go. I grew up playing chess, a very common and strategic game. Hikaru no Go focuses on the eastern game of Go, an old and also very strategic game. When I look at these collection of panels, I can feel the seriousness and intensity of the game being played. 

    The first element will be space. In the top left panel, we have the two players facing each other with three officials in the background. Everything is spaced evenly, this helps bring forward the formality of the scene. Second, I want to look at the choice of color in the bottom left panel. Grandmaster Koyo Toya is seen responding to Hikaru's earlier move, placing a white pebble on the board. Ordinarily, the action of placing a pebble on the board wouldn't draw much attention, but the way Hotta & Obata have used a black background to accent the white go tile gives this move a sense of weight. The amount of plays that went through Toya's head before making this move is felt with that stark contrast in color. Finally, I would like to look at the lines that make up the characters and their movements as the third element of art. Hikaru is seen picking up a go tile and placing it on the board. His movement is fluid, here we see a young boy who brings an unconventional air to the centuries old game. Next we have Toya, who sits tall and proud on his side of the board and who's hand is held straight and firm when placing his go pebble. He embodies a perfect game, with no mistakes and backed by meticulous calculations.

    Although it portrays an intense scene, I wouldn't want to own this a copy of this as artwork as it feels too serious to me. 

Works Cited

"Did Manga Shape How the World Sees Japan?" Web. 23 Apr. 2021. <https://www.bbc.com/culture/article/20190610-did-manga-shape-how-the-world-sees-japan>.

"History of Manga." Wikipedia. Wikimedia Foundation, 21 Apr. 2021. Web. 23 Apr. 2021. <https://en.wikipedia.org/wiki/History_of_manga#:~:text=The%20history%20of%20manga%20is,in%20the%20late%2018th%20century.>.

"VIZ: Read Free Shonen Jump Manga - Official & Simul with Japan." VIZ Media: The World's Most Popular Anime, Manga and More! Web. 23 Apr. 2021. <https://www.viz.com/shonenjump>.

Post Modern in the Modern World

Anime has had a rocky history in the west. Stemming from it's predecessor manga, a late 19th century Japanese style of graphic novels, "anime" is largely known as the Japanese animation art style that began by animating popular manga to now also having become independent of manga. Throughout most of its time in the west, it hasn't been until recently that it has been accepted by the mainstream media of the west and begun to garner the attention and favor of the masses. I distinctly remember anime being labeled as a "nerdy" past time throughout middle school and high school, leaving me with few people whom I could share the lessons, laughter, and tears that stemmed from this art style. 

Naruto Shippuden, Studio Pierrot

Tokyo, Japan 

c. 2017

    The first anime I ever watched was Naruto back in elementary school. The series concluded with Naruto Shippuden in 2017 and I kept up with the series for the most part. There is a quote that accompanies this arc by the main antagonist that gives deeper meaning to this clip:

"In this world, wherever there is light - there are also shadows. As long as the concept of winners exists, there must also be losers. The selfish desire of wanting to maintain peace, causes wars, and hatred is born to protect love." 

The statues in the clip immortalize a conflict between two brothers-in-arms who turned on each other over a clash in ideals on how to best protect their village. The space and placement of this piece help to solidify the conflict between the two. The mountain range in the background seems to show the seemingly unbreakable bond that the two had. In the midground however, we see them divided by a waterfall, seemingly a herald to the phenome that a single trickle of water will erode away even the strongest of stone. Color is another element that brings more depth to this piece. You see the intensity of the sun shinning atop the two warriors and while it serve to illuminate them, the shadows it creates serves to hide the blades at their hips. Finally, lines make the piece hit home. You see the statues with one hand raised to each other, and your eyes are drawn downwards in search of the other hand, only to find it resting on the hilt of their respective swords, ready for battle. 

Death Note, Madhouse

Tokyo, Japan

c. 2007

    The second piece comes from the popular anime Death Note. The anime follows a genius high school student, Light, with aspirations of joining the police and helping to rid the world of evil who finds a notebook which grants him the ability to kill anyone he wants, while adhering to a couple of restrictions. Light then goes on to murder prisoners, felons, and people who he deems "evil" in order to bring the forth a world without crime. The scene from the anime I chose is an homage to renaissance era Christian art work, this one in particular is in reference to Michelangelo's The Creation of Adam. The piece  brings forth a sense of sadness. Throughout the series we see Light go from a hardworking student, fixated on the admirable goal of stopping crime, descend into insanity with a god complex by the temptation that came from the Death Note. This is seen with Light loosing his angelic wings as he is accepting the temptation that is symbolized by the apple. Some elements to note here would be the color. Immediately the eye is brought to the center of the piece, the apple, meant to represent temptation and original sin. Secondly is shading, god is shown to be on the right in Michelangelo's piece but in their stead seems to be a demonic like figure coated in shadows, greatly contrasting with the light that is overwhelming in the rest of the piece. Finally is linework, after being drawn to the apple, the eye is drawn down by the chain around Light's wrist. This seems to symbolize Light's humanity, although he seeks to be a god, he will always be but a human. 

The Prince of Tennis, Trans Arts

Tokyo, Japan

c. 2005

    The third piece comes from a lesser known anime, The Prince of Tennis. As someone who played varsity tennis back in high school, this clip makes me feel nothing but joy, it reminds me of the memories I had on the court and the nerve wracking and thirlling games I played. In this clip, we are immediately captured by the linework of the animation. The player's, Ryoma, body flows perfectly with the motion of a forehand hit, and executes very realistic form. Viewers are drawn into the action by how real the character's movements are. Aside form lines, we next can see how shape was used in order for the viewer to understand how hard Ryoma is returning the ball. The distorted shape of the tennis ball on his racquet helps to portray the power behind the hit that Ryoma's opponent has hit him and brings forth an air of intensity to the clip. Finally, although small, the small attention to detail in the color scheme of this clip brings it all together You see the two different colors separating the court from the rest of the area, you have the white lining marking the bounds of the court and even the small notch that serves as a placeholder for serving and to denote the middle of the court. Though not as crisp as the newer sports anime, this clip will remind me of the series that sparked my interest in the sport. 

Haikyuu, Production I.G.

Tokyo, Japan

c. 2017

    The next piece of art that I chose is from the popular anime Haikyuu. This clip is of the two protagonist playing a volleyball game One of the main elements here that ties it all together is the linework. Both of their bodies are flowing in realistic ways and there's nothing abnormal about the movement. In addition to the flow of their bodies, the lines from the ball to the setter's hands give the image a sense of movement. The second element of notice is placement. The setter is in the foreground, with the spiker, and umpire filling out the middle ground at an angle. The angle of the image makes it look like we are watching the play unfold from the point of view of a teammate, which helps envelope and capture the viewer. Finally, the realistic color choices brings together the whole image. Nothing out of the ordinary helps to cement the scene of a volleyball game. The piece has a sense of action, it makes me feel like I am a part of the game and am standing in the court alongside them, fighting for a point.    

Vinland Saga, Wit Studio

Tokyo, Japan

c. 2018

    Vinland Saga is the name of an anime which follows a young Viking boy through his adventures in in a viking ship. Texture here is the first thing that comes to my mind. The engravings on the raft and even just the cracks in the wood, are animated to feel rough to the touch. The placement of the falling snow in the foreground, and snow covered trees in the background bring a sense of calm solitude, but also dangerous peril and also add on to the texture of the raft and how it would be cold and wet to the touch. Finally we see the use of shadows casted over Thorfinn which helps to bring about the sense of solitude and loneliness, perfectly encapsulating how one would feel after being marooned and separated by their compatriots. As I look at this image, I feel despair and isolation. 

The Promised Neverland, CloverWorks

Tokyo, Japan

c. 2021

    The final piece in this gallery is this clip from the Promised Neverland. An anime that flirts with the idea of whether it is morally acceptable to sacrifice a few for the sake of many, the image to me brings forth some feelings of anger and outrage. Again, placement holds huge significance. The three children at the forefront of the piece are facing at the viewer in anger and defiance while the others are in the background facing away at the promised land that was never there. The contrast in lighting is also important to note here. The only light in the image comes from the whit haired boy, Normans, lantern. They are in search of something, a ways of escape. The shadows that cover the other children mean that they are already beyond saving. Finally we have the use of lines. The lines that are made form the fork and knife bring attention to the finer details of the piece, the viewer is drawn to the numbers on the dinner plate, symbolizing the hours on a clock. These children are up against time, if they don't find a way to escape, they will be dinner. 

Works Cited

AnimeChicago. "A Brief History of Anime and Manga: From Zen Cartoons to Sailor Moon · AnimeChicago." AnimeChicago. 17 Dec. 2020. Web. 16 Apr. 2021. <https://animechicago.com/articles/brief-history-anime-manga-zen-cartoons-sailor-moon/>.

Cunha, Xiao Faria Da. "What Has Anime Done to Contemporary Western Art." Medium. Medium, 14 Dec. 2020. Web. 16 Apr. 2021. <https://xiaochineseart.medium.com/what-has-anime-done-to-contemporary-western-art-2b182199f99>.

"What Is Anime Art? The History Of Anime And Manga." Okuha. 08 Jan. 2021. Web. 16 Apr. 2021. <https://okuha.com/what-is-anime-art/>.