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Book description
Book description
Like many, I read comics as a child, but I was not avid--never a collector--and it was not until I became an adult and returned to comics that I began to look at what they can be, and the stories they can tell. Whatever avidity I lacked then, I have since made up for, becoming an incidental snob for European comics.Similarly, despite my familiarity as a child with Japanese anime, it is only in recent years that I have returned to that tradition. I watched Dragonball, Sailor Moon, and Ronin Warriors when they first appeared on American television in the mid-nineties. I recall seeing violent, action-packed films on the weekends on the Sci Fi channel. This was before America had a concept of anime or manga, but I recognized the art style in the Special Interest section of Blockbuster, and began a tradition of renting one of these over-the-top movies each time I had a birthday. I still remember my friends and I waking in horror one morning to discover my mother had put in the tape of our latest blood-spurting Sci fi flick--against our expectations, she enjoyed it--she even took us to see Ghost in the Shell during its art house theatrical release.Yet I drifted away from it in the intervening years, and even when I started reading comics again in college, I didnt seek out manga. To some degree, my disenfranchisement was due to the American fandom, which has made popular a lot of very inane comics and shows. Many of the movies I enjoyed as a pre-teen were juvenile romps which I cannot enjoy now.Yet there are great comics and pieces of animation coming out of Japan every year, even if they dont always become popular. So, one day as I found myself searching in vain at the tenth comic store for back issues of a late nineties anthology which included a translation of a Franco-Belgian cowboy comic I have grown to love, I suddenly asked myself why I wasnt doing the same thing for Japanese comics--especially because there was a whole wall of them the next aisle over, a luxury an American fan of European comics has never known.So I began with Lone Wolf and Cub, primed by my love of Kurosawa movies. In terms of Legend, the next choice was obviously either this or something by Tezuka (who will surely follow). Since I had seen the film as a child and made it my first DVD purchase when I got my laptop (one of the few breaks in the long anime hiatus of my college years), the pull of this book was strong.Otomo is one of those preeminent figures in comics--like Moebius or Tezuka--who both as artist and writer revolutionized the way comics looked and felt, and the ways they told stories. Between his meticulously realized architecture and technology, epic fight scenes, and influential body horror visions, his work seems nigh irreproachable. The reader is often struck by the power and beauty of his panels. Additionally, the transitions he chooses are inventive and lend some scenes that subtle, sensory pacing never seen in American comics. Yet there are odd moments when a head or arm will be the wrong shape or size, and lacking dimension. It is strange in such a detailed work to see such elementary mistakes--the sort of thing I have never seen Moebius do. These errors are few, and hardly compromise the work, but they are somewhat jarring.The manga has much more plot and complexity than the film, but you dont see it until later volumes. Even though there is often a lot going on--many characters running around the city, all at odd and running into each other periodically--the story sometimes lacks for depth. All the back and forth and action keeps things moving, but its not always the most direct or effective way to tell the story. The frenetic pace often progresses at the cost of character development.The characters in the story are not dynamic, changing figures: their mentalities and goals stay the same throughout the series, which is a long time to go without change. We do get moments of confrontation between the characters where their relationship is brought to the forefront, but since we rarely get any buildup to these moments, they tend to feel rather artificial.In fact, when I watched the film again, I found it does a much better job of developing the characters and their relationships, using a gradual series of meaningful interactions to let the audience know what these characters think of one another, and why.Otomo touches on a lot of ideas about power, technology, military force, and personal identity, but often, these notions are communicated though exposition--characters sit down and talk about them. It would have been more effective if there had been shorter character arcs withing the story where the personal conflicts and changes they went through would help to reveal these concepts and explore them more fully.But that has long been a critique of many of the more lengthy manga (and anime) series: that they end up spending a great deal of time going back and forth with lots of similar instances of combat to the detriment of the story and pacing. There is a real artistry to the combat, which Otomo clearly takes delight in crafting--and the visuals are often effective and engrossing--but hes constantly calling back to these big ideas of philosophy and interpersonal conflict, so the form and function are sometimes at odds.But for all that, its impossible to ignore how well visualized everything is, and how complex and multi-layered the society and politics are. This is clearly a work of great intensity and concentration, where (nearly) every panel is the result of forethought and an abundance of ideas. It is no wonder that this work is widely influential because it is so full of imagination that it challenges the reader to think about the medium in new ways, and demonstrates the power of the singular vision of an artist.
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