MICHELLE: The wait is over.. a new Let’s Get Visual is here! We examined intensely emotional moments in our last column, so this time we’re going in the opposite direction by highlighting pages that make us laugh.
I’ve got to say, finding a couple of pages that genuinely made me giggle was much harder than finding ones that made me sniffle. Did you have a similar experience?
MELINDA: Actually, no, I giggle pretty easily and at a wide variety of things. My real challenge was picking just one scene!
MICHELLE: I certainly smile at amusing things, but I guess my threshold for outright laughter is pretty high. I’d be a good contestant on Make Me Laugh!
Still, I was able to find a pair of pages that had just the right combination of silly, cute, and absurd to appeal to me. (Click on image to enlarge.)
As the artist (Shiho Sugiura) herself points out, what we have here is essentially a cliché. The character from another world or another time comes to the present day and freaks out over things like television and cars. What makes this scene so great to me is the fact that the character doing the freaking out is Koh, an excitable talking snake (who, incidentally, is highly venomous).
Something about a slanty-eyed, fanged critter going, “Whoa, what’s that guy?!” makes me crack up every time. He thinks everything is a creature, including the stove, whom he unwisely challenges to a fight. In the second example, he’s about to attack the clock when he’s stopped by Chigusa, a human transplant from the other world, who is able to show wisdom only because he himself previously made the same mistakes.
It’s simple, to be sure, but it’s just so durn cute! When I first read it, it made me love and sympathize with Koh instantly.
MELINDA: I’m a fan of this series as well, and Koh is my favorite character, so I can definitely relate to your fondness for him here. I think part of what makes him work so well, is that Sugiura doesn’t try to give him human features (other than speech), so not only is it funny to see a snake making all these comments, it’s a little bit poignant too, the way Sugiura draws him, which makes the humor hit just that much harder. Super-cute animal designs are all well and good, but a more realistic character can be much more touching, just for being more real. And something you care about is a lot funnier than something you don’t, at least in my experience.
As I type this out, I realize that the humor I enjoy most always contains a bit of poignance as well. Is it just me?
MICHELLE: Oh, that’s a really good point! Perhaps it’s simultaneously funny and endearing because he continues to look like a snake throughout, and hasn’t been given any over-exaggerated, human-like expressions to convey his surprise. It makes it seem more like we really are seeing how a snake would genuinely try to process these things.
And no, it is certainly not just you. Plus, if you consider a person’s character when writing humor, that just gives you a whole other layer to play with. Some things are funny because of who said them, after all, and not merely what was said.
MELINDA: I think there’s really very little in our lives that we process with only one emotion, and humor and affection work really well together. Koh’s appearance as a regular snake helps make him look vulnerable simply by virtue of his size, despite the fact that he’s pretty fierce, which makes him even more endearing.
Sugiura also does a great job of creating a sort of whirlwind tour of the wondrous Earth “creatures” with a lot of slanted, non-standard panels, cramped pretty close together, which makes the whole thing read funnier.
MICHELLE: Indeed, I was remembering that How to Draw Shojo Manga advocated using diagonal panels to show that a character is off-balance in a particular situation, so it makes sense Sugiura would use them to convey the dizzying onslaught poor Koh is experiencing.
Shall we move on to your selection? It looks pretty poignant, too!
MELINDA: It certainly is! So, I went very simple with this for a couple of reasons. First of all, the humor is entirely visual. In fact, it wouldn’t need to be in English for us to get the humor completely. I’d submit, too, that much of the humor, especially on the second page, relies on the story being displayed for us one panel at a time, so it could only exist in comics. The humor is in the still shots, snapped one-by-one, which slow the action to a crawl, without the tonal messiness of slow-motion.This effect can’t be achieved with the same kind of clarity in animation or live action.
Perhaps the bigger reason why I chose this, however, is that it relies on slapstick humor, which usually doesn’t work for me at all. I almost never laugh at scenes where the humor is based on someone slipping on a banana peel or a thousand other types of stumbles, pratfalls, and rake handles to the face that are essential to the genre. It leaves me completely cold. Yet here, as Yotsuba’s inattention to where she’s going sends her tumbling over a hill, I can’t help but laugh, both at her fall and at the older girls’ stunned reaction as they watch it happen. Somehow, that’s hilarious. And, just as with your selection, it’s hilarious because we care, or perhaps more to the point, the author cares. He loves Yotsuba as much as we do, so we’re all reacting together, unable to keep ourselves from laughing, but without any kind of cruel glee being taken in Yotsuba’s misfortune. It’s a subtle thing, but it’s significant.
MICHELLE: I react to slapstick the same way you do, but that tumble is so amusing, too, because Yotsuba was trying so hard. She really, really wanted the picture of her on the bike to be awesome, but because she was thinking more about that than actually riding, this happens.
It’s humor that relies entirely on human nature. The part the makes me laugh most is her wide-eyed, extreme close-up eagerness on that first page, because who hasn’t known a kid who was totally excited to not only be photographed but to show off a new skill?
In fact, the more times I read this over, the more I giggle at it. That’s really unusual!
MELINDA: You know, I think in some ways, the simpler the humor, the more durable it is. The less we have to think about it for it to be funny, the more it’s likely to trigger the reaction again on repeated viewings. Kiyohiko Azuma draws this kind of humor brilliantly, and by keeping the storytelling nearly as simple as Yotsuba’s own thought processes, he ensures its enduring success.
MICHELLE: I think you’re right about the correlation of simplicity and durability. After all, isn’t that also the general rule with fashion? Some classics just don’t go out of style! I’d actually call Azuma a master at this type of storytelling; it’s impressive how he is always able to make Yotsuba’s thought processes abundantly clear, without need of explanatory dialogue or narration.
Here’s another good example, this one from volume three. It’s not as giggle-inducing, but we can still tell that Yotsuba is shyly expecting something and is crestfallen when she doesn’t receive it. We don’t even need to know that she’s hoping for a souvenir.
MELINDA: Oh, that’s a great example! You’ve got me wanting to reread the series again now, just so I can experience all these fantastic moments all over again!
MICHELLE: Me too! It strikes me that another series I thought about sampling for this column, Neko Ramen (TOKYOPOP), also draws on simplicity and a sort of universal understanding of behavior (albeit feline) for its humor. There are a lot of panels that make me giggle just because they’re so absurd yet true, like one in which a cat is considered for the job of cashier until it reveals that it only wants to roll around on the register.
MELINDA: Adding that layer of absurdity is usually what makes humor work the best for me, actually, which is why it’s surprising just how deftly Azuma manages to hook me every time!
MICHELLE: Same here!
You know, I feel like we have come back around to the same conclusion we sort of reach every time: manga is awesome!
MELINDA: That it is.