MICHELLE: Welcome to the November edition of Let’s Get Visual, a monthly column in which Manga Bookshelf’s MJ and I attempt to improve our understanding of manga art!

We don’t have any particular theme this month, but that hasn’t stopped us from assembling some interesting pages to talk about! MJ has chosen a two-page spread from the fourth volume of Children of the Sea, which is due out from VIZ next month. (Click on images to enlarge.)

Children of the Sea, Volume 4, Pages 328-329 (VIZ Media)

What is it you find noteworthy about these pages, MJ?

MJ: Well, there isn’t a *lot* I want to talk about here. Mostly I want to discuss panel size and how it affects the reader’s experience and understanding of this scene.

Certainly it goes without saying that a mangaka may use a full-page panel to give weight to a specific scene or piece of dialogue, but what I hadn’t considered before analyzing these pages is how much the panels leading up to a full-page panel can be used to influence the way a reader feels when he/she gets there.

In the first page I’ve provided here, mangaka Daisuke Igarashi chops everything into pieces. Our view of the characters who are speaking to each other in the scene is limited to a single eye; half of a face; legs; a brief, narrow profile; and finally a view from a doorway that shows us their entire bodies, but with a maddening lack of clarity. No matter where we look on that page, we are prevented from getting a clear view of either of them. Our efforts are obstructed at every panel, creating a sense of frustration that I, at least, felt keenly while reading that page.

As a result, when I finally reached the full panel page that came next, my first reaction was a sense of relief. This feeling eclipsed everything else, including my understanding of what was actually being said. And honestly, it affected my feelings about what was being said, which is significant particularly since the character doing the talking is generally unreliable. My strong sense of relief actually gave him more credibility than he would have had with me otherwise. I believed him, because he was the one who eased my frustration. That’s some pretty powerful storytelling.

MICHELLE: What surprises me in what you said is “either of them.” From the way the panels are constructed, to someone who has never read the series before it seemed like several people were actually present. Even so, I too experienced a profound sense of relief at escaping the claustrophobic first page into the open space of the second. That’s pretty appropriate for a scene talking about birth!

MJ: Well, and I did misspeak on one point, which is that actually only one of them is speaking. The other is being led along in confusion and frustration, just like the reader, right up until the moment that the full-page panel appears.

Iarashi’s artwork is stunning to look at throughout this series, but this was the first time I really paid attention to the way it was structured and how that alone might affect me as a reader.

MICHELLE: Yeah, I think this is a very clear example of how panel size makes a difference. Good choice!

MJ: So what have you got to share with us today?

MICHELLE: My selections come from the omnibus collecting volumes four and five of the josei series, Suppli, and are actually not consecutive pages. A little background information is required.

Suppli, Volume 4, Pages 151, 162, and 164-165 (TOKYOPOP)

Single again after her boyfriend, Ogiwara, takes a job in America, Minami Fujii is nursing a growing attraction for a pervy photographer named Sahara. When they’re on a group trip scouting locations for a commercial shoot, with sakura blooming all around and memories of Ogiwara intruding, Sahara catches Fujii when she stumbles. Though she knows he’s bad news, the shock of contact prompts the realization, “I don’t want to be careful.”

A few pages later, she ends up hurting her ankle and Sahara misses an important meeting to take her to the hospital. As he ruffles her hair and tells her not to worry about it, wispy trails of sakura begin to appear. It’s like a sort of visual shorthand mangaka Mari Okazaki is using to reveal Fujii’s emotional state. The sakura has come to represent her attraction for this man—a kind of mental static obliterating the reasons why she shouldn’t want him.

The feeling only grows when Sahara touches her leg to replace the bandages, and when Fujii realizes he must have carried her into her apartment, the sakura runs amok across the bottom half of the page, symbolizing how she’s being swept away into a possibly doomed relationship by feelings and associations that she can’t control. It’s quite effective!

MJ: As someone who hasn’t read these volumes of the series yet, I was particularly struck by the way everything you’re talking about is brought together in a single box of narration. “The memory of contact.” Perhaps I’m way off base, but I feel like that’s a verbalization of exactly what you’re talking about. It begins with the “shock of contact” as you mention, and is carried through by repeated physical contact—even just the ruffling of hair. And you’re right, it’s very effective! You can follow the thread of contact through the sakura blossoms.

MICHELLE: Okazaki has used symbolism in Suppli before, but this one is more subtle than most. When I read page 162 for the first time, I thought, “What are those frazzly little thingies?” It wasn’t until I got to pages 164-165 that I realized they were significant, and then had to flip back and find the point of the story with which they correlated. Then I went, “Ohhhhh!”

MJ: It’s one of those things that would just move along quietly in your subconscious if you weren’t actively thinking about it.

MICHELLE: Probably so, yes! Both of our examples today highlight the care and consideration mangaka put into their work—especially, it seems, those writing for older readers. In addition to being able to draw beautifully, they can also wring sympathy and (perhaps unfounded) allegiance out of readers by the simple way they structure their stories.

That’s it for this installment of Let’s Get Visual! Thanks for reading and please feel free to share your feedback and personal interpretations of these selections!

MICHELLE: Welcome to the second installment of Let’s Get Visual, the monthly column in which MJ (of Manga Bookshelf) and I attempt to improve our admittedly lacking skills in visual analysis!

In the comments section of last month’s post, it was suggested that we choose selections that would allow us to “examine movement and panel-to-panel storytelling.” This notion intrigued us, so MJ and I have done our best to fulfill this request, though I must admit that mine doesn’t exactly meet the qualifications of an “action-heavy scene.”

MJ: I admit I found the request a little daunting. Though I read a lot of manga that contain action sequences, I tend to kind of zone out during many of those moments, particularly if I find the action difficult to follow. Then I realized, of course, that this offered a great opportunity to think about instances in which action scenes really work for me and why.

MICHELLE: When we first received this request, I thought I might end up choosing a fight sequence from One Piece, but in the end, I found a low-key scene that nonetheless inspired awe. But enough of me, why don’t you start us off this time? And remember, folks—all images can be enlarged by clicking on them.

Banana Fish, Volume 8, Pages 130-135 (VIZ Media)

MJ: Since we just finished the latest installment of our roundtable discussion, Breaking Down Banana Fish, I had Akimi Yoshida’s Banana Fish on the brain, so the pages I’ve chosen are from that series, late in volume eight. The story’s protagonist, gang leader Ash Lynx, is engaged in a showdown with his enemy, Frederick Arthur. The fight was supposed to be one-on-one, knife only, with a neutral witness in a closed subway station, but Arthur has used his mob ties to pull off an ambush with a subway train full of his gun-toting boys. Once Arthur breaks the rules, though, the fight’s original witnesses (there end up being two) call out their own boys to back up Ash, so Arthur’s gang attempts to retreat on the same train they arrived in. That’s where these panels begin.

What really strikes me here is Yoshida’s use of sound effects throughout these panels. I’m the kind of reader who generally ignores sound effects, but here they are vital to the tone of the scene. In this empty, echoing subway station filled with a lot of really tense guys, it’s the sounds that drive their responses more than anything. Sing’s gang bursting out of their hiding places, Ash’s gun releasing its empty shells onto the cement floor, bullets reloading, the echoing gunfire, and then the labored clacks of the subway train pulling away, leaving Cain and Sing behind in the emptiness of the station—these sounds dominate each page and move the action forward. Whoever’s decision it was to translate these sound effects into English really made the right call, in my view, because this entire sequence would die without the full comprehension of the sounds.

I particularly like the second-to-last page, in which both Ash and Arthur stand separately, with only the heavy clack of the train and the sounds of their own, tense, breathing in their heads. That panel makes the silence surrounding Cain and Sing on the last page feel even more intense.

MICHELLE: I think you may be on to something there. Now that I’ve reread it and paid special attention to the sound effects (which, by the way, I always read, even if they’re in katakana!) I can completely see how the loudness of the train followed by the absence of sound emphasizes the emptiness of the station as well as Ash’s shocking departure.

When I first read this scene, the part that struck me the most was the top right of the second two-page spread, where Ash eyes the door, we see a foot, and then he comes sailing through it. I love how this was conveyed so economically, and in a way that allows us to fill in all the steps in between.

MJ: I’m really glad you brought that up, because I think economy is really the key in drawing clear action sequences. Some of the backgrounds here are pretty cluttered, due to the heavy graffiti on & in the subway cars, so it’s the clear, simple action shots that help keep our focus. There are a lot of speed lines here, but they are thin and subtle, drawing our eyes in the right direction without making us aware of them. And her choice of details is spot on.

For instance, when Ash is ripping tape off of his leg to get at the extra bullets he carries, Yoshida focuses on Ash’s pained face as the tape comes off, rather than the action itself, with the sound effect cluing us in. Then she follows it up with a close-up on the bullets going into the gun. She goes from precise actions like these into increasingly broader frames, until the bottom of the page where we finally see Ash opened up against Arthur’s gang. It’s so effective, the way she takes us from the tense intimacy of Ash’s personal space into the vulnerability of the wide-open platform, so that we experience the progression just as he does.

MICHELLE: That’s an excellent description of what’s going on. Interestingly, the consideration of perspective—where our characters are in relation to the world they inhabit—figures large in my example, as well.

MJ: Let’s talk about that then, shall we?

BLAME!, Volume 6, Chapter 36, Pages 152-155 (TOKYOPOP)

MICHELLE: Alrighty. I’ve selected four pages from Tsutomu Nihei’s BLAME!, not for the action—which essentially consists of two people walking around—but for the elegant panel-to-panel storytelling.

BLAME! is a rarity for me in that it’s a series that interested me because of its art rather than it’s story. BLAME! stars Killy, an emotionless young man equipped with a powerful gun, and depicts his journey through a labyrinthine structure of concrete and steel as he searches for humans containing “net terminal genes,” which will allow a person to interface with the netsphere that originally created the sprawling place. The reviews I read praised Nihei’s architectural sensibilities, which was enough to sway me to check out the series. Along the way, Killy acquires a companion in Cibo, whose origins are too complicated to go into, and they begin to journey together. In this sequence they’re ascending to another level of the massive structure, hoping to find a lab where they can read a genetic sample they’ve acquired.

We first see them climbing up a long, spindly column as they approach a circular opening in the roof above them. From the swirling mists and lack of a floor below them, we get the sense that they’ve already been climbing for a long time. In the next set of pages, Killy and Cibo are suddenly walking up a staircase, but the perspective of the scene—showing the circular opening and the column descending out of sight—make absolutely clear how their new position relates to their old one.

On page 155, Killy and Cibo approach a door. This door has four pipes coming out from it, three going up and one to the side. At the bottom of the page, Killy and Cibo are now silhouetted against an opening, and even though we’re looking at them from the other direction now, there are those pipes again, showing us clearly that they’ve now stepped inside.

BLAME! is full of scenes like this. I think it’s another example of the economy we were praising in Akimi Yoshida’s art—readers are given a recognizable landmark or two and that’s all they really need to understand the characters’ movements. It produces a sense of motion while at the same time making this fantastic place seem somehow more real.

MJ: I really love how these panels provide such a sense of scope, and how small and vulnerable the characters are in their environment. You’re absolutely right that it makes the place feel more real.

MICHELLE: This is a zoomed-in moment of their journey, too. When they’re covering a lot of ground, scenery passes more quickly, as if it’s being fast-forwarded. Not that it’s any less detailed or gorgeous, for all that.

MJ: Also, I think the final panel here is effective, too, as small as it is. The pause in the open doorway has an anticipatory feel. I want to know what the character is seeing in front of him.

MICHELLE: Exactly. BLAME! really is a page-turner, and even with its tendency to sometimes not make very much sense, it’s still a quick and enjoyable read. Incidentally, Tsutomu Nihei is also the man behind Biomega, a series currently being released under the VIZ Signature imprint. If anyone’s curious to check out his work, that might be an easier option, since most of BLAME! is now out-of-print.

MJ: I think I’ll check that out myself!

MICHELLE: Well, that’s it for this month’s Let’s Get Visual. We look forward to your feedback and hope you’ll join us again next time!