I have mentioned in my earlier post regarding Scott McCloud’s
Understanding Comics, Osamu Tezuka’s
method of juxtaposing his iconized characters within a highly rendered
environment seemed to give life to his cartoons, gaining characteristics of
realism by comparison. The characters became more relatable as a result.
McCloud states, “This combination allows readers to mask themselves in a character and safely enter a sensually
stimulating world. One set of lines to see.
Another set of lines to be.”
Phoenix: Dawn, the
first chapter of what Tezuka considers his life’s work, proves itself as an
immersive experience. The Phoenix series
as a whole follows an elusive phoenix as it travels back and forth in time,
allowing Tezuka to incorporate historic and science fiction themes into his
work. Each story is driven by the search for immortality, which can be obtained
by drinking the phoenix’s blood.
Recalling Tezuka’s method of realism - along with Dawn being set in Japan’s Yayoi Era
(300BC – 300AD, during which local governments were developing in Japan, and
the country regained communication with China and Korea) – brought to mind
Japan’s traditional woodblock prints. Highly detailed, showcasing the splendor
of nature in engaging compositions and flat colors, these prints are highly
distinctive and have inspired artists for many years. Looking at them as
someone who knows little about their context, the prints seem to exude a
dreamlike quality.
Hokusai, Amida Waterfall on the Kisokaido Road
Tezuka, who was also heavily influenced by Disney, learned to
draw his characters in what he mentioned as a “stuffed-animal style.” I find
this circle of influence very interesting, as Disney is known to be highly
popular in Japan, while the United States is enamored with Japanese animation.
Tezuka’s combination of styles and his works now hold prevalent cultural
significance today.
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