In the previous overview of the Imaginary Chart, it is pointed out that the core of the story of "The Girl Tsubaki" is the fantasy of salvation in loneliness. My encounter with alternative manga began with the period of similar emotions, starting with Teenage Tsubaki.
Like many people, the first thing you saw was this American version of the network resource.
Mr. Arashi's Amazing Freak Show is an anime of the same genre in the first american version in 1992 and directed by Hisaaki Sotsu in 1992.
Just as the so-called "aesthetic is very harsh, the morality is very broad", from the beginning, the original intention or result of the hunt in alternative comics has never attracted me, and in retrospect, the only thing that touched me in the second section of "The Cruel Encyclopedia" is "The Moon in the Desert".
△Kinlands (Cruel Daizen) and the Desert of the Moon, Seirindo edition in 1996.
I haven't seen the works of Kazuo Tsukito, Junji Ito, Shintaro Yuki, Furuya Tsushimaru, and others who are classified because of their curiosity - on painting skills, they have not passed this level.
△ The parody of Kazuo Yutu in "Teenage Girl Tsubaki" is very dramatic and bad, destroying the closed and self-contained charm of the whole stage.
Regarding the original work of "Maiden Tsubaki", Tuzhi's article has pointed out the clear source. Before, I only vaguely understood that it was a play of Paper Zhiju, and I had seen a picture, which seemed to be related.
△ A picture that may be related to paper Shibaju's "Maiden Tsubaki".
In a passage in the middle of the manga, Midoriko suddenly becomes larger and overwhelms the sentient beings who treat him after being enchanted by Yume Masamitsu, but it reminds me of Alice in Wonderland.
△ The first edition of "Teenage Girl Tsubaki" pages 72-73.
"Maiden Tsubaki" in 1984 before the long story, at least in August 1981 as a short story published, this article was included in the early edition of the 82nd edition of "Rose Monster"; in the "D Fetus" of many short stories, the image of Midoriko played several masochistic roles, the role of Yume Masamitsu in this book, did a lot of bad things, there is no original book in hand, the first publication time of each short story is unknown, from the perspective of skill maturity, when it is after 1984, by the way, "Cruel Encyclopedia" has a lot of parodies of Yoshiharu, But all of them are in Maruo's personal style, which is slightly appropriate.
△ The short story "Maiden Tsubaki" in "In the Rose Monster", at the end of which she is tortured to death.
The formal and visual surprise of "Teenage Girl Tsubaki" lies in the sweeping away of the concept that "manga is a simple substitute for film and television" left behind by the previous encirclement of mainstream manga, and it re-establishes the interest in reading manga at the level of painting. This enlightening achievement, like the moment when I first watched "Blue" and "Labyrinth", dragged out the quagmire of Hollywood and Hong Kong's boring sequential films.
This "backwards" value of judging manga first on a visual level led me to have love for Shinichi Ashibe and Shu Kanno at first sight, while Yoshiharu fell in love with him more late, and did not watch early on—the rhythm-oriented kind of European and American departments was completely indifferent—this is a personal limitation.
The match between comics and traditional painting in terms of painterliness is that the "sense of interest" in the production of comics often exceeds the "management", which avoids the oil and gas and dullness caused by the excessive pursuit of completion and smoothness of general painting works, and the sketches between sketches and finished products are sketched, vivid and sincere.
△Kinlands (Cruel Daizen) Sato-kakuko, Makoto Masamitsu Wakuharu.
Gregor once said that the fun of comics independent of film and television animation lies in the barrier-free "looking back"; Teacher Cangma believes that private comics are just shaking the burden of a mood by turning pages. Looking back at the limited number of comics that have been turned over, I am impressed by the superb works that have been built on the "juxtaposition design".
The so-called "juxtaposition of design", from the picture, the multiple juxtaposition of space has produced a rich choice of reading choices, and European altarpieces, Cubist paintings, and David Hockney's photography in the 80s have all brought this aesthetic to a climax. This kind of scene with the intensity of religious ceremonies is reflected in some of the large spreads of "The Girl Tsubaki".
"Ghent Altarpiece".
John Baldessari Conceptual Photography some Rooms.
The full folio in "Maiden Tsubaki" inherits the cult altar space of "Patio Tokiki".
The folio of the flower wheel and a work also coincides with the altarpiece in terms of visual structure.
From the perspective of combining with the material carrier of the "book", "flipping through" is different from screening, flipping, and becoming an act of participating in the narrative, and in terms of time, the whole book can also form a multi-instant "juxtaposition", that is, the "looking back" effect that Gregor said. This juxtaposition and interlude fun with a "sense of bad time" can be seen everywhere in Oriental scroll paintings and Zen "three pairs" vertical scrolls, and modern creations such as Abel Guns' 1927 film Napoleon and Peter Greenaway's "Tasrupo's Suitcase" have a good transformation.
△ Passing on Gu Hongzhong's "Han Xizai's Night Feast"
Four passages from Albert Dieudonné's Napoléon.
△ Liang Kai's "Shakya Out of the Mountain Map" "Three Pairs".
△ A clip from "Teenage Girl Tsubaki".
△ Matsunaga Feng and fragments from "Dragon Palace".
Traditional authors like Maruo and Hanaru attracted much of my attention because the former led the Spring and Autumn Festival, and the exploration of the latter was relatively limited. According to my research, the Yokoyama Yuichi manga, represented by "NIWA", is the best to forge the above two martial arts to the fire.
Compared with the flower wheel and a rough painting style and color, Maruo's foreign beauty and taste in temperament and technique are mostly not appreciated by me, and introspection, this half-hanging self-colonial appearance should be very much intertwined with the dilemma of freedom and unfree under the control of the US military - dependence and resentment on the patriarchal strong and chaotic background, willfulness and inferiority in the matrilineal and laissez-faire situation - this sentiment is very similar to Kim Ki-duk's film "Recipient Unknown". As for the brutality and bad taste in Maruo's other works, I do not hesitate to borrow a phrase from the literary circles of the 1980s and 1990s to summarize: the abuse of Freud.
△ Multiple versions of "Teenage Girl Tsubaki".
Fortunately, "Teenage Tsubaki" is more of a mellow and comfortable Western scenery flavor inherited from Showa and Taisho, and the excitement and creativity of the artists are also intensely bursting, so to this day, regardless of the reflection of personal experience, I still think that it is a manga masterpiece that continues to be written and worked, whether in the sequence of Marao or the sequence of alternative manga.
Another blessing that Maruo has for me is that he knows "No Misery" because of him, and because of "No Tragedy" he knows Hanaru and Ichi. After that, from the first trip to Japan to search for books, I gave up marutail to chase the flower wheel and ride the dust.