Manga in Theory and Practice: The Craft of Creating Manga

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Manga in Theory and Practice: The Craft of Creating Manga

Manga in Theory and Practice: The Craft of Creating Manga

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He then discusses how, essentially, the use of effective friction between characters and motivations can create intrigue and fascination, as well as an enthusiastic reader-base. The through line in all successful franchises, to Araki, is a strong goddamn character. This cannot be over-emphasized. The emphasis reflects Araki’s success with the dynastic narrative of JoJo’s Bizarre Adventures, if also the general direction toward which the manga paradigm has shifted. He goes so far as to say that in extreme examples, “compelling characters negate the need for story or setting.” As someone who has only ever failed to explain Araki’s storylines to the uninitiated, I daresay Araki doesn’t lie. Sometime after you begin drawing regularly, there will come a point when you think, “This just isn’t working out lately.” When this happens, you may become somewhat worried, but if you keep drawing, you’ll be able to break through it. The very fact that you’re worried about it means that you’re trying. [...]

SJ: One of the endearing quirks of the JoJo's Bizarre Adventure manga is the fact that many of the characters have names based on bands or musicians. Why did you decide to do this? Overall this book kind of reminds me of On Writing: A Memoir of the Craft with how it combines personal stories with tips on how to write. You can gleam a lot from the stories of both his successes and failures, as well as well as what personal elements they put in their story. All the advice comes across as quite humble, as Hirohiko seems to be unsure of his own worth to distribute such words of advice. That said, being able to get readers to empathize with ugly desires is a tremendously tall hurdle, one that requires thought and planning to overcome. Once you have that ability, you could turn even a heartless killer into your main character.reminds me of The Pledge, Turn, and Prestige employed by magicians and improvisors. As well as, of course, the three act structure, heroes circle, and kabuki theatre, among other frameworks. Are among the reasons Araki is one of the best mangakas of all time. He's a honed automaton with more emotion than most, and you can feel it from the drawings, his expression through figures in passionate motion - he's always having fun, and keeping his love of art afloat. I don't think I've seen a truly, truly lazy drawing from him. Especially in his later years. Genuinely inspiring. "“If you only read the books that everyone else is reading, you can only think what everyone else is thinking.” - Haruki Murakami Because he uses Sazae-san (about a housewife, c.1948) and Chibi Maruko-chan (about a little girl, c.1986) as early examples of strong character-driven manga, it comes as a bit of a surprise when Araki advises on whether and how to include “female characters” in a story. He reassures us, in the year of our lord two thousand and seventeen, that: “Nowadays both men and women can become heroes. Up until around the 1980s, male characters had to be dynamic and take action and female characters had to be delicate and passive. But now, that’s no longer necessary.”

Qué hace concretamente en el libro? Nos explica cuáles son las claves universales de la narrativa, cuáles son los elementos más importantes del manga y, para mostrarnos porqué es así y no de otra manera, también nos pone ejemplos tanto de su propia obra como de la de otros, sean del manga o fuera de él. Porque Araki no cree que su libro esté limitado al aspirante a mangaka. Ni siquiera que el manga sea una singularidad. A sus ojos, las leyes del manga son leyes universales. Todo medio narrativo, de la literatura al cine pasando por el manga o el teatro, siguen las reglas que él recopila en el libro. COVER Corporation Announces hololive English VTuber Gawr Gura Collaboration with Sendai Umino-Mori AquariumAraki is the creator of the long-running Jojo’s Bizarre Adventure, which has sold over 100 million books worldwide. It’s been animated for television, OAVs and theatrical features, as well as adapted to novelizations, video games, etc. Araki was one of five artists featured in the 1990 exhibit Le Louvre invite la bande dessinée (“ The Louvre Invites Comic-Strip Art“). He goes into detail about his own experiences moving up through the manga industry. It’s not quite “On Writing” (Stephen King’s book), but it does give you a feeling for his highs and lows in the industry. Unfortunately for at least this reviewer, Araki doesn’t come out, nor do his characters. No cool 'ships…no secret past in yaoi. Manga in Theory and Practice is the practical vehicle for manga knowledge that its title advertises and Viz’s English edition provides a more sober cover and its raw translation is, for better or worse, un-calibrated for American readers.



  • Fruugo ID: 258392218-563234582
  • EAN: 764486781913
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