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BRAVI MANGAKA: L’ARTE DI USUMARU FURUYA, JIRO TANIGUCHI, KIRIKO NANANAN E NAOKI URASAWA

Nananandoc

L’amico e (in qualche modo) discepolo Marco Rastrelli (sceneggiatore, Comic Contest, Fumo di China, Napoli Comicon) da qualche tempo gestisce una interessante rivista online per Edizioni Master / Games Idea che riguarda il fumetto, l’animazione, i film live giapponesi e quant’altro si muove nel dinamico scenario nipponico.
Lavoro assai impegnativo e “corposo” che merita un plauso (Clap! Clap!).

Questo l’indirizzo al quale rivolgersi per la scorpacciata di notizie: http://digitaljapan.videogame.it/

Siccome non l’ho mai fatto seriamente prima, di Marco segnalo anche questo qui poco tempo fa e all'”arte neopittorica” (per così dire) contemporanea di quel Paese, ripropongo a chi se lo fosse perso (temo in parecchi) il bel documentario in tre parti che lo sceneggiatore belga Benoît Peeters ha postato l’anno scorso su YouTube con il titolo Profession Mangaka.

Fa parte di una serie di servizi diffusi sotto il titolo piuttosto generico Comix su alcune televisioni europee (ma inedito in Italia).
Questa è la versione in tedesco (ahinoi), ma anche chi non ne capisse un benemerito cavolo può egualmente godersi le immagini e il melange di linguaggi che ne trapela.
Le sequenze sono facili da seguire e per chi ama i manga ne vale la pena. Chi conosce il giapponese, ovviamente, esce avvantaggiato.

Sono di scena tre autori di manga: Usumaru Furuya, Jiro Taniguchi e Kiriko Nananan.

A seguire, se qualcuno ha altro tempo a disposizione da spendere in questo post può sciropparsi una intervista poco conosciuta a Naoki Urasawa. La sua colonna sonora è in francese, ma Yahari, che l’ha postata su YouTube, ne provvede una rapida sintesi in inglese, che qui copio:

1st Part (Train): The narrator explains that he take the train as a normal japanese.
He says that with the help of his new mangakas friend, he will meet the new manga magazines superstar Naoki Urasawa.
He explains that Urasawa success is so high, that he is one of Japan’s 5 first most well paid mangakas. He says that Urasawa’s creation can touch a big crawd, from childrens to adults with it’s excellent mix of exciting thriller suspense and 70’s nostalgia.

2nd Part (Urasawa speaks):
“Yes, in my job, i love the drawing job, but, physically, it’s a very tyring activity. So, when i create a story and some idea is really good, i know exactly how i will use it. Finally, more than the drawing, this is what i love the most, creating a story.”
-silence-
“You know, i think that in Europe, they take more time to draw a comic. In Japan, the mangaka’s working ryhthm for the magazines is really intense, i think that it’s a working rhythm that can’t be done in France (note: the journalist is a french). So, when you look quickly at a manka, you can think that a little importance is given to the drawing.”

.

3rd part (Urasawa’s assitants are drawing):
The narrator explains that, in Japan, manga creator must draw 25 pages per week for the mangas magazines. He says that in Europe, a comic creator has to draw 72 pages per year, in Japan, a mangaka must draw more than 1300.
After that, he explains that a mangaka write the story, draw the sketches, give the notes to his assistants and finalise the work. He explains after that, that this intense work influances the artistic style of the mangas.
The drawing are simples and are centred on the action and the emotion of the characters.

4th part (Urasawa is speaking):
“I think that there is a real difference between a manga and an european comic book. In fact, i think that what really changes, is the number of informations on every page. In a manga, there are more drawing boxes, it’s more sequenced. Across the boxes, every scene, every action is drawed with more details, the time is more explosed.”

5th part (20th Century Boys):
A voice is reading the texts on screen in some acting fashion.

6th part (Urasawa speaks):
“In fact, to success in mangas, it’s important to understand the feeling of the actual time.
Understand what is vital for us, understand what we are in need in this time.
Are we needing more new sensations or, in contrary, to go back to our past?
We must understand the feeling of or time!” (note: I really love this final part, it’s really a profound reflection!)

The video ends with some cool screens of Urasawa playing guitar.