Manga in Theory and Practice: The Craft of Creating Manga: 1

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Manga in Theory and Practice: The Craft of Creating Manga: 1

Manga in Theory and Practice: The Craft of Creating Manga: 1

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Overall, I enjoyed reading it, and as I said above, I recommend it to new writers and Shonen manga fans. Araki himself says this book is really intended as a “passing of the torch” book where he shares his secrets with the next generation of manga producers, and that’s what it is. There isn’t likely to be too many mind-blowing ideas here, but there is a lot of things worth thinking about, and I’m very glad I was able to read it. Like I said above, if you enjoyed this, try Bakuman next, which is a dramatized version of this topic. (And an amazing one at that.) At the time, Star Wars (1977) was wildly popular, but I preferred Carrie (1976) and its tale of a girl with supernatural powers who exacts ferocious revenge upon her parents and bullies. I was well aware that what I liked and what became smash hits were two different things. But even knowing that, I couldn’t shake my desire to remain true to the things that I personally enjoyed, and that I thought were good, and to not hew to what was currently in vogue." Before we discuss the actual book, it is important to look at the difference between a craft manual and a how-to book. A how-to book (such as How to Draw Anime Girls or something in that vein) is an instruction text designed to give you the basic knowledge you may need to embark on a project in the first place. If may be a drawing guide, it may be a rhyming dictionary, it may be a programming textbook – all it needs to do is teach you the base skills for a field. A craft manual, on the other hand, is about honing those skills. It assumes that you already have a basic grip on drawing or writing; its job is to teach you how, or rather suggest to you the best ways, to use those skills. It assumes you already have a goal; the craft manual's aim is to help you reach it successfully. Panel One: Comic Book Scripts by Top Writers (Panel One Scripts by Top Comics Writers Tp (New Prtg)) (Compilation book)

He goes into great detail about how he creates characters, and even shows you his character template that he uses to think through his characters before he sits down and designs them visually. You patiently wait the next day for Chapter 3, and grandfather Hirohaki Araki starts to tell his great story -then all of a sudden half-way through his story you start to feel you need to take notes -because, no longer can you retain all your grandfather's advice through mindful imagery. You ask him to start over from the beginning, and your grandfather tells you the story again, but this time you’re taking notes! *YA* You feel excited! However, again through the 3rd chapter grandfather Hirohiko starts stopping midway through thought patterns to surprise you pictures, and you expect him to explain why he stopped his thought process. Yet, grandfather Hirohiko continues through the story like he never showed you those pictures in the first place. You question yet you ignore his old man ways. He says he'll talk about what he said earlier in a later chapter, but that later comes in the form of listening very very carefully now to put together his knowledge, which starts to become very challenging with much thought.Manga in Theory and Practice” ha sido diseñado cual guía o manual (en palabras del autor, un “know how” o “how to”) destinado, aunque no limitado, a los aspirantes al Manga como medio artístico y forma de vida. Como breviario, entonces, el libro está dividido en capítulos o secciones que siguen el orden cronológico de la producción de un Manga (Cómo comenzar, Personajes, Historia, Arte, etc.) donde todo se basa—el esqueleto, por ponerle un nombre—en las 5W1H (acrónimo popular que del inglés se traduce como Quién hace Qué, Cuándo, Dónde, Por Qué y Cómo) y las Cuatro Bases del Manga (Characters, Story, Setting, Themes), que pueden aplicarse, también, a otras formas de Arte, pero en especial al Teatro, el Cine y la Literatura. Información, claro, disponible en todo curso literario básico, pero que Araki esporádicamente presenta con acrónimos propios e ingeniosos. Como ejemplo de lo anterior está el “ki-sho-ten-ketsu”, donde “ki” es la introducción, “sho” el desarrollo, “ken” el giro o clímax, y “ketsu” el desenlace. Cualquier parecido con una clase de nivel primaria sobre las partes del cuento o la novela es mera coincidencia. Cualquiera el caso, la terminología empleada (el “Camino dorado”, “La inmutable regla para escribir historias”) es banal pero lo suficientemente atractiva como para no fabricar un sentimiento de monotonía. Asimismo, los “secretos” que el autor anuncia revelar—el currículo individual de sus personajes, la vasta investigación de ambiente y época, el detalle y motivo de algunos trazos, entre otros—son nada que alguien más, y con mejor detalle, no hubiera escrito antes, mas la ligereza del texto permite un ritmo dinámico y poco iterativo. Cabe anotarse, sin embargo, que el libro parece más bien dirigido a personas poco asiduas a la lectura. Los párrafos son breves y la constante inclusión de viñetas (espacio muerto) extienden una obra que de otra manera es muy concisa. Be thorough in research, rooting your story in its setting using minute details - phone types, chart topping songs, or even just flora and natural detail. He also recommends visiting the location, if it's a place that exists in life. He travelled to Egypt numerous times, and trekked the distance of Steel Ball Run by himself. A lot of the advice here is specifically for the Japanese manga market, because this is just a translation of a Japanese book for a Japanese audience, not an edition for foreigners. Nov 20 From the U.S. to Japan, You Can Control the Life-Size Moving Gundam from the Comfort of Your Own Home So then, what’s the difference between the poor artwork in manga that sells and the good artwork in manga that does not? The secret to artwork that sells is that the artist is instantly recognizable from their drawing. [...]

Major props to him for admitting the earlier arcs were marginally defined by their abundance of dichotomies. I was drawn to it for the same reasons I was drawn to Sonic Adventure 2, Yin and Yang, and the colour grey. But while fantastic for superficial reasons, it's too reductive, as he admits and says he learned from (and I believe) later on. Perhaps JoJolion was a test of this, and that's where my complex feelings towards it lie. After reading Hirohiko Araki's book on manga theory, I realized that this was similar to a lot of writing books that I have read before. There were differences to certain approaches, but it was close to what I have read from authors. The pacing of a book is similar, the path of your characters is similar, etc.Steel Ball Run took an interesting approach to battle manga by focusing on a positive portrayal of a hero with a disability. What inspired you to create Johnny Joestar? In conclusion, Araki wants readers to know about his Golden Way to manga craftsmanship, without feeling beholden to any narrow specifications of what it means to make manga, and yet he wants only the best, most long-running manga out of you. In short, he has good ideas for how to make successful manga, but his ideas of success could use some qualifying. This is one lesson not taught in his art of mangacraft, perhaps better suited for his editors: know your reader. When Araki talks about sending his first winning submission to a shonen weekly at the age of sixteen, I can picture someone of the same age reading Manga Theory and Practice. They may be startled to see he had mastered a style so early on, but rather than be intimidated, a young reader will almost certainly be encouraged to start writing immediately. And that’s what makes Araki so special: he has a voice that is easy to relate with as a young reader. But then in his conclusion he says good writing is like drinking a fine single malt Scotch. I picture the 16 year old, emboldened to draw manga, studying guns, gulping a glass of Balvenie and spitting it out, confused. There’s some solace in knowing the teenager will know how to depict it accurately now. The original Japanese cover in question. the hero must always rise, or always fall, but never go through ups and downs, because that confuses the reader and looses their interest...

Hirohiko Araki es un gran maestro del manga. Con su extravagante JoJo's Bizarre Adventure no sólo ha conseguido fusionar el canon clásico griego con la estética manga, el hiper-dinamismo y las historias cuasi-mitológicas rayano la parodia histérica, sino también algo mucho más difícil: un estilo propio capaz de encandilar al público. When an artist gives form to something invisible, their state of mind will be reflected in the picture whether they’re aware of it or not. Any attempts at fake sincerity will be in vain. The readers will always see through to the truth." Overall if you are interested in writing manga, this would be a good book for you as it contains a lot of information when it comes to arranging and creating your manga. It is also an interesting look into the author's life and motivation when it came to creating their own work. Though I am not part of this audience, I did find these points interesting and a neat insight when it comes to the creator of JoJo. they influence one another, and are not mutually exclusive. He also stresses the importance of questioning why you enjoy the things you enjoy, and over analyse their latent informative content. He explains basic story structure as “ki-sho-ten-ketsu, or Introduction (ki), development (sho), twist (ten) and resolution (ketsu),” and explains what each section should accomplish and how it should relate to the other parts of the story. While he remains focused on manga, many of Araki’s precepts could be applied to Western comic books, graphic novels and story development for animation.The chapter that puzzles me the most is the one about characters. I agree with Arawi that they are at the core of the plotting, more than the story itself. But the view on the subject of the author feels quite strict. Arguments are of the kind: Araki anota cosas. Por lo que dice, lo anota todo. Cuando algo le llama la atención, le gusta o no lo entiende, lo anota. Pero no sólo hace una simple anotación: intenta explicarse porqué le ha llamado la atención, porqué le gusta o porque no lo entiende. De ese modo, cuando tenga que hacer algo, puede acudir a sus apuntes y aprovecharlo para dar forma a un personaje o circunstancia. Manga in Theory and Practice es Araki abriéndonos su cabeza y enseñándonos todos sus secretos. Como él mismo señala, una idea tan mala como la del mago explicando sus trucos.



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