From America to Japan and Back!: A Survey of Stylistic Influence between American Comics and Japanese Manga, starring God, the King, and the Ronin! 公开

Gardepe, Sylvia Cullen (2011)

Permanent URL: https://etd.library.emory.edu/concern/etds/cz30ps811?locale=zh
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Abstract

Abstract
From America to Japan and Back!: A Survey of Stylistic Influence between American Comics
and Japanese Manga, starring God, the King, and the Ronin!
By Sylvia Gardepe
During the 20th century, America and Japan developed two distinct aesthetics and
industries for graphic storytelling despite sharing a source of initial influence: Western comic
strips. In the modern American comic industry, Japanese styles are combined with
the standard American aesthetic. Additionally, a modern mainstream comic book published
almost anywhere is likely to display some form of influence from the Japanese manga visual
aesthetic. What were once separate styles are now part of an international pool of aesthetic
elements. Using the works of Osamu Tezuka, Jack Kirby, and Frank Miller, I traced the development
of two unique national aesthetics and identified which visual aspects of manga are incorporated
into the American comic aesthetic. While the styles defined by Tezuka and Kirby are different
because of their cultural contexts, Miller uses both styles in his work. He juxtaposes the two styles and
adapts elements of manga style into American context. Since Miller, manga style has become a key
component of the American comic industry, both implicitly and explicitly. Manga style is now a common
thread linking the look of comics not only in Japan and America, but in the rest of the world as well.
While the two styles are still seen as distinct by the general public, the creators are embracing a merging
style. Modern comic artists are contributing to and borrowing from this international graphic narrative
culture, and as the medium continues to evolve, a distinction between "manga" and "American comics"
may soon become obsolete.

Table of Contents

Table of Contents
Introduction………………………………………………………………………………………. 1

Chapter 1: Japan's God…………………………………………………………………….11

Chapter 2: America's King………………………………………………………………..40

Chapter 3: Transplanted Samurai…………………………………………………….58

Conclusion: Side by Side………………………………………………………………….74

Bibliography……………………………………………………………………………………...81

List of Figures

Figures
1. Panel tracing by author of Osamu Tezuka, from "Atom Plays

the Role of Ambassador," Tetsuwan Atomu vol. 1…………………………..16

2. Panel tracing by author of Osamu Tezuka, from "Red Cat,"

Tetsuwan Atomu vol. 1............................................................20


3. Panel tracing by author of Osamu Tezuka, from "Mystery Man
of the Blast Furnace," Tetsuwan Atomu vol. 1………….………...………...21

4. Panel tracing by author of Osamu Tezuka, from
Hi no Tori: Dawn
………………….....................................................26

5. Panel tracing by author of Osamu Tezuka, from
Hi no Tori: Dawn
….................................................…………………..27

6. Panel tracing by author of Osamu Tezuka, from
Hi no Tori: Dawn
….................................................…………………..28

7. Panel tracing by author of Osamu Tezuka, from "The First
Storm of Spring," Black Jack vol. 1…………………………………………........35

8. Panel tracing by author of Osamu Tezuka, from "Is There
A Doctor?," Black Jack vol.1………………………………………………………......36

9. Panel tracing by author of Jack Kirby and Joe Simon, from
Captain America #3…........................................................…....48

10. Panel tracing by author of Frank Miller, from "Chapter 1,"
Ronin...............................................................
...……………………63

11. Panel tracing by author of Kazuo Koike and Goseki Kojima,
from "The Assassin's Road," Kozure Okami………………………………...63

12. Panel tracing by author of Frank Miller, from "Chapter 3,"
Ronin
……………………..................................................................66

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