"Samu and the city catch control-Sumidagawa story" sequel

width = 212Read the first part ...

Many rivers flow in Edo, people gather in the area with water source, and a big city is created here.

Edogawa, Arakawa, Tamagawa, many first-class rivers flow toward the bay of Edo, but the reason why dramas are easy to be born on the Sumida River is because it flows through downtown areas and downtown areas of Edo such as Ryogoku and Kashiwacho .

On the stage of the river, Ishimori drew an emotional suspense.


It starts with the panoramic view of Edo in the evening, which was taken from the Edo book drawn from the beginning.

From the moment you open the page, the illusion that time slips in the Edo period, the more the direction of creating the mood is given.

"Sudden spring Sumida flow. The white fishery, the town of Edo, which was busy, was trying to live quietly. If there were no two bodies of water on the river surface ..."

It is attracted from the first page as suspense by Edo panoramic view and this narration.

The mystery that follows the fishermen of Kashiwajima from the water corpse is also excellent, but in an experiment that pursues the possibility of a plan that is unique to Ishimori, I thought that bird skin would stand, opened the page and proceeded reading .

Everywhere, there are scattered serif-like lines. It is a method that talks to each other in a still image of one frame, and the words are read in close-up.

After listening to the inside story, you have to do it because you have condensed the tale that you planned with the intention of 100 pages.

I had worn that kind of thing, but even so, I think if you read it you will surely understand how effective this expression is.

Later, in the works of Satake and the city's prey, called "Sharakusei", which pursues the mystery of the Edo painter and Sharaku, we also challenge stage drama,

I feel like I was trying to explore the dramatic taste of theatrical works, such as Sabu and City.

Especially when I read this Sumidagawa story, which was serialized for the first time in a big comic, I realized that more.

This is my own feeling, but I think it's more like a genre that you want to experiment, rather than a contemporary drama, which is easier to visually experiment.

Wearing a kimono, tying it up, it's just like leaving the reality, it's easy not to be blocked by the building, it's easy to have an immediate effect, even if it's the weather, as it refuses uniform expression. . Speaking of myself, even in the genre of theater, I think that it is a world that is true and highly directed.

This "Sumidagawa Monogatari" also uses expressions and techniques that exactly apply to it.

First, we intentionally insert a bird's eye view cut everywhere.


I remembered. The works of humanity were to be expressed as close to the eyes of people as possible.

If you think about it, this Satake and the municipal catch apparition would be so dramaticly directed by a technique that lies exactly the other way around.

And the weather and the time of day use the taste very effectively. For example, the scene of the first person cutting is also a scene of rain.

Rather than a world full of artificial light as in the present age, the darkness that rain clouds can do to cover the sky, together with the rain that falls, creates effective shadows, and the picture is very dramatic. And the darkness of the night-. This too can not be easily expressed in contemporary play.

The author chose "night" as the climax.

For a while, I drew only human silhouettes, and in Russ standing (in the industrial terminology of entertainment, I abbreviate the big standing of the last of the historical drama, it is called like this) Conversely, on the contrary, I painted only a human in a solid black bag picture The trajectory that lifts it up and cuts the sword of the city is so clear that you can hear the sound of the sword passing through the sky.


Shotaro Ishinomori I saw