Atsuko Nakajima’s Flow

Ms Atsuko Nakajima is a true innovator in that she merged Itano, Miyazaki and Komatsubara styles and made them her own. 

That being said, the few major manga artists and animators who inherit very obvious Nakajima-like characteristics (at least from the mid-late 1980s and early-mid 1990s onward) tend to more usually hybridise Obari and Hirata-Flow styles, Obari and Full-Limited styles or Full-Limited and Hirata-Flow styles, depending on the budgets of any anime show or film. While retaining its own Sunrise Realist origins, Tomohiro Hirata’s Flow style has evolved into a somewhat cartoonier style more akin to Nakajima’s, which is most likely due to both sharing a major stylistic influence in Hideaki Anno. 

Comments

Post a Comment

Popular posts from this blog

Rarotonga and her complicated legacy

Apart from Rubi, which spawned its own bigger franchise, there is no Mexican adult comic as captivating as Rarotonga, even though it’s rather stereotypical by both Mexican and most developed countries’ standards. Otherwise, keep in mind that despite its inherent objectification and misogyny (racism is also pretty bad in the comic, albeit not as obvious as the moderately toned down sexism), it remains the better written (1970s onward) and more captivating reboot of a 1950s Mexican adult comic named Taboo, which itself couldn’t hold up much in as early as the sixties, rather tellingly due to being more blatantly flagrant in terms of sexism than even the original Astro Boy manga created in 1952.  As suggested by looking at her somewhat ambiguous features in such a comic (itself somewhat fair for its day), Rarotonga surely is one of Mexican comics’ first mixed race baddies to gain consistent international popularity (at least in much of Latin America). Although she’s confusingly called...
Read more

Mazinger turns 55 in 2027

The plausible plans for the Mazinger franchise’s 55th anniversary will include a Shueisha Dash X Bunko serial novelisation and a 28 volume Shueisha manga line focusing on at least the four main franchise robots.  The first show, based largely on its manga counterparts, will focus on both Mazinger Z and Great Mazinger themselves.  Mazinger Z is an everlasting icon with distant links to Alexander Belyaev’s sci fi works. Its most faithful onscreen adaptation to date will feature a multilingual soundtrack. Unlike every other animated version, it will be co-produced by Studio Bulldog, Production H+, Holy Cow and Studio Durian. It is also going to be distributed by CloverWorks in Japan and Aniplex internationally, with permission from the Dynamic Group (Go Nagai’s Dynamic Planning, Gogasha and Dynamic Productions).  While Katsumasa Yokomine will still helm it to an extent, Hiromitsu Kanazawa will co-write the whole show from scratch. Akira Matsushima will serve as a character d...
Read more

Here come the Robots!

The certainty that Kodansha’s Weekly Shōnen Magazine began life with of all things - a classy Tetsujin 28 competitor - is a frankly unknown curio amongst super robot fans outside Japan. Amongst his works besides Kuro Obi Kun and the less popular Tokyo Tarzan, No. 13 Take Off is a creation of Yoshiteru Takano, an unsung manga author turned camera store pioneer.  Despite its more hokey design, it’s much unlike the remote controlled and ugly-cute Tetsujin 28, who likely has the interesting title of being ‘the first robot character of what’s now considered the unlikely but true first Mon-themed work ever’. Although indirectly inspired by Manoel Messias de Mello’s Audaz the Demolisher, the first piloted non-American super robot with its own eponymous comic, Ken Ishikawa’s Getter Robos have more famous exploits. Frankly, the Getter Robos also have another stylistic predecessor in Leonel Guillermo Prieto’s similar but lesser known Invictus from Mexico, who technically is the antagonistic ...
Read more