The Artistic Evolution of Vagabond

Wanderer is known for his artwork is a story about a wandering samurai Miyamoto Musashi and his quest to find purpose in his life is a very thought provoking series as strong themes of war of identity and society are explored in a truly mature manga that matches one of the best art styles in the entire medium at its lowest quality. It's a really interesting style that's more of a sketch than a listen to ukiyo-e paintings. Classic Japanese paintings that resemble the idea of ​​the appearances of these characters and at their peak resemble such a beautiful image. that almost transcends reality and gives us more of a hyperreality or a portrait of the mental condition of these characters.

The

artistic

evolution

of Vagabond is particularly unique because this is not a series that starts at its weakest and gets stronger and gets stronger, like all the other series I've covered since Offset Vagabond, it's a wonderful manga and technically It never stops being beautiful, but there is a rise and fall between the different key moments of the series and it does it. For a really fascinating analysis, this is a manga written by Takahiko Inui, a very successful manga artist who gained fame through Slam Dunk, a very popular weekly shonen jump series that was published in the early '90s, Even then Hinoi's artwork was truly something to behold, as it captures the human figure and the different movements and moods that the characters exude with a unique and bold style.

Their tools are quite simple, but unlike what most mangaka adopt, most manga artists use g-pens with ink and more recently have transferred them to a digital environment in a However, this way usually uses ink with a variety of brushes to create these really fast, smooth, elegant lines that sum up that effort to portray Edo Japan, where I used to use g pen and ink specifically in slam dunk. Inouye learned and gained expert control of menso brushes which can produce lines as fine or as thick as the illustrator desires and are notoriously difficult to master. Inoa prefers the unrefined nature of this method to line art and says it feels more real due to its unpredictability.

The uncertainty of the lines is something that enhances the natural tone of In his photographs, he even gets very upset when these images do not turn out the way he wants due to this very method, despite how likely it is that the ink will smear or accidentally brushing in the wrong direction or some bristles going too far and Above all, it's still worth using ink like this, it's transferable to instantly give off believable blood sludge and streak effects. An artist's skills are unmatched considering the first 300 chapters of Hobo were published in a weekly magazine and the list was not.

It's not published every week, it's published more often than not for some of the most stellar chapters for years and years, although when it moved to a monthly magazine we saw the coming and going of better and slightly worse works of art, much more often than not. often coming from really complex illustrations. The sometimes simpler artwork is something really interesting to look at throughout the series. wanderer stretches out like a long road where from time to time there are incredible obstacles of inspiration where enoi just paints his absolute heart on these panels in periods where he is really inspired anyway, you can reflexively see the amount of life that emerges from these pages, just like the life of Miyamoto Musashi, a man who wanders around and occasionally finds a purpose and perfects it only to lose that motivation completely.

The

evolution

of inowie is something that is fully encouraged. by their own

artistic

motivations that come in full force and then diminish and disappear before another takes its place. You can see this in the excitement of young deaf kojiro's backstory and the quick shift to the agricultural story, a tender and hopeful chapter of growth and togetherness. To the lost and curious tone of helping a struggling farm, the artwork reflects not only and always the inspiration but also the progression of the story, just as we have an emotional and exciting story set in the past, we have vivid images and striking that ooze sentiment as we have a more thoughtful and deliberate arc of reflection, we have even more thoughtful artworks that usually have a singular focal point to connect the musashi focus but also to concentrate that artwork with a pertinence of white backgrounds .

Over the years, I've come to the opinion that The Farm Arc isn't per se worse than any other arc, but it's doing something very different and, whether the artistic change was intentional or not, ends up serving to the plot in one way or another after the farm arc things began to progress towards what would have been the setup for a potential climax of the series and the artwork began to shift its focus from what the farm arc in It did change from the original manga, furthering the idea that the artistic evolution of Hobo is something that ebbs and flows, something that wanders and explores. the varied avenues of existence as its protagonist obviously after this period inouye left the series to pursue a career as a coach of a basketball team which was two years ago and he said almost consolidating this theory of mine that as it is now the story cannot end Not knowing when, if ever, he would return to her, instead of portraying Musashi's later life in his enlightened state, Inouye apparently always wanted to depict him as a young man who reaches that point of enlightenment when he comes from a place of being.

So much like an animal and that's something he managed to accomplish before putting the series on hiatus when Musashi manages to save the village from famine by learning to control and harvest the nature around him. He is the most humane and civil he has acted with a group since then. The beginning of the story and that similarity between the work of art and the story is present once again as perhaps the true artistic evolution of Vagabond, which the more hyperreal the style and the use of ink and brush to illustrate all kinds of cuts , wounds and mental characteristics, it is more inhuman animal effect to make the reader take a step back and say whoa and that the most sensible design is there to be simple and familiar because of its humanity and because musashi has started that path to enlightenment considering that's where Innerway's intention to start the series came from.

It's not surprising that this was the last time we heard from him because in some ways we practically saw an ideological end to the story, maybe a little premature, but it adds up anyway, the same internal form has returned in recent years to the author of the manga series. Real Real was another manga series that he left behind to pursue this career change, but Real Real focuses on basketball and I think it would be fair to say that this career change may have acted as inspiration for him to continue with another burst of creativity, Maybe one day like Musashi Inouye he will find happiness with his life choices and find his way back to this path, he will find the next burst of inspiration and he will find the artistic inspiration that the wanderer needs to continue evolving.