The Art of Junji Ito: Twisted Vision: Twisted Visions

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Additionally, character faces tend to have minimal shading, other than for dramatic effect. The plain face provides an excellent contrast for details that are drawn on, and emphasises any unnatural elements that are present. In particular, the eyes tend to be drawn with more detail than the surrounding face. This allows fearful emotions and the insanity of the characters to stand out, even when other elements of the horror are not visible in a particular panel. 4 The first chapter of Junji Ito’s Uzumaki (1998-99) spirals right into the helical horror. Ito: (laughs) I really don't know much about games. My nephew plays and sometimes I play with him but I'm just not good at it. But I am interested in VR. It’s great that the English speakers are reading my works and that companies are publishing my works, and I’m very happy for just that,” Ito said in an interview with Anime News Network. “Even for me, I was influenced by American movies growing up, and it’s a dream that people here enjoy my manga.”

Ito: For "Tomie," we had an audition, and I was there for several candidates. At the end, we narrowed them down and I made the final decision. I thought she had class. Tomie's language is a little bit old-fashioned, and this voice actress spoke Tomie’s lines with an intonation reminiscent of the Showa Era. So, I felt that she might be a good choice. a b c d e f g h i j k "An Interview With Master of Horror Manga Junji Ito (Full Length Version)". Grape Japan. June 10, 2019. Archived from the original on July 30, 2021 . Retrieved April 9, 2020. Nobushi: Would you say that most of your works are based on experiences you had and information you learned in your childhood?Experience with Manga/Anime Styles: Tattoo artists with prior experience in manga or anime-style tattoos may be more adept at capturing the distinctive elements of Junji Ito’s work. This experience equips them with the knowledge of how to translate 2D art into compelling body art.

Ito: There's an afterword, an explanation part at the end of the book where I talk about how I created each work in an interview format. I would be happy to see that translated. Tales of the Bizarre: 2015 Spring Special - The Earthbound (世にも奇妙な物語 スペシャル・春 - 地縛者), 2015 [52] – (adapted from The Earthbound) Note: Chapter 9 and 10 are new works. [5], Chapter 1 was also published in 猫・ネコ・ねこ！！！ (Neko Neko Neko!!!) 2008/07. Often in Ito’s stories, the driving forces behind the horrors that are occurring are non-human. Of course, this is normal for horror, however Ito tends to favour godlike forces, moving beyond the norm of spirits and zombies. Importantly, these deific entities are unstoppable. Unlike traditional horror, there’s no way to put the ghost to rest, or exorcise the demon. The entities are beyond human comprehension and therefore beyond human intervention. This means that there is a recurring sense of inevitable demise throughout Ito’s work, which again strengthens the sense of losing agency. These sinister forces feature prominently in works such as Uzumaki and Muma no Kikou (2018). Reading such stories, one can’t help but feel fear when empathising with the characters, who have no hope of escaping their gruesome fate, no matter how much they panic or struggle. The universal entities from Junji Ito’s Muma no Kikou (2018) are far from benignCollects: The Long Hair in the Attic, Approval, Beehive, Dying Young, Headless Sculptures, and Flesh-Colored Horror This ties in with a common theme of Ito’s manga, the idea of ‘beyond human’, which is explored in a variety of ways. For example, the human characters have a tendency to lose themselves to madness, whether due to a supernatural force or their own paranoia. In this sense, they shift beyond human rationality into something darker, and no longer human. Indeed, many of his stories begin with ordinary protagonists, but most eventually succumb to insanity and the pull of the supernatural. In doing this, the seemingly ordinary characters become part of the horror themselves; this is evident in works such as The Enigma of Amigara Fault. The concept of losing oneself, and consequently losing agency is a scary one, 8 and this links to further elements common in Ito’s stories.