February 1, 2016
C Lit 251: Food in Comics
Mid-Term Scene Analysis

Mid-Term Scene Analysis

The scene that I am going to analyze is the one of page 28 of Oishinbo a la carte: Japanese Cuisine, where Yuzan reacts to hearing his son and rival, Shiro, is responsible for the remarkable dish of Dashi.

When initially glancing at this page and its pictures, the reader is able to make a prediction about what the scene might be about. The first thing I saw was the scowling face of Yuzan and the powerful streaks coming from behind his head. This panel is placed almost exactly in the middle of the page and takes up quite a bit of space. I think the reason for this is because it’s important to express to the reader how angry, mean and shocked Yuzan is when he finds out his son cooked the Dashi dish. The top tier consists of two panels, one rounded edge word balloon and two jagged edged word balloons. Since we are reading, not hearing, the conversation, it is a little hard to understand how things are being stated (i.e. tone, pitch, or loudness). I believe the artist makes up for this through the characteristics of word balloons. Simply based on what is said in each word balloon, I have come to the conclusion that if the word balloon has a jagged edge, then it represents a more powerful, angry or important description. If the word balloon has a smooth or rounded edge to it, then the voice is most likely softer, less important or a conversation happening in the background of the scene. The appearances of the word balloons are also methodically placed. In the panel where Yuzan is yelling, one of the word balloons is cut off by the outline, while the other spreads across and overlaps the outline of the panel. I think the artist placed the jagged edged word balloon in such a way that it gives it more power or a “boom-like” affect. The second tier from the bottom, first panel, is a conversation between Hideo and Daizo. The word balloon is positioned right between the two of them, which helps the reader understand who is a part of the occurring conversation. This panel is also smaller in size compared to the others on the page. I believe the artist did this to signify that it is not the most important part of the scene and that it is more of a background conversation.

The next aspect of this scene I would like to analyze are the symbols used to describe the mood of the characters. If we look back at the third tier from the bottom, we see the words, “HEH, HEH, HEH” written next Yuzan’s face. When you sound those letters out, it sounds a lot like a laugh…maybe an evil or wicked laugh. When referring to the bottom tier, second panel, there are more words written on the panel. “HA, HA, HA, HA,” another laugh made by Yuzan as he leaves the restaurant. An interesting characteristic about this laugh is that as each “HA” gets closer to the exit, it gets smaller in size. My interpretation of this is the artist showing the reader that he is laughing as he leaves the restaurant and the sound of the laugh is getting quieter and quieter, further and further away. Another symbol I noticed on this page is the sweat droplets beside Yuko’s face on the bottom tier, first panel. I think these symbolize that she is worried or nervous for Shiro and his gastronome father’s relationship. Because of her reaction, it makes the reader feel what she is feeling and show the same amount of sympathy for Shiro. Although this specific comic episode is in black and white, the artist colored in the background of Yuko’s panel in solid black, which forces the reader to concentrate only on Yuko’s reaction, and not anything else that could be going on at the time.

I spent some time reviewing two background readings for the Japanese Cuisine series of manga, “Oishinbo’s Adventures in Eating” by Lorie Brau and “An Art of Tensions” by Charles Hartfield. I would first like to discuss “Oishinbo’s Adventures in Eating.” This reading goes further in depth and explains the sereis in a way that the reader can better understand. In the beginning of the manga book, it gives a brief description of the characters, but doesn’t say much more. One thing I found interesting is why Yuko may have been feeling a lot of sympathy for Shiro. We know that the two are partners in the Ultimate Menu Project, but the reading mentions that they share a passion of using food to save people from all the possible reasons they might be in distress. And oftentimes, “food can communicate feelings more effectively than can language” (pg. 44, Brau). The reading also pointed out that later on in the series, they develop a relationship, get married and have twins. This detail made me realize something about the layout of the page. In the top right corner, there is an image of Shiro and in the bottom left corner, there in one of Yuko. Interestingly enough, the picture of Yuzan is drawn in between the two. I believe this symbolizes their attraction to each other, but Yuzan and Shiro’s drama is getting between their relationship. Shiro must find a way to overcome that conflict in order to move forward with Yuko.

The second article, “An Art of Tensions,” focuses on the importance of the placement of each word balloon. Sometimes the artist draws them to overlap the sides of the panel, with rough edges and/or to be the only one in the panel. I think this relates back to the scene I analyzed because both the writer and artist did those exact things. The second idea discussed is how there are potential understandings and interpretations. Each reader and viewer can and will develop their own explanation for each panel or page. The writer or artist must do things to direct the reader in the right direction, otherwise, they could be sending mixed signals. On the page I analyzed, the writer used a specific language, such as, “HEH, HEH, HEH” and writes them in all capitals to symbolize the tone of voice. The artist drew in one panel what the restaurant looked like inside, which will help the reader visualize later events that take place there. The last major idea in the article that I am going to point out is the difference between pictures and words. Writers and artists know that some things are better said and other things are better illustrated. On page 133, Hartfield says, “…comics depend on a dialectic between what is easily understood and what is less easily understood; pictures are open, easy and solicitous, while words are coded, abstract and remote.” Relating back to my scene analysis, I think this is spot on. If we consider the first panel of the bottom tier, we are able to see Yuko’s facial expression and the emotions she is feeling. If the writer were to write in a word balloon how she is feeling, it wouldn’t be as moving as seeing her expression first hand. In the contrary, if we only saw Yuzan’s mouth open (third tier from the bottom), there could be numerous interpretations. But because the writer included his laugh through written words, it directs the reader in the right direction.

One important feature throughout the Oishinbo series is the presence of food. On this page specifically, there is only one image of food. Because there are so many close ups of the character’s faces and the fact that the food shown is small and in the distance, I think the writer and artist are trying to send a message. The most important take away of this scene is the drama between Shiro and his father. Although, food is why there is conflict, it’s not the most vital part. I believe the artist makes up for not showing food by including language, symbols and expressions to help the reader rely on their own experiences of eating and become more absorbed in the storyline. Usually, when looking at pictures or reading comics, our brain naturally develops these ideas. We make interpretations, predictions and analyses subconsciously, but without the intentional signs the artists or writer gives, there is no way we would be able to do that.