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Why spread leaks when you can spread screen caps of the most glorious match in Haikyu!!
A thread on and of the art of Seijō 2.
A thread on and of the art of Seijō 2.
First off, in this match there are not a lot of the more outlandish techniques that Furudate developed later on.
However, what make this match such a visual treat is the use of very thick lines,
(I love when ball paths are drawn with such thick lines. If memories serve, )
However, what make this match such a visual treat is the use of very thick lines,
(I love when ball paths are drawn with such thick lines. If memories serve, )
these are gone by nationals. They are sorely missed)
and the widely varying line weights (as in the difference between the thickest and the slimmest lines is more pronounced).
This lends dynamism to what is static by guiding our perception of weights, forces, and distance.
and the widely varying line weights (as in the difference between the thickest and the slimmest lines is more pronounced).
This lends dynamism to what is static by guiding our perception of weights, forces, and distance.
Slanted panels to simulate vertical dynamism.
For example, downward slant to the left to simulate how Hinata's at a higher point than Mattsun.
For example, downward slant to the left to simulate how Hinata's at a higher point than Mattsun.
Downward slant to the right to make readers feel that the ball is going down from the net on the left.
Downward slant to the left to highlight that Hinata's up in the air while Makki and Kindaichi are on the ground (you get the idea).
Mad Dog is drawn with much thicker lines here to show the force going into his spike.
Mad Dog is drawn with much thicker lines here to show the force going into his spike.
CARAVAGGIO WHO.
The dramatic lighting matches the narration. Shrouded in pitch black shadow, Seijō with Mad Dog is an unknown entity, ready to come out from darkness and take you by surprise.
The dramatic lighting matches the narration. Shrouded in pitch black shadow, Seijō with Mad Dog is an unknown entity, ready to come out from darkness and take you by surprise.
Oikawa positioned right in the middle of the banners is my favourite composition.
I love love the sfx. Its shadow really makes it 3d pop.
Kudos to Viz for keeping the spirit of the sfx intact.
I love the use of the banners as the Greek chorus (all these subtle uses so that Furudate-sensei can go all out in ch 400)
The shadow painting technique of my dream. The shadow doubles so well as motion lines.
This pair of panels gives the illusion of speed like no others.
In the first panel the ball hits the panel border. Immediately the second panel shows the ball hitting the net.
Readers couldn't help but conflate the panel border with the net.
In the first panel the ball hits the panel border. Immediately the second panel shows the ball hitting the net.
Readers couldn't help but conflate the panel border with the net.
It seems to us that a mere second after Yamaguchi serves, the ball reaches the net.
Again, shadow serving as motion lines gives us the impression of how forces come from Mad Dog's core into the spike.
The OG monster.
Furudate-sensei the horror manga artist is showing.
The best example of varying line weights and shadow as motion lines combo to depict movements.
To end on a high note, this is the best speech.
Side note: this is probably the only instance I would like to see 強 translated into "strong/strength", 最強 into "strongest" in sport context, given what we know of Ushijima's narrative later on.
