By Osamu Tezuka
The Eisner and Harvey WinnerIn this fourth quantity of the award-winning picture novel biography, Buddha slowly discovers that his future lies in a direction now not on hand to him. With fellow ascetics Dhepa who has whole religion within the purifying caliber of painful actual ordeals, and Assaji, who can expect everyone's dying to the hour, Buddha travels during the state of Magadha into the woodland of Uruvela, the place the center direction and Enlightenment wait past a chain of death-defying trials.Awake lower than the Pippala tree...
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Additional info for Buddha, Volume 4: The Forest of Uruvela
Paul Ward’s account privileges the de-familiarizing effect of such juxtaposition as it draws attention to the often overlooked but highly evocative effects of sound in live-action documentary, yet places an onus on the sound as a referential link. Even more insistent on such an indexical relationship, Jonathan Rozenkrantz emphasizes the role of audio recording as a crucial retainer of evidentiality in animated documentary. However, approaching this issue from a practitioner’s perspective, Samantha Moore (2013) challenges the latter view and the reductive reading of the indexical it draws on.
If the commonplace assumption and overriding convention guiding audience perception of documentary is tied to the recorded and moving image, this does little by way of offering a convincing link between documentary and the static and printed nonfiction narratives in comics. In order to account for the difference between an audience and reception-orientated study, one that would work only in relation to “historical genres” (Todorov, 1973, 13), and the undertaking of this project, I have chosen to exchange the notion of a mode of reception for a mode of address.
Hustling Sides” (Pekar, 2004, 59–63) and “Jack the Bellboy and Mr. Boats” (ibid, 64–69), also with Crumb, Harvey is distinguished by heavily sloped shoulders and notably large hands, while the depiction of some of his work colleagues exemplify the racial stereotyping for which Crumb has drawn criticism, recalling dominant visual tropes of racist depictions of African-Americans. The consistency in panel size and placing of characters, speech bubbles, and other elements within the panels sets a certain tone and pace—like a voice that, although not necessarily monotonous, is characterized by a certain regularity.