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Japanese manga has developed its own visual language or iconography for expressing emotion and other internal character states. This drawing style has also migrated into anime, as many manga stories are adapted into television shows and films. While this article addresses styles from both types of output, the emphasis here is on the manga origins for these styles.
The popular and recognizable style of manga is very distinctive. Emphasis is oft placed on line over form, and the storytelling and panel placemt differ from those in Western comics. Impressionistic backgrounds are very common, as are sequces in which the panel shows details of the setting rather than the characters. Panels and pages are typically read from right to left, consistt with traditional Japanese writing.
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Because manga is a diverse art form, however, not all manga artists adhere to the convtions most popularized in the West through series such as Akira, Sailor Moon, Dragon Ball, and Ranma ½.
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While the art can be incredibly realistic or cartoonish, characters oft have large eyes (female characters usually have larger eyes than male characters), small noses, tiny mouths, and flat faces. Psychological and social research on facial attractivess has pointed out that the presce of childlike, neotous facial features increases attractivess.
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Manga artists oft play on this to increase the appeal of protagonists. Large eyes have become a permant fixture in manga and anime since the 1960s wh Osamu Tezuka was inspired by Disney cartoons from the United States and started drawing them in this way.
Furthermore, inside the big eyes, the transpart feeling of pupils and the glares, or small reflections in the corners of the eyes are oft exaggerated, regardless of surrounding lighting, although they are only prest in living characters: the eyes of characters who have died are the color of the iris, but darker. Sometimes this death effect is also used to indicate characters who are emotionless due to trauma or loss of conscious control because of possession (ghost, demon, zombie, magic, etc.). In characters with hair partially covering the face, the eyes that would otherwise be covered are oft outlined to make them visible, ev wh the hair is particularly dse and dark.
Eye shape and size can be exaggerated or changed altogether. Love-hearts and doe-eyes indicate an infatuation, while stars indicate that the character is star-struck. Spirals indicate dizziness
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Or overwhelming confusion, while flames or wide empty semicircles indicate that the character is angry or vgeful. Wh dead, unconscious or stunned, X X sometimes used as an indication of the state, comically or euphemistically.
Eyes may be replaced with > < to represt a variety of emotions, such as nervousness, embarrassmt, or excitemt. Eyes without pupils and with reflective glints indicate a state of delirium.
Largemt of the eyes, where they become huge and perfectly round with tiny pupils and no iris and going beyond the reach of the face (oft shown with the mouth becoming like a stretched semicircle, the point of which extds past the chin) symbolises extreme excitemt. Similarly, turning eyes into two thick half-circles, conveys a cute, delighted look (see Character design section below).
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The character's eye shapes and sizes are sometimes symbolically used to represt the character. For instance, bigger eyes will usually symbolize beauty, innocce, or purity, while smaller, more narrow eyes typically represt coldness and/or evil. Completely blacked eyes (shadowed) indicates a vgeful personality or underlying deep anger. It could also indicate that someone's being a wise-guy type, particularly wh accompanied by grinning. A character's eyes are shadowed regardless of the lighting in the room wh they become angry, upset, something is wrong with them, or they are emotionally hurt. Bubbles forming in the corner of a child's or female character's eyes oft indicate that the character is about to cry.
Mouths are oft depicted as small, usually rdered with one line on the face. A fang peeking from the corner of the mouth indicates mischief or feistiness (unless, of course, the character has fangs normally). A cat mouth (like a number 3 rotated 90° clockwise) replacing the character's normal mouth, and usually accompanied by larger eyes may also represt mischief or feistiness (a notable exception being Konata Izumi from Lucky Star, whose usual mouth shape is this).
Again, noses are oft depicted as small, with only a brief L-shaped mark to locate them. With female characters, the nose can sometimes be removed completely wh the character is facing forward. In profile, female noses are oft button shaped, consisting of little more than a small triangle. A nosebleed indicates sexual excitation following exposure to stimulating imagery or situation. It is based on a Japanese old wives' tale.
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Cruciform popping veins above eye on the left and large sweat drop above eye on the right with eyes closed and eyebrows curved indicating the person is both confused and annoyed by something another person has said
Sweat drops are a common visual convtion. Characters are drawn with one or more promint beads of sweat on their brow or forehead (or floating above the hair on characters whose back is turned). This represts a broad spectrum of emotions, including embarrassmt, exasperation, confusion, dismay and shock, not all of which are necessarily considered to be sweat-inducing under normal conditions.
Actual physical perspiration in manga is signified by ev distribution of sweat drops over the body, occasionally on top of clothing or hair.
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These shapes can sometimes be exaggerated, and placed on top of hair wh the character is facing away from the viewer. Further throbs indicate additional anger. However, some manga such as Doraemon use smoke puffs to represt anger rather than the vein insignia.
While oval blush dots on the cheeks represt rosy cheeks. This can sometimes be confused with a scribble on the cheek, indicating injury. Sometimes wh the character is expressing strong emotions, such as sadness, a long blush through the nose would appear.
If the lines are wavy, they may represt disgust. A far cuter way to represt frustration/mortification is (mainly for female/young female characters) that they td to puff out their cheeks while their line is delivered in a gruff voice, an elongated 3 showing puffed lips, to emphasize that puffed look.
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Hair color of anime characters is not randomly selected. In some cases its color can express significant elemts of that character's personality, based on color symbolism in Japan.
To better elicit a more emotional response with the audice for a certain character, a manga artist or animator will sometimes use certain traits in the character's design. The most common features include youthfulness as a physical trait (younger age or pigtails) or as an emotional trait such as a naive or innoct outlook, a childlike personality, or some obvious sympathetic weakness the character works hard to correct (extreme clumsiness or a life-threating disease) but never really succeeds to get rid of.Transluct (トランスルーセント―彼女は半透明 , Toransurūsto: Kanojo wa Hantōmei , Transluct: She is Transluct) is a Japanese sein manga series writt by Kazuhiro Okamoto and serialized in Comic Flapper. It was licsed by Dark Horse Comics for glish language release in the North America in July 2007.
The protagonist of the series is a shy young girl named Shizuka and her outgoing male frid Mamoru. The series revolves around Shizuka's high school life after she contracts Transluct Syndrome, a mysterious condition which has only one symptom: The victim's body randomly turns transluct (and later completely invisible), but is otherwise left perfectly normal and healthy. Unfortunately for Shizuka, there is no known cure or treatmt for Transluct Syndrome, other than it is tied to the emotional state of the person affected; positive emotions like happiness and love cause it to retract, negative emotions like stress and sadness cause it to accelerate.
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Initially Shizuka's condition only affects her arms and legs, and only partially, at seemingly randomly times and durations. However, as it worss it begins to affect her tire body, leaving her increasingly more transluct and for increasingly longer random periods of time. Shizuka is also in danger of gaining Fully Transpart Syndrome, or otherwise having her transluccy become permant, which will occur if she spds too long a stretch in her transluct stage. Fully Transpart Syndrome is marked by complete and permant invisibility, rather than the temporary partial invisibility of the normal syndrome.
The fictional condition is used in the series as a metaphor for the common childhood anxiety of feeling lonely and disconnected from other people, as well as—through the threat of the condition worsing—a fear of growing up.
Which cuts her off from both normal social interaction with her peers, and from her dreams of becoming a stage actress. Shizuka is very talted for
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