[Column] Music-like manga artist Keiichi Koike - Visual rhythm played by lines
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Prologue: The Line Rings - Keiichi Koike, a “musical manga artist”
Text: mmr｜Theme: Thoughts on the fact that Keiichi Koike’s manga is “comics that are like music”
Keiichi Koike’s manga is more like a listening experience than reading it. The quivering lines, the contrast between black and white, and the gaps in the page structure convey both silence and noise at the same time. In that sense, his manga can be called ““comics that are like music.’’
Chapter 1: Debut and early activities (1976–1983)
- 1976: Won the 12th Tezuka Prize for ““Urashima’’ and debuted as a manga artist. He is attracting attention as the youngest person to be selected.
- 1981: Moved to the United States and participated in commercial production at Richard Williams Animation Inc. Learn the importance of movement and rhythm through animation techniques.
- 1983: ““LANDED” published in Marvel’s ““Epic Illustrated.” Expand the range of visual expression by presenting your work internationally.
During this period, the foundations of temporal/rhythmic expression in line and screen composition were established.
Chapter 2: First book and SF expression (1986–1990)
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1986: First book “SPINOZA” published (Sakushasha). Characterized by philosophical themes and abstract visuals. By adjusting the density of lines, screen composition, and temporal rhythm, visual musicality is revealed.
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1988: Published ““Katajikenai” (Hakusensha) and ““G (GATE 1)” (Schola). The tense lines in the sci-fi setting and the expression of the human body are like musical polyrhythms.
Chapter 3: “ULTRA HEAVEN” – Music of hallucinations and consciousness (2002–)
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2002: “ULTRA HEAVEN” published (Enterbrain). The theme is hallucinatory experiences, splitting of consciousness, and altered sense of time. The page structure and panel layout function as a musical structure (repetition, variation, wave).
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2003: Publication of short story collection ““HEAVEN’S DOOR”, reprint of previously published ““G”. Precise lines and visual rhythms give the reader a musical experience.
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2005: Volume 2 of “ULTRA HEAVEN” published. Long-term serialization deepens the spiritual world and refines the composition and lines.
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2009: Volume 3 of “ULTRA HEAVEN” published. The new books released once every four years are a real drag to read.
Chapter 4: Characteristics of style and technique
Rhythm of lines
- Subtle fluctuations in the lines act as visual noise
- Dense lines act as a flood of sound, and blank spaces act as silence.
Musicality of frame division
- Repetition/variation/phase shift arrangement
- The rhythm changes page by page, and the reader’s eye movements are similar to a “musical performance”
Motif
- Life, consciousness, hallucinations, philosophical themes
- Depicting psychological and physiological rhythms through science fiction devices and human body expressions
Chapter 5: Cultural historical context
Keiichi Koike’s style resonates with Japanese science fiction manga and foreign science fiction art from the 1990s onwards.
- Katsuhiro Otomo’s information density and structural beauty
- Tsutomu Nihei’s physiological discomfort
- The otherworldly feeling of foreign science fiction writers (Moebius, Bilal)
While influenced by these influences, Koike is unique in that he translates consciousness and rhythm into a manga style.
Chapter 6: Comparison of work motifs and techniques
Motif: Philosophy/Consciousness
Technique: Abstract composition, density of lines
Musical metaphor: Minimal"]:::a B["G (1988)
Motif: Science fiction, life transformation
Technique: Tense dense lines
Music metaphor: Industrial"]:::b C["ULTRA HEAVEN (2002–)
Motif: Hallucination/expansion of consciousness
Technique: Wave structure of the entire page
Music metaphor: Psychedelic ambient"]:::c A --> B --> C classDef a fill:#1a1a1a,color:#fff; classDef b fill:#2a2a2a,color:#fff; classDef c fill:#3a3a3a,color:#fff;
Chapter 7: Chronology - Keiichi Koike’s trajectory
Final chapter: Music played by vision
Keiichi Koike’s manga is a musical experience of lines and spaces. With each turn of the page, the reader’s consciousness ripples and silence rings. It is not text or sound effects, but purely visual music.
“Lines are sound. White and black alternately play silence and noise.” - Keiichi Koike
