The creation of Japan is a chaotic story of deities and creatures spanning the entirety of the world; however, in my manga adaptation of this creation story, I reflect the idea of Izanagi and Izanami, two deities that fell in love. This story pertains to the time when Izanagi goes to the Underworld to search for Izanami. In this scenario, Izanagi finally found Izanami in the depths of the Underworld. But, what he didn’t count on was what her response to him being there. Izanami refused to be seen by Izanagi because she had been effected by the atmosphere of the Underworld, and her flesh began to decay slightly in some spots. Her emotional state of despair ended up releasing a deity of thunder whom chased Izanagi out of the Underworld.
This comic represents Izanagi’s landing in the underworld to take back his love, Izanami. Izanagi ends up locating Izanami in the underworld, and tries to take her with him and leave. But, this, to his surprise, did not pan out like he thought it would. Izanami was shocked by her mortality; she did not want Izanagi to see her in a deformed manner. Izanami’s emotional state and will had given rise to the deity of thunder, who appeared to ascend from her wounds and chase Izanagi out; however, the action of Izanagi escaping is not part of my comic, just the action of the thunder deity, whom I modeled partially after Rajin, the God of Thunder, coming forth to chase Izanagi.
For this comic, this small scene in particular, I utilized a few transitional methods to formulate the structure of the panels. For the most part, a scene-to-scene transition is used from the first page to the second. The reader transitions from the outside of the underworld, to inside the underworld, and finally making their way to Izanami, in which a different style of transition takes place: action-to-action. The scene illustrates the brief interaction between Izanami and Izanagi, whereas there is dialogue back and forth between the two until the thunder deity spawns. In a sense, the scene as a whole goes from a slower pace in which the reader is traveling briefly from the outside world into the underworld, and then transitions into a dialogue sequence that gets the plot going a little faster.
*Full Story: http://www.gly.uga.edu/railsback/CS/CSJapan.html
Rough Sketches of 2nd Page:
*These two pages are made to be read from right to left, instead of the traditional left to right.
Final Colored Version: