こんにちは。以前読んでいた「闇の国々」シリーズの2巻を最近また電子書籍で買って読んでいます。絵がとにかく上手いです。絵が上手すぎて読んでいく内に麻痺してしまうくらい上手いです。同じバンド・デシネのメビウスの影響も少し感じました。しかしメビウスと違うところは、メビウスは晩年に空想を突き詰めたのに対して、この「闇の国々」ではあくまで現実を究極まで漫画の世界に落とし込んだ、ということがあると思います。しかも作画のフランソワ・スクイテンはアシスタントを使わずに1人でこれを描いたというから、驚きです。どこの国でもどんなジャンルにもこういう天才は居るのだと思います。日本でいえば、ながやす巧の「沙流羅」（1990）とかも原作は大友克洋ですが、この「闇の国々」のような緻密な描き込みが1人で成されています。漫画に限らずいえば音楽でも奥田民生の「OTRL」（2010）のように1人で全てやってしまうことは、膨大な作業量を度外視すれば、誰しもが思い描くことです。まあ大抵は出来ないか、クオリティが低いものになりがちですが、稀に全て出来る天才が居るのですね。最近瀬戸弘司の動画をまた観ているのですが、彼も編集を他人に委託するかどうかで悩んでいたそうです。他人に委託すればコンスタントに動画が作れますが、それでは今の職人のような面白さが失わられます。何故僕が瀬戸弘司が好きなのかというと、こういう悩みが僕と被っているからだということに気付きました。
最近矢野顕子をまた聴き出して、その流れでかつて彼女が所属していた「YMO」（Yellow Magic Orchestra）を聴いてます。YMOは細野晴臣、坂本龍一、高橋幸宏の3人を主軸としたバンドです。この3人は結果的にその後の日本の音楽史に残る錚々たる顔ぶれになりました。YMO以前にも細野晴臣は「はっぴいえんど」、高橋幸宏は「サディスティック・ミカ・バンド」など既に凄い経歴を持っていた3人が出会い、音楽が生まれたことは運命的で奇跡的です。YouTubeに1979年にYMOのライブ映像がありますが、個人的に一番好きなライブです。日本を背負っている感じもありますし、何より皆若いです。新進気鋭、丁度高度経済成長期が終わって、日本全体が沈んでいた時だったと思いますが、まだまだ日本人は世界で通用することを表しているような気がします。楽曲で言えば僕は「RYDEEN」とか「TONG POO」とかが好きなのですが、機械的な音の裏で切ない旋律を奏でるピアノや、ドラムのタムの間抜けな音が好きです。あの間抜けなタムは矢野顕子も「ごはんができたよ」（1980）で使っていました。単体で聴くとただの間抜けな音ですが、複雑な楽曲の上で聴くと格好良く聴こえるから不思議です。
Hello. I recently bought and read two volumes of the "Dark Lands" series that I had read before in an ebook. The picture is good anyway. The picture is so good that I get paralyzed as I read it. I also felt the influence of Mobius of the same bande dessinée. However, what is different from Mobius is that while Mobius pursued fantasy in his later years, in this "land of darkness", reality was brought to the ultimate in the world of comics.However, what is different from Mobius is that while Mobius pursued fantasy in his later years, in this "land of darkness", reality was brought to the ultimate in the world of manga. What's more, François Schuiten, who drew it, was surprised that he drew this by himself without using an assistant. I think there are such geniuses in every genre in every country.Speaking of Japan, Nagayasu Takumi's "Salura" (1990) is also based on Katsuhiro Otomo, but this detailed drawing like "Dark Country" is made by himself. Not only comics, but also music is to do everything by yourself like Tamio Okuda's "OTRL" (2010), which is something everyone envisions if you don't look at the huge amount of work. Well, I don't usually do it, but there are geniuses who can do everything in rare cases. Recently, I've been watching Koji Seto's video again, but he was also worried about whether to entrust the editing to others. If you entrust it to someone else, you can make a video constantly, but that will lose the fun of the current craftsman.The reason why I like Koji Seto is because I'm suffering from this kind of trouble.
Recently, I've heard Akiko Yano again, and I'm listening to the "YMO" (Yellow Magic Orchestra) that she used to belong to. YMO is a band centered on Haruomi Hosono, Ryuichi Sakamoto and Yukihiro Takahashi. As a result, these three became prominent faces that remained in the subsequent Japanese music history. Even before YMO, Haruomi Hosono met three people who already had great careers such as "Happy End" and Yukihiro Takahashi "Sadistic Mika Band", and it is fateful and miraculous that music was born. There is a live video of YMO on YouTube in 1979, but it's my favorite live performance personally. I feel like I'm carrying Japan on my back, and above all, everyone is young. Up-and-coming, I think it was just the end of the high economic growth period and the whole of Japan was sinking, but I still feel that Japanese people are still showing that it can be used in the world.Speaking of songs, I like "Rydeen" and "Tong Poo", but I like the piano that plays a sad melody behind the mechanical sound and the stupid sound of drums. . That stupid Tam was also used by Akiko Yano in "I'm ready to eat" (1980). It's just a stupid sound when you listen to it alone, but it's strange because it sounds cool when you listen to it on complex songs.
