Bestselling author | Drawing the Avatar: The Last Airbender comics | Wrote a few Dragon Prince graphic novels | Also other things | website: https://peterwartman.com/
I'm thrilled to reveal the cover for THE PALE QUEEN, my new graphic novel!
A dark fairy tale, the story follows aspiring young astronomer Agatha as she becomes entangled with a mysterious entity from the woods known only as the Lady.
The book will be on shelves this June! You can preorder now wherever you like to get books.
Cross-posting an essay I wrote for my Patreon since the post is free and open to the public.
Hello everyone! I hope you're relaxing as best you can this holiday season. I recently went to see Miyazaki's latest Ghibli movie, The Boy and the Heron, and I had some thoughts about it. If you're into art historical allusions and gently cranky opinions, please enjoy. I've attached a downloadable PDF in the Patreon post if you'd prefer to read it that way. Apologies for the formatting of the endnotes! Patreon's text posting does not allow for superscripts, which means all my notations are in awkward parentheses. Please note that this writing contains some mild spoilers for The Boy and the Heron.
Hayao Miyazakiās 2023 feature animated film The Boy and the Heron reads as an extended meditation on grief and legacy. The Master of a grand tower seeks a descendant to carry on his maddening duty, balancing toy blocks of magical stone upon which the entire fabric of his little pocket of reality rests. The worldās foundations are frail and fleeting, and can pass away into the cold void of space should he neglect to maintain this task. The Masterās desire to pass the torch undergirds much of the filmās narrative.
(Isle of the Dead. Arnold Bƶcklin. 1880. Oil on Canvas. Kunstmuseum. Basel, Switzerland.)
Arnold Bƶcklin, a Swiss Symbolist(1) painter, was born on October 16 in 1827, the same year the Swiss Evangelical Reformed Church bought a plot of land in Florence from the Grand Duke of Tuscany, Leopold II, that had long been used for the burials of Protestants around Florence. It is colloquially known as The English Cemetery, so called because it was the resting place of many Anglophones and Protestants around Tuscany, and Bƶcklin frequented this cemeteryāhis workshop was adjacent and his infant daughter Maria was buried there. In 1880, he drew inspiration from the cemetery, a lone plot of Protestant land among a sea of Catholic graveyards, and began to paint what would be the first of six images entitled Isle of the Dead. An oil on canvas piece, it depicts a moody little island mausoleum crowned with a gently swaying grove of cypresses, a type of tree common in European cemeteries and some of which are referred to as arborvitae. A figure on a boat, presumably Charon, ferries a soul toward the island and away from the viewer.
(Photo of The English Cemetery in Florence. Samuli Lintula. 2006.)
The Isle of the Dead paintings varied slightly from version to version, with figures and names added and removed to suit the needs of the time or the commissioner. The painting was glowingly referenced and remained fairly popular throughout the late 19th and early 20th centuries. The painting used to be inescapable in much of European popular culture. Professor Okulicz-Kozaryn, a philologist (someone with a deep interest in the ways language and cultural canons evolve)(2) observed that the painting, like many other works in its time, was itself iterative and became widely reiterated and referenced among its contemporaries. It became something like Romantic kitsch in the eyes of modern art critics, overwrought and excessively Byronic. I imagine Miyazaki might also resent a work of that level of manufactured ubiquity, as Miyazaki famously held Disney animated films in contempt (3). Miyazakiās films are popularly aspirational to young animators and cartoonists, but gestures at imitation typically fall well short, often reducing Miyazakiās weighty films to kitschy images of saccharine vibes and a lazy indulgence in a sort of empty magical domestic coziness. Being trapped in a realm of rote sentiment by an uncritical, unthoughtful viewership is its own Isle of Death.
(Still from The Boy and the Heron, 2023. Studio Ghibli.)
The Boy and the Heron follows a familiar narrative arc to many of Miyazakiās other films: a child must journey through a magical and quietly menacing world in order to rescue their loved ones. This arc is an echo of Satsukiās journey to find Mei in My Neighbor Totoro (1988) and Chihiroās journey to rescue her parents Spirited Away (2001). To better understand Miyazakiās fixation with this particular character journey, it can be instructive to watch Lev Atamanovās 1957 animated film, The Snow Queen (4)(5), a beautifully realized take on Hans Christian Andersenās 1844 childrenās story (6)(7). Mahitoās journey continues in this tradition, as the boy travels into a painted world to rescue his new stepmother from a mysterious tower.
Throughout the film, Miyazaki visually references Isle of the Dead. Transported to a surreal world, Mahito initially awakens on a little green island with a gated mausoleum crowned with cypress trees. He is accosted by hungry pelicans before being rescued by a fisherwoman named Kiriko. After a day of catching and gutting fish, Mahito wakes up under the fisherwomanās dining table, surrounded by kokeshiālittle wooden dollsāin the shapes of the old women who run Mahitoās familyās rural household. Mahito is told they must not be touched, as the kokeshi are wards set up for his protection. There is a popular urban legend associated with the kokeshi wherein they act as stand-ins for victims of infanticide, though there seems to be very little available writing to support this legend. Still, itās a neat little trick that Miyazaki pulls, placing a stray reference to a local legend of unverifiable provenance that persists in the popular imagination, like the effect of fairy stories passed on through oral retellings, continually remolded each new iteration.
(Still from The Boy and the Heron, 2023. Studio Ghibli.)
Kirikoās job in this strange landscape is to catch fish to nourish unborn spirits, the adorable floating warawara, before they can attempt to ascend on a journey into the world of the living. Their journey is thwarted by flocks of supernatural pelicans, who swarm the warawara and devour them. This seems to nod to the association of pelicans with death in mythologies around the world, especially in relationship to children (8). Miyazakiās pelicans contemplate the passing of their generations as each successive generation seems to regress, their capacity to fulfill their roles steadily diminishing.
(Still from The Boy and the Heron, 2023. Studio Ghibli.)
As Mahitoās adventure continues, we find the landscapes changing away from Bƶcklinās Isle of the Dead into more familiar Ghibli territories as we start to see spaces inspired by one of Studio Ghibliās aesthetic mainstays, Naohisa Inoue and his explorations of the fantasy realms of Iblard. He might be most familiar to Ghibli enthusiasts as the background artists for the more fantastical elements of Whisper of the Heart (1995).
(Naohisa Inoue, for Iblard Jikan, 2007. Studio Ghibli.)
By the time we arrive at the climax of The Boy and the Heron, the fantasy island environment starts to resemble English takes on Italian gardens, the likes of which captivated illustrators and commercial artists of the early 20th century such as Maxfield Parrish. This appears to be a return to one of Bƶcklinās later paintings, The Island of Life (1888), a somewhat tongue-in-cheek reaction to the overwhelming presence of Isle of the Dead in his life and career. The Island of Life depicts a little spot of land amid an ocean very like the one on which Isle of the Deadās somber mausoleum is depicted, except this time the figures are lively and engaged with each other, the vegetation lush and colorful, replete with pink flowers and palm fronds.
(Island of Life. Arnold Bƶcklin. Oil on canvas. 1888. Kunstmuseum. Basel, Switzerland.)
In 2022, Russiaās State Hermitage Museum in Saint Petersburg acquired the sixth and final Isle of the Dead painting. In the last year of his life, Arnold Bƶcklin would paint this image in collaboration with his son Carlo Bƶcklin, himself an artist and an architect. Arnold Bƶcklin spent three years painting the same image three times over at the site of his infant daughterās grave, trapped on the Isle of the Dead. By the time of his death in 1901 at age 74, Bƶcklin would be survived by only five of his fourteen children. That the final Isle of the Dead painting would be a collaboration between father and son seemed a little ironic considering Hayao Miyazakiās reticence in passing on his own legacy. Like the old Master in The Boy and the Heron, Miyazaki finds himself with no true successors.
The Master of the Tower's beautiful islands of painted glass fade into nothing as Mahito, his only worthy descendant, departs to live his own life, fulfilling the thesis of Genzaburo Yoshinoās 1937 book How Do You Live?, published three years after Carlo Bƶcklinās death. In evoking Yoshino and Bƶcklinās works, Hayao Miyazakiās The Boy and the Heron suggests that, like his character the Master, Miyazaki himself must make peace with the notion that he has no heirs to his legacy, and that those whom he wished to follow in his footsteps might be best served by finding their own paths.
(Isle of the Dead. Arnold and Carlo Bƶcklin. Oil on canvas. 1901. The State Hermitage Museum. Saint Petersburg, Russia.)
INFORMAL ENDNOTES
1 - Symbolists are sort of tough to nail down. They were started as a literary movement to 1 distinguish themselves from the Decadents, but their manifesto was so vague that critics and academics fight about it to this day. The long and the short of it is that the Symbolists made generous use of a lot of metaphorical imagery in their work. They borrow a lot of icons from antiquity, echo the moody aesthetics from the Romantics, maintained an emphasis on figurative imagery more so than the Surrealists, and were only slightly more technically married to the trappings of traditionalist academic painters than Modernists and Impressionists. They're extremely vibes-forward.
2 - Okulicz-Kozaryn, RadosÅaw. Predilection of Modernism for Variations. Ciulionis' Serenity among Different Developments of the Theme of Toteninsel. ACTA Academiae Artium Vilnensis 59. 2010. The article is incredibly cranky and very funny to read in parts. Contains a lot of observations I found to be helpful in placing Isle of the Dead within its context.
3 - "From my perspective, even if they are lightweight in nature, the more popular and common films still must be filled with a purity of emotion. There are few barriers to entry into these films-they will invite anyone in but the barriers to exit must be high and purifying. Films must also not be produced out of idle nervousness or boredom, or be used to recognise, emphasise, or amplify vulgarity. And in that context, I must say that I hate Disney's works. The barrier to both the entry and exit of Disney films is too low and too wide. To me, they show nothing but contempt for the audience." from Miyazaki's own writing in his collection of essays, Starting Point, published in 2014 from VIZ Media.
4 - You can watch the movie here in its original Russian with English closed captions here.
5 If you want to learn more about the making of Atamanoy's The Snow Queen, Animation Obsessive wrote a neat little article about it. It's a good overview, though I have to gently disagree with some of its conclusions about the irony of Miyazaki hating Disney and loving Snow Queen, which draws inspiration from Bambi. Feature film animation as we know it hadonly been around a few decades by 1957, and I find it specious, particularly as a comic artistand author, to see someone conflating an entire form with the character of its content, especially in the relative infancy of the form. But that's just one hot take. The rest of the essay is lovely.
6 - Miyazaki loves this movie. He blurbed it in a Japanese re-release of it in 2007.
7 - Julia Alekseyeva interprets Princess Mononoke as an iteration of Atamanov's The Snow Queen, arguing that San, the wolf princess, is Miyazaki's homage to Atamanoy's little robber girl character.
8 - Hart, George. The Routledge Dictionary of Egyptian Gods And Goddesses. Routledge Dictionaries. Abingdon, United Kingdom: Routledge. 2005.
With all the talk about Twitter and social media going on, I felt really inspired to do a comic about RSS feeds. This is a really barebones guide but I hope it helps you stay updated with your favourite webcomics, artists and websites.
The nice thing about RSS feeds is that almost any kind of site has one, so if you wanted you could add user feeds from tumblr, twitter, mastodon, etc. hereās some helpful guides on how to add those (1) (2)
I hope you found this little guide helpful. Iām just a simple guy whoās passionate about RSS feeds, comics and staying updated using both. Go forth and make the feed of your dreams!
Topaz Comics | Topaz Comics RSS | Art Blog |Ā Art Blog RSS
I screamed when I found out Jey had made a whole comic about RSS feeds because I LOVE RSS. I use NetNewsWire for keeping up with blogs and webcomics and even newsletters and I love it to bits. (To convert an email newsletter to an RSS feed, check out Kill the Newsletter.)
If you use RSS, too, there are two feeds you can subscribe to from me:
General Blog (writing, images, news, thoughts)
and
WORDS (like a bespoke dictionary updated every time I learn a new word from something Iām reading or someone Iām talking to)
Hi Peter, I'm wondering if you've abandoned the Stonebreaker comic or have any plans to continue publishing it?
I unfortunately haven't had the time to work on it for the past few years (although there are about a dozen never-released pages and a bunch of script notes I have laying around), but I'd still like to finish it some day! It's going to be a while though: it's just not something that ever made me enough money to focus on. Paid work has to take priority (although I am pretty dang happy with the things I'm working on now!).
A common tale with webcomics, unfortunately. We were all too ambitious.
edit: Oh god, my last update was in 2018? I guess it's been longer than a "few" years.
