Ushio and Tora (Ushio to Tora) – Part Three: Visual Comparison

Ushio and Tora (Ushio to Tora) – Part Three: Visual Comparison

I don’t have a particular plan or structure for this post – it’ll mostly just be me pointing out what I think are interesting differences in art styles and approaches between the two series.

Not every scene is an exact one-to-one comparison either, though more than a few are. There are a couple of instances where I’ve found a panel or two from the manga as well, just to illustrate a point. At times, I might broaden the rambling a little but I’ll mostly try and keep it focused on the comparison.

(And a final note – I’m obviously not an artist so I won’t always know or use the proper vocab).

Actually, here’s the real final note – this has turned into a crazy-long post!

Meet Tora (and the Beast Spear)

Here’s a quick comparison of one moment in the scene where Ushio meets Tora: the first thing I noticed was the shot choice – the OVA goes with a side profile but the 2015 series introduced a slight angle, probably to give the Spear more prominence in the frame. As fans will know, ‘Tora’ is named so by Ushio due to his tiger-like appearance but I think in the OVA he’s a little more dog-like in the face? I like the blue of his eyes matching the cellar’s light. Both scenes go with darkness but the extra detail of blue blood appearing purple in the dim light is a nice touch in the new series.

Family is the most important thing, right?

As I mentioned in the reviews, Ushio and Tora plays to its demographic. That means, as with most YA/shonen fiction, the parents kinda need to be absent to let the adventure begin. In a lot of shonen featuring martial arts, there’s a pretty stern approach to discipline – and both OVA and 2015 play that aspect pretty similarly though 2015 is usually more dynamic with is composition.

Ushio forgets to return Asako’s notebook but homework is not the only trouble he’s in here.

The storyline difference in the way the scenes play out is how Ushio’s ability to transform and use the Beast Spear is hidden from his friends – the OVA builds up differently, whereas the 2015 has the girls barricade themselves quickly but I think what’s similar is interesting. Obviously, the designs are really close but basically ‘cleaner’. Mayuko’s eyes have become almost grey rather than kinda golden brown from the OVA. The poses are different enough but also evoke the same character shorthand – Asako looks like the hot-head and Mayuko is obviously more happy-go-lucky.

… I think this is going to be a longer post than I first thought 😀

So, I’m going to jump around between episodes now (as the above all came from episode 1) and perhaps close with some things that aren’t directly comparable but are still something I wanted to highlight anyway.

First flashback – and for the 2015 series, one that establishes the visual style to be used thereafter.

Here there’s a flashback from the creepy Nukekubi episode, which in the OVA is a fair bit more violent than the 2015 series, actually. But let’s get focused back on the visuals – I liked the costume match between the two but the low angle shot from the OVA is a little more dramatic, I think. The blood-tinted flashback in the new anime is really effective too, that and what seems to be a film grain effect.

These Nukekubi jerks are bad, bad news.

Above, the Nukekubi have an interesting shot that is essentially mirrored, and both versions of the series have them appear in similar ways but I prefer the OVA simply because it has the nice bonus of appearing to ‘melt’ into view.

Below, a quick comparison of a scene near the end of the episode where Tora discovers the joy of hamburgers – I was a little disappointed that in 2015 we don’t get to see him take a bite but the OVA uses a heavily stylised look, almost a ‘pencil strokes’ visible moment. In both, there’s still those ‘comedy-eyes’ visible thought 🙂

Ushio and Chinese exorcist Hyou talk – also an example of the way the OVA gives Ushio more of a ‘uniform’ but the 2015 branches out more re: costume.

Again the OVA presents the scene in a more stylised look that’s almost Impressionistic but here I really enjoyed the inverse symmetry between the characters. In one, Ushio has his back to the audience and in the other, Hyou is facing away. I also thought it was interesting that both artists framed the shot in similar ways – OVA with shadowy plants and in 2015 with the shadows of plants.

It does make me wonder whether the MAPPA team at least watched the original before storyboarding, so as to put such little references within, or whether one studio simply went closer to the manga’s blocking? I should check, actually – because I suspect this is at least somewhat true, since other scenes are often replicas of panels from the source.

Hello, Hyou

In this case I know the 2015 plays this moment (and the entire scene) far closer to the manga but I have a soft spot for the depth of field in the OVA, the blue on blue, the classic ‘half-shadow’ face so you know the character could be a bit morally ‘grey’. Also, his jacket looks better here 😀 The light in the new U&T is great too but it doesn’t have the same menacing, low-angle shot from the POV of the ‘street trash’ that Hyou is hunting.

Select scenes from the memories that haunt Hyou.

Now, I’ve been a bit selective here in what I choose to lift from each sequence and both are great, though I tend to prefer the OVA’s work for the most part. The 2015 sequence is subtler (which can be a real plus for sure) and darker in terms of the lighting, no doubt to fit in to the overall and previously established flashback-aesthetic but the OVA really spotlights his anguish with the stark red, white and black palette.

The beginning and end of a quarrel between Ushio and Asako.

Let’s lighten things up a touch – here the two scenes are pretty similar but in terms of character, I noticed the 2015 version had Ushio come to the realisation that he was being a fool while looking ‘off-screen’ to nothing but in the OVA he’s looking after Asako. Obviously, both scenes used romanticised colour and lighting but while the OVA features a bold gradient, the detail and lighting effects in the 2015 show are softer and offer more depth. You can also see again that while the new series keeps the hatching, it’s reduced.

Tora’s snack

So, apparently Tora gets bored and hungry enough to just bite the face off a shark in one of the ‘beach’ episodes? 😀 However, the 2015 series doesn’t have him get snacky before he encounters the monster of the week but again, the modern lighting techniques really sells the idea of a nice sunny day at the beach.

(Maybe this monster of a post should have been two? Oh well, I feel like I can’t stop now!)

The first four shots I use here are a little misleading because they suggest disunity via colour – the OVA will appear more unified at first glance but it’s not so pronounced in 2015. But the OVA does show that clash in detail common to older works, where the extra detail of something (the sea creature Ayakashi here) gives it the look of a static background piece, especially when compared to Tora and Umizatō. Later in the episode, there’s another ‘flipped’ moment and I like the way we’re told via the visuals, by the ‘muting’ of other holiday makers, that only Ushio can hear/see Umizatō.

Asako lays down the law.

The same episode also had some other interesting changes, this time in fight choreography. When Asako gets stuck in to some bullies it’s far more dynamic in terms of camera, cutting between close-ups, tilts and wider shots. Obviously I’m focusing a little ‘micro-level’ when I say the colour balance is great with the lifesaver. In the OVA it’s a bolder orange to contast with the paler background, whereas it becomes paler orange to contrast with the blue sky but also to pop against her swimsuit and his shirt in the recent adaptation.

Watching

Near the end of the OVA’s run is where Ushio and Tora meet the Kamaitachi Siblings. Their character design is tweaked among the most I think, especially Kagari – who in the 1990s has the ‘big hair/tiny mouth’ thing going on. A key scene near the end of the Kamaitachi arc is very similar but the hatching has actually increased in the 2015 version:

Ushio protects the siblings from being crushed. Tears feature in the 2015 one too but I have this screenshot instead, for some reason. I noticed his eye colour has changed too.

Okay!

That’s about it for the actual comparison part, hope there was some interesting bits in there, despite the long post (which hasn’t ended either!).

The next two sections are mostly just an appreciation of the character design and visual style of the villain, after a quick detour to check in with Hyou from the manga. I nearly screen-capped this fight as the final panel appears in 2015 but not 1992.

Here’s a few images, all but one from the 2015 Ushio and Tora, of the many disturbing faces of villain Hakumen – the effect of utter, utter unhinged weariness is achieved so well by the cross hatching and disproportionate eye and teeth, or the mass concentration of lines elsewhere. Enjoy – if you can!

(If you got through this post, congratulations – I am impressed you were able to put up with me for so long, but also thanks, since these last few posts took me three days :D)

2 thoughts on “Ushio and Tora (Ushio to Tora) – Part Three: Visual Comparison

  1. Pingback: The Review Heap: 2020 Direction(s) – The Review Heap

  2. Pingback: Jon’s Creator Showcase – Second Anniversary Edition & Best of the Decade – Jon Spencer Reviews

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