| More often, rather than redrawing entire pages, Miyazaki added panels to his existing work. These additional "wide angle" panels usually had the effect of inserting visual space amidst very dense, almost congested story telling. With the subjects of the larger panels less confined, Miyazaki was able to give a clearer sense of each subjects' proximity to one another and convey their movement more easily. |
| Below, the additional panels transform one page into two... |
| Animage 1984/12, (volume 78), page 204 (original publication) |
Volume 3 - page 136 (UP# 384) (revision) |
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| Volume 3 - page 137 (UP# 385) (revision) |
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| And two pages into three... |
| Animage 1994/3, (volume 189), page 196 (original publication) |
Volume 7 - pps. 214-215 (UP# 1051-1052) (revision) |
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| Volume 7 - page 216 (UP# 1053) (revision) |
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If reading this article made you feel cheated because the Animage version isn't available, fear not. The collected edition really is the more complete telling of the saga; more panels, more pages, plus scenes as Miyazaki wanted them to be seen. The thrust of this article was to provide a rare opportunity to compare Miyazaki's 2nd-to-last draft, which was good, with his final draft, which is just that much better.
| ACKNOWLEDGMENTS AND GRATITUDE A humble bow of thanks to Andrew Osmond for additional pages and keen observations. A deep debt of gratitude to Lawrence Lin for his talents and equipment. Without his constant good natured assistance doing the scans and layout, this article never would have gotten off the ground. |
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