Abstract
ABSTRACTUsing the methodological tools of textual analysis, this article examines the use of structural variance, or fluidity, used to depict narrative comic book production’s most basic subject matter – figures and spaces – in Osamu Tezuka’s Ode to Kirihito. By tracing this fluidity, it is argued here that this exemplary work can be understood as a meditation on the unique affordances and limitations of comic book and line art imposed by both institutional and material contexts. Specifically, tracking Ode to Kirihito’s shifting use of line work and detail as a structural variable reveals a systematic refusal to align representational style with subject matter, highlighting fluidity and change as essential aesthetic resources in comic books.
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