Baku YumemakuraCritiques
Auteur de Le Sommet des dieux, tome 1
Critiques
The Summit of the Gods par Baku Yumemakura
Prima o poi cadro’... ma fino a quel giorno continuero’ a scalare. (241)
Habu si apprestava a entrare nella terra degli Dei…(305)
Perche’ un uomo … decide di scalare una montagna? (322)
«Camminare per me significa entrare nella natura. Ed è per questo che cammino lentamente, non corro quasi mai. La Natura per me non è un campo da ginnastica. Io vado per vedere, per sentire, con tutti i miei sensi. Così il mio spirito entra negli alberi, nel prato, nei fiori. Le alte montagne sono per me un sentimento».
Reinhold Messner
La montagna era interamente ricoperta di neve.
Il mio respiro bianco.
Procedevo lentamente, senza preoccupazioni...
Avevo le racchette, ma la neve arrivava fino alle ginocchia. Non c'era traccia del passagggio di altre persone. Nessuna impronta di animali.
Da tempo non mi sentivo cosi' libero.
Alzai gli occhi verso il cielo. Un blu limpido e lontano...
La neve scendeva leggera, come tracciata da un pennello. Vidi un uccello. Solo la sua silhouette, forse era un'aquila... solcava il vento tracciando ampi cerchi, probabilmente in cerca di una preda sul pendio innevato.
E guardandola divenni io stesso aquila. In volo, libero dalla forza di gravita'. Vidi le alpi come lei le aveva sempre viste. Un magnifico intreccio argentato... Il bianco iridescente della neve mi abbaglio' per un istante.
Le montagne innevate sono uno spettacolo stupendo e maestoso.
Mi voltai e scorsi una foresta di conifere. Nel silenzio, tesi le orecchie. Aguzzai la vista. Qualcosa si muoveva ai margini della foresta, era bianco, un bianco abbagliante che si confondeva con quello della neve. Una lepre bianca...
C'era un solo posto come quello in tutto il mondo... sfiorato dall'immensita' del cielo.
Il tetto del mondo... (p. 331)
La montagna in inverno non ha poi molri colori. Quelli predominanti sono solamente tre. Il primo e' il bianco della neve che copre tutto. L'azzurro del cielo sereno nelle belle giornate. Infine, il verde degli alberi...Alla montagna non serve altro. (p. 346)
i venti della stratosfera…
In questa gelida atmosfera
il tempo sembra fermarsi,
avvolto nell’abbraccio della neve. (20)
Il vento
soffiava sulla tenda…
Forse,
in quell’istante
delle imponenti
divinita’ induiste
scendevano dal
cielo…
… danzando
tra le correnti
atmosferiche. (72)
Non sono
molti gli
uomini degni di
raggiungere
quella vetta e
parlare con
il cielo… (129)
“Quando
avrai scalato
la parete
sud ovest…”
“... cosa
pensi ti
aspetti in
cima?”
“Niente.” (171)
La montagna era come
un animale selvaggio…
… un animale
ululante…
… con gli occhi
spalancati nel
buio della
notte…
… e Habu e Fukamachi
si trovavano nel
suo ventre. (286)
The story wraps up with more thrilling mountain climbing sequences, a few too many hallucinations, and some satisfying if tragic revelations.
And really, no matter how good the story, they could just strip out all the words and I'd be happy to just view Taniguchi's pictures of little men on big rocks.
What I mostly remembered about this book over the intervening years is the artwork. Taniguchi magically transforms little comic book panels into IMAX screens, hanging you off the side of the world's highest mountains.
While the dialogue is a bit stiff, and this volume has several proofreading errors, the story does a pretty good job of living up to the art. In the 1990s we follow a photojournalist, Makoto Fukamachi, who thinks he may have stumbled across a clue in Kathmadu, Nepal, that could help solve the mysterious disappearance of George Mallory and Sandy Irvine during the 1924 British Mount Everest expedition. As he investigates, Fukumachi crosses paths with a mysterious and legendary Japanese mountain climber of the 1970s and '80s named Jouji Habu, who may be key to breaking the case.
The book is filled multiple literal cliffhangers as we follow Habu's early career and watch his obsessiveness drive him to spectacular heights while his bluntness alienates him from his fellow mountaineers.
Photographer Makoto Fukamachi followed the legendary climber Jouji Habu to Mount Everest to document one of the most difficult and dangerous ascents to ever be attempted: a solo climb of the southwest face in the winter without oxygen. The agreement between them was that neither one of the men would interfere with the other's climb no matter what happened. But when Fukamachi's life is in danger Habu rescues him anyway, putting his own life and the success of his ascent at risk. Fukamachi ultimately survives, returning to Japan to find a media frenzy; not only was Habu an infamous climber, his assault on Everest was an illegal one. And then there's the matter of the camera that Habu had in his possession. Believed to have belonged to George Mallory, it draws considerable attention once its existence comes to light. Fukamachi's connection to Habu and to the camera makes him a person of interest as well. Even without the additional scrutiny from the public he would find readjusting to a normal life after his fateful Everest climb to be challenging if not impossible.
Three stories have become irrevocably intertwined in The Summit of the Gods: the story of George Mallory and Andrew Irvine's' final climb and disappearance on Mount Everest, the story of Jouji Habu's efforts to become the greatest known climber more for himself than for any sort of fame, and the story of Makoto Fukamachi as he strives to untangle his own feelings about climbing and about life by trying to unravel the mysteries surrounding those of the others. The Summit of the Gods can be read in two different ways. It can be approached simply as a compelling tale of adventure and survival or, either alternatively or simultaneously, as a stunning metaphor for any human struggle against seemingly overwhelming odds. Climbing requires great physical and mental fortitude, and life can be just as demanding. The characters in The Summit of the Gods not only pit themselves against nature, they challenge themselves to overcome their own personal weaknesses and limitations.
Facing oneself—being able to objectively recognize the extent of one's own abilities and admit the possibility of failure—isn't necessarily an easy thing to do. It can also be a very lonely thing. This, too, is emphasized in The Summit of the Gods through Yumemakura's writing and Taniguchi's artwork. Even when working together, the climbers must ultimately rely on themselves and can only trust and depend on others so far. In the end they face the mountain and face their personal demons alone. The characters also show a constant struggle against their own insignificance, a hard-fought battle to find meaning in their lives. Taniguchi's vistas are gorgeous and sweeping, showing just how small a person is in comparison to the rest of the world. But this also makes the climbers' perseverance and achievements all the more remarkable. The Summit of the Gods is a phenomenal work with great writing and fantastic art, effectively telling a thrilling drama that also has great depth to it.
Experiments in Manga
For the past several years the legendary Japanese mountain climber Jouji Habu has been illegally living and climbing in Nepal. He has been preparing for more than a decade to attempt something believed by most to be impossible--climbing Mount Everest's summit via its southwest face solo, in the winter, and without oxygen. Even teams of climbers have failed to reach the summit and return alive using a southwest route under much less stringent conditions than those proposed by Habu for his ascent. His attempt will be so dangerous that he hasn't even tried to obtain a climbing permit, knowing that it will be denied. As a result, very few people are aware of exactly what it is Habu is about to do. One of those people is Makoto Fukamachi, a photographer and mountain climber whose interest in Habu was originally sparked by a camera that he found which may have belonged to George Mallory. But now Habu is determined to reach the summit of Mount Everest and Fukamachi is determined to record his astonishing feat, following him as far as he possibly can.
The one thing that I found slightly unsatisfying about the previous volume of The Summit of the Gods was the story's temporary shift of focus off of the actual mountain climbing in the series. In retrospect, it makes sense to have that small break as the fourth volume more than makes up for it--almost the entire manga is devoted to Habu and Fukamachi's preparations for and the first part of their respective climbs of Mount Everest. And it is awesome, in the traditional sense of the word. Taniguchi's artwork in The Summit of the Gods can be breathtaking with its stunning landscapes and massive mountain vistas. The scale alone feels intimidating and awe-inspiring. Taniguchi has not only beautifully and realistically captured the snow, ice, and rock of Mount Everest, he has also devoted an impressive amount of attention to the details of mountain climbing and the equipment needed to survive. The Summit of the Gods is a manga series fortunate to have superb artwork as well equally strong writing.
The Summit of the Gods, Volume 4 brings to the forefront not only the physical struggles of the characters but their psychological battles as well. The series is intense. Over the course of the last few volumes it has been made very clear how perilous mountain climbing can be. Even under better conditions than Fukamachi and Habu are now facing it has been shown that the smallest mistake can easily end in injury or death. There is a very real and strong possibility that neither one of the men will survive the climb and the sense of danger is constant. Habu and Fukamachi are each facing the mountain head on and in the process must confront alone their own pasts, failings, and limitations. The loneliness of their climb, the isolation they experience on the mountain as well as in their lives, the sacrifices and risks made to achieve what they have and come as far as they have, all of this and more is exceedingly important to the series. The Summit of the Gods remains a tremendously compelling manga; I look forward to reading the final volume a great deal.
Experiments in Manga
Makoto Fukamachi has returned to Nepal, continuing his search for the legendary mountain climber Jouji Habu, who is now going by the name of Bikh Sanp. Habu may have found the camera carried by George Mallory on his last, fateful ascent of Mount Everest. The camera and its film could hold the answer to one of the climbing world's greatest mysteries: who the first person to stand on the summit of Everest was. While researching the camera, Fukamachi became more and more interested in Habu himself, but finding a man who doesn't want to be found proves to be an extremely difficult task. It is only after Ryoko Kishi arrives in Kathmandu that Fukamachi is able to make any headway with his investigation. Her brother died in a climbing accident, and Habu carries a tremendous amount of guilt because of it, but Ryoko was also one of the people closest to Habu in Japan. However, even she hasn't heard from him in more than three years. As Fukamachi and Ryoko's search for Habu progresses, others become curious about him and the camera as well, which only complicates matters further.
Compared to previous volumes in the series, except for the opening chapter which focuses on the many failed attempts to reach the summit of mount Everest before success was achieved, The Summit of the Gods, Volume 3 devotes less time to mountain climbing and more time to Fukamachi's investigation and its unfortunate fallout. The emphasis in this volume has moved from the mountains and the wilderness to the surrounding cities and villages. While I do miss the drama and grandeur of nature so expertly captured in Taniguchi's artwork, his portrayal of Kathmandu, Patan, and the various Sherpa villages is equally impressive in the amount of detail included. The city- and villagescapes are just as important as the landscapes. Aspects of Nepalese politics and culture are incorporated into the series as well. But even though climbing isn't always at the forefront of this volume of The Summit of the Gods, it still plays and extremely important role in the story and it is vitally important to the characters as well.
While Fukamachi may be the protagonist of The Summit of the Gods, the series is really more about Habu and his story. As he has proved time and again, Habu is an incredible climber. In the third volume he pulls off an astonishing rescue--scaling a cliff with one arm while carrying another person--that leaves the others in awe of him. This is not the first, and I am sure it will not be the last, amazing feat that Habu performs. He is so singly devoted to and passionate about climbing that he has made many sacrifices in his life just so that he can continue to push himself to his limits. When it is finally revealed, the ultimate goal that Habu has set his sights on is enormous, beyond anything that anyone else has ever seriously considered attempting. Habu both intimidates and inspires Fukamachi, forcing Fukamachi to evaluate and reevaluate himself and his own capabilities and desires. The Summit of the Gods, Volume 3 is a critical turning point in the development of the series' characters and plot, bringing a resolution to one story arc and beginning the next.
Experiments in Manga
After returning to Japan from Nepal, journalist Makoto Fukamachi has been doggedly pursuing the enigma of the man he believes he met there--a legendary Japanese mountain climber named Jouji Habu. Initially, Fukamachi was interested in a camera he is convinced is in Habu's possession. It may very well be the same camera that George Mallory brought with him on his assault on Everest in 1924. If true, Habu has his hands on an important piece of mountaineering history. But as Fukamachi's investigation proceeds he becomes more and more interested in Habu himself and what drives the man as a climber. While Fukamachi's personal life is unraveling he throws himself into his research, tracking down anyone who might know anything about Habu and his current whereabouts.
While I personally find Fukamachi's persistent research to be interesting as he slowly pieces together disparate clues and leads, what I really love about The Summit of the Gods, Volume 2 are the stories that he uncovers. As unlikeable as Habu can be, and with as many enemies as he has made, his accomplishments as a mountain climber are unquestionably phenomenal. Fukamachi delves into many of Habu's feats: his disastrous and yet astonishing foray climbing the Grandes Jorasses as well as his notorious participation in a group summit assault on Everest and several unfortunate incidents relating to it. But as amazing as Habu's achievements are as a climber, it's Taniguchi's stunning artwork that makes them a reality for the reader. From the largest mountain vistas to the smallest crack in ice or rock, Taniguchi's attention to detail is superb. The pacing and timing of his panels make the climbs both exhilarating and terrifying.
Nature and the mountains can be glorious, but they can also be extraordinarily dangerous. Taniguchi's artwork expertly conveys this. Both the figurative and literal gravity of the situations that the climbers face can almost be felt reading The Summit of the Gods. When something goes wrong, even the smallest something, the repercussions can be devastating. And at times the events that unfold are entirely outside of human control. Saying that a climber fell--such a small and simple word--is easy enough. But the enormity of the human drama and the story surrounding that fall, what happened to cause it, and what happens as a result of it, is intensely engrossing. It is clear that the characters in The Summit of the Gods are effected deeply; the impacts can be seen in their changing relationships to each other, to climbing, and to the mountains themselves. The Summit of the Gods is an incredible work.
Experiments in Manga
In 1924, George Mallory and Andrew Irvine climbed Mount Everest in an attempt to become the first men to stand on the mountain's peak. The two men disappeared during the climb, never to return. Whether or not they reached the summit remains a mystery. Nearly seven decades later, Makoto Fukamachi, a Japanese photographer on another failed Everest expedition, discovers a camera in a shady back alley shop in Kathmandu matching the make and model of the one carried by Mallory on his final ascent. In his search for more information about the camera, Fukamachi encounters Jouji Habu, an aloof, legendary Japanese mountain climber who hasn't been heard from in years. What started out as an interest in the camera evolves into an interest in Habu himself. Fukamachi feels compelled to learn all that he can about Habu, his reason for being in Nepal, and his connection to the camera. His search for answers leads him from Nepal back to Japan where he seeks out those who, for better or for worse, personally knew Habu.
The artwork in The Summit of the Gods is stunning, often bordering on photorealistic. I am not at all surprised that the series has won awards for Taniguchi's art. Perhaps most striking is the depiction of the mountains themselves. Only small portions of them can ever be seen at any given time, but there is a sense that the mountains continue on far beyond the edges of the page. Taniguchi expertly captures the mountains' massive presence in The Summit of the Gods. This is critical since they are such an important part of the story. The artwork's realism also extends to the mountaineering gear and climbing equipment. Taniguchi pay s very close attention to accuracy and details. Every time the climbers attempt an ascent they are risking their lives. It's difficult to forget this when Taniguchi shows that the only things keeping them "safe" are a rope and a handful of pitons. A single misstep or equipment failure could mean a climber's death.
Much like Fukamachi, Habu absolutely fascinates me. He is by far the most developed character in The Summit of the Gods, Volume 1. This is understandable since he's the subject of such an intense investigation. Habu is revealed to be an extremely passionate man and is frequently described as a climbing genius. It is that genius and seriousness that drives rifts between him and his fellow climbers. Socially, he is extremely brash and awkward. It is not until well into the first volume of The Summit of the Gods that a softer side of Habu is seen when Buntarou Kishi, a young climber who greatly admires Habu, is introduced. As unlikeable as Habu can be, I still find his story to be a compelling one. He keeps his distances and doesn't express himself well, he's blunt and insensitive, but he's also honest and fervent. His characterization is exceptionally well done. I have now read The Summit of the Gods, Volume 1 several times and I still find it to be a tremendous and breathtaking work.
Experiments in Manga
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PhoenixTerran | 5 autres critiques | Oct 19, 2012 |
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