Vagabond Vol. 6 cover

Vagabond Vol. 6

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Chapters
4
Series
Vagabond
ISBN
9789629537784

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Summary

Vagabond is a long-running seinen manga by Takehiko Inoue following Slam Dunk, adapted from Eiji Yoshikawa's novel Musashi. It has been serialized in Kodansha's Weekly Morning since 1998. Set in Japan from the late Warring States period to the early Edo period, it tells how Shinmen Takezo (later Miyamoto Musashi), who escaped the battlefield of Sekigahara, gradually takes up the path of swordsmanship: at first he wants only to survive by force and prove himself through killing, and only after the monk Takuan opens his eyes does he face the darkness in his own heart for the first time and come to understand that being unmatched under heaven is not merely about defeating opponents. The work simmers Musashi's growth, his study of swordsmanship and his questioning of the meaning of existence in the same pot, while a separate thread follows the young swordsman Sasaki Kojiro, who cannot speak or hear, so that the two life paths converge on the famous duel at Ganryu Island. Inoue uses exquisitely detailed facial expressions, large-scale compositions and later brush-and-ink strokes to create a visual temperament in which the characters' inner worlds run parallel to heaven and earth; this volume is the sixth of the Hong Kong edition of Vagabond, collecting installments twenty-one through twenty-four. After Musashi leaves Takuan's protection, he begins to come into contact with the Yoshioka dojo line; Yoshioka Seijuro, Yoshioka Denshichiro, Ueda Ryohei and others appear one after another, setting the stage for the coming showdown in Kyoto.

Editor's review

如果只看前几卷,读者可能还以为这是一部“打怪升级”的武士漫画;读到第6卷,就会明白井上雄彦真正关心的并不是谁赢谁输。这一册里武藏刚从濒死和绝望的边缘被拉回来,泽庵用极其朴素的方式让他承认:活着本身并不需要理由,接下来才有力气谈“变强”。紧接着吉冈道场一脉登场,清十郎被写成天才却轻浮的浪荡子,传七郎则显得更像一位真正的剑士,两人的对照让“天才”这个词变得复杂起来。井上雄彦在这一阶段的作画已经完全不同凡响:刀光只是几道斜线,树的沙沙声和人的呼吸却清清楚楚,甚至一碗水都画得让人想伸手去端。对于正在收集港版《浪客行》的读者来说,第6卷正好处在“支线铺开、主线蓄势”的位置:表面看来推进得平缓,可每一格都埋着后面的重头戏。它适合慢慢看,一页能停很久。

Who it's for

A good fit for

  • 正在系统追读《浪客行》,已经看过第1至第5卷的读者
  • 喜欢《灌篮高手》并想看看井上雄彦转型青年漫画的读者
  • 对日本剑豪题材、宫本武藏与佐佐木小次郎故事感兴趣的读者
  • 欣赏水墨感线条与人物表情刻画、愿意慢读画面的漫画读者

Not a good fit for

  • 只想看快节奏打斗、对剧情推进速度不耐烦的读者
  • 偏好低龄向或轻松喜剧漫画、不喜好血腥与沉重主题的读者
  • 没有读过前几卷、希望从这一册独立入门的读者

Reading tips

  1. 先补读第1至第5卷,尤其要了解泽庵、又八、阿甲这条线,再进入本卷才不突兀
  2. 阅读时留意每个人的眼神和站姿,井上雄彦常用画面代替台词,信息都藏在表情里
  3. 可以把本卷当作“吉冈篇”的开幕来看,记住清十郎与传七郎的性格差异,后面会不断回响
  4. 读完后不妨翻一翻吉川英治的原著《宫本武藏》相关章节,对照井上雄彦做了哪些改动

Contents

  1. Chapter 21 Where There Is Light
  2. Chapter 22 Miyamoto Musashi
  3. Chapter 23 The Country Bumpkin's First Step
  4. Chapter 24 Challenge

FAQ

这一卷是港版还是台版?
本条目对应的是香港天下出版(国际)有限公司出版的中文版《浪客行》第6卷。台版由尖端出版社发行,译名作《浪人剑客》,两者用纸、译名与开本略有不同,购买时注意区分。
没看过前5卷能直接读吗?
可以读懂,但会丢掉很多情感铺垫。本卷开篇处接的正是泽庵把武藏从寺前古树上救下、带他直面内心黑暗的那一段,不了解前面几卷的因果,读起来会像半路插队。
这一卷讲了什么重点?
本卷收录第二十一回至第二十四回:武藏从绝望中重新站起来,离开宫本村一带的束缚,开始与京都吉冈道场一脉正面接触,吉冈清十郎、传七郎、植田良平以及祇园藤次等人的关系网由此展开。
为什么说画风在这里特别好看?
此时期的井上雄彦已从《灌篮高手》式的干净线条转向更沉稳、更注重气氛的画法,刀剑交锋之外,大量篇幅用来画沉默、呼吸和自然景物,到佐佐木小次郎篇之后更彻底转向毛笔水墨。

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About the author

Eiji Yoshikawa Author · Japan · 1892–1962

Eiji Yoshikawa (1892–1962) was a native of Kanagawa Prefecture, Japan, and a leading author of Japanese popular literature, hailed as a “national writer.” After leaving school early, he worked as a printer and a shipyard worker, among other jobs, while continuing to educate himself. He entered the literary world in 1914 and later became known for his historical novels. His works are mostly drawn from Japanese and Chinese history, and he excelled at portraying personal growth and the sweep of an era within a framework of historical fact, in a style that is accessible and deeply engaging. His major works include Musashi, Romance of the Three Kingdoms, The New Taiko Chronicles, Kuroda Josui, and Minamoto no Yoritomo. This library holds 46 of his works, including several volumes of the Three Kingdoms series and the complete Musashi. His historical novels have long enjoyed a wide readership and have had a significant influence on the development of Japanese popular literature.

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