Exemplar of this would probably be Rimbaud, who had a ridiculously natural ear for poetic cadences to the point where he created his major output during his teenage years, and then abruptly quit the profession in order to travel.
It also aims to outline one of the greatest paradoxes of genius overall – the fact that a lot of them are just plain assholes. Why was Rilke one of the best poets out there, and also a horrible father? Why was Mozart an infantile scatologist despite being able to generate the most wonderful cadences of music? Why was Dali a perpetually kooky shit-stirrer and pervert? Why was Proust a pervert and masturbator? Why was Picasso a womanizer, and why was he able to create such amazing paintings despite some of them being mere caricatures of ex-lovers he hated? Why is Woody Allen, a director who is able to depict such mature examinations of romance and endlessly makes fun of human foibles and infidelity – such an utter calamity in his own personal life?
Some of these questions are actually answered within Subaru. The manga is able to create a vision of that idealized transcendent reaching out that occurs with genius, while still showing its utterly banal reality.
For one, being born with a talent that immediately places you on the top without much effort, that makes both eager businessmen and admirers fall into your lap (while the rest of the world has to struggle to reach that post) is bound to make you think – oh wow, how easy this thing called life is! All Mozart had to do was to do that thing that appeared so naturally inside his head, and he received access to the highest courts of German Aristocracy. No matter how you wish for them to be humble and compassionate – there is literally no reason for them to feel that way. The marketplace and auctionhouse is separate from morality – if you don’t want to patronize Picasso and get a slice of the pie from his ‘production’, then you lose out. If a Mozart should appear in this era and be a complete jerk, and your orchestral house denies him entry – all he has to do is to go to one whereby the need to get tickets is more pressing than the need to cater to some higher ‘compassionate sensibility’.
There’s a moment in Subaru where our protagonist has just given one of the most stunning performances of her lifetime, and she turns to the side and just says something along the lines of “all in a day’s work, isn’t it?” – for people outside this sphere of existence, we cannot imagine it. Sustaining a tune is something that most people take ages to even strive to accomplish, and creating a beautiful variation on a tune to shake the hearts of our fellow men around us is just plain out of our reach. Most people are stuck in the domain of cover bands, but Mozart comes up with symphonies as easily, to put it in his own words, “as sows pissing”.
(There is actually an analogue to this in meditation. Initially, extensive meditation provides a kind of wonderful experience in your head that seems otherworldly and unique when you go through it. Certain books on Buddhism describe the process of reaching Nirvana as no longer being fazed by the beautiful and ecstatic visions you received in your earlier stage of progress. You must view your most ecstatic moments as no different from your worst moments – all of these moments constitute equal banality in everyday life. Similarly, an artistic genius is in on the secret from the start of his existence – some of them probably find it strange that people are clinging so fervently onto them although they experience their talents 24/7)
So Subaru is a manga that aims to dramatize that schism as much as possible by having the main character be placed in a state whereby her talent is causing her the greatest amount of annoyance. Masahito Soda does this brilliantly by having the birth of her talent be caused by a melodramatically tragic event – but having the tragedy of that event bear absolutely little impression on Subaru by later parts of the story.
In other words, the birth of Subaru’s talent in relation to that early event – causing her to become eccentrically obsessive about it – is mere chance. From her point of view she sees it as no different than if she had taken an interest in dancing through the normal route of doing it with her peers. The problem is that now she has to deal with unwanted annoyance of having the activity be linked to a traumatic memory. Afterwards she no longer feels any compassion or grief towards the event, and merely views it as a stone that is stuck in her shoe – that she has to carry throughout life. So having to take on unnecessary psychic stress in doing the thing that everyone wants her to do turns her into a dancer with a victim complex – which is quite a great twist on this kind of blatantly emotionally manipulative cliché. In fact, when the event itself is abused by paparazzi and the media to pull the heart-strings of the fanbase, she is beyond pissed about it. Whether Soda has intended it or not – the plot critiques its own melodrama that it used in the early chapters.
Neither in Chihayafuru, nor in 3-Gatsu no Lion, both great sports & talent manga, do you get to see so blatant and cohesive a picture of a genius character who is selfish, petulant, egoistical, and narcissistic. In order to see better portrayals you have to turn to Woody Allen films – like Sweet & Lowdown or Stardust Memories – and Amadeus of course. Kyoko Okazaki takes this kind of treatment towards feminine beauty with her manga Helter Skelter.
In other words, if you ever see one of these sorts of persons inside the media (besides Kanye West of course) – don’t even bother with carrying out the usual castigations and self-assured moralizing inside your head, that you will never fall as low as this person. In fact, it’s the other way round. They’ve been hijacking a biological/neurological structure that’s been given to them since the start of their lives – one that society happens to cave around and submit to. In their viewpoint, the world is an open road with minor inconveniences. They will never fall as low as you.
