Buddha (Part II)

I think the second half for the than the first, probably has more cartoony-nish and abstract designs.

Tezuka uses a lot of techniques known by many as being "anime-ish". Take for example the exaggerated expressions of characters throughout the work or in the crowd scene in Chapra's contest with the warrior on p.295, Tezuka draws them as pigs, the meaning of which should be very obvious. Moments like that for me at least, took me away from the story, or maybe because it was something I wasn't expecting, but it was unusual to have these consistantly contrasting styles of realistic backgrounds, and characters and emotions like the birth of Buddha himself, and then we get scenes like this that look like they're from Looney Tunes.

I did notice how Tezuka manages to effectively capture speed despite working with a still medium. As McCloud points out, fast dashed lines can evoke quick fast movement, and Tezuka utilizes it frequently throughout the work. Look at the pole being rocked on p.294 or Tatta stealing the silk on p.39
In addition to that, Tezuka also uses many sound effect captions, which is pretty much universal in comics throughout the world. But Tezuka also knows when to use absolute no sound, words, etc. just images, which is one of the things that separates Western comics from Eastern comics, as McCloud points out. In fact he even references p. 52-53, to show what silence can do, and to provide an example for different kinds of panel transitions such as Aspect-Aspect.