God of Comics: Osamu Tezuka and the Creation of Post-World War II Manga (Great Comics Artists Series)

This isn't to diminish the importance or difficulty of the survey: Given this massive scope, it is forgivable that Power's book is flawed in its presentation of America's consumption of manga, and its relationship to Tezuka. In the book's introduction, Power describes American comics consumption, including manga, as mostly teenage male. This can most charitably be described as outdated, as manga and manga-style comics have for some time now been the largest selling type of comics in the US, and sell to a majority-female albeit still largely teenage audience.

Disney's influence on Tezuka is mentioned Tezuka loved Disney films but Fleischer Studios goes entirely unmentioned, though it may be that any influence that the Fleischers' signature styles big-eyed "cartoony" and "realistic" rotoscoped had on Tezuka was secondhand. God of Comics is at its strongest when it is focused on Japanese manga history.

Review of God of Comics: Osamu Tezuka and the Creation of Post-World War II Manga

The term "manga" itself is more complicated than western audiences may expect, and is generally spelled differently in Japanese when used to mean "comics" than it is when referring to Japan's line-art and printmaking traditions. Power further clarifies that the Japanese sense of "manga" is cross-cultural and international, including comics in other languages, just as the word "comics" in English does. Most interesting is how fortunate Tezuka was to make his debut shortly after the end of the war, thus avoiding the shame attached to mangakas who produced nationalist and militarist propaganda and the professional isolation of artists who quit rather than produce such material.

The American occupation imposed a regime of censorship just as strict as that of the wartime government, albeit ideologically inverted, but the only manga they paid attention to were histories and works of his historical fiction. Power observes the rise of science fiction, fantasy and horror manga, and of their mangakas , especially Tezuka, with them. Throughout God of Comics , Tezuka is presented as at the forefront of each new development in manga, from the formation of shonen boys' manga to his arguable creation of the genre of shojo girls' manga, to his reaction against the narratively darker and artistically cruder and rawer gekiga manga.

Tezuka's vexed relationship with anime, and his vexingly varied depiction of women and women's roles each get a chapter of their own, as does an exploration of Tezuka's "star" system. The chapter "Stars and Jokes" on self-referentiality in Tezuka's work, is both the most theoretical moment in this historically focused monograph, and the most troublesome in terms of its own justification. The idea of a creator or an institution having troupes of characters that they re-use is commonplace, but Power argues that Tezuka did something far something more subtle and metafictional.

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An assessment of the worldwide achievement of the man who made manga mainstream

This reflects the percentage of orders the seller has received and filled. Stars are assigned as follows:. Inventory on Biblio is continually updated, but because much of our booksellers' inventory is uncommon or even one-of-a-kind, stock-outs do happen from time to time. If for any reason your order is not available to ship, you will not be charged. His legendary output would spawn some of the most influential, successful, and well received manga series including Astro Boy , Kimba the White Lion , Black Jack , Phoenix , and Buddha , all of which won several awards.

Tezuka died of stomach cancer in His death had an immediate impact on the Japanese public and other cartoonists.

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A museum was constructed in Takarazuka dedicated to his memory and life works, and Tezuka received many posthumous awards. Several animations were in production at the time of his death along with the final chapters of Phoenix, which were never released. Tezuka was the eldest of three children in Toyonaka City , Osaka. His mother's family had a long military history. Later in life, he gave his mother credit for inspiring confidence and creativity through her stories.

She frequently took him to the Takarazuka Grand Theater , which often headlined the Takarazuka Revue , an all-female musical theater troupe.

Osamu Tezuka

Their romantic musicals aimed at a female audience, had a large influence of Tezuka's later works, including his costume designs. Not only that, but the large, sparkling eyes also had an influence on Tezuka's art style. He also became a Disney movie buff, seeing the films multiple times in a row, most famously seeing Bambi more than 80 times. It so resembled his name that he adopted "Osamushi" as his pen name.

During this period he created his first adept amateur works. In , Tezuka was accepted into Osaka University and began studying medicine. During this time, he also began publishing his first professional works.

Tezuka came to the realization that he could use manga as a means of helping to convince people to care for the world. After World War II, at age 17, he published his first piece of work: Tezuka began talks with fellow manga artist Shichima Sakai, who had pitched Tezuka a manga based around the famous story Treasure Island. Sakai promised Tezuka a publishing spot from Ikuei Shuppan if he would work on the manga. Tezuka finished the manga, only loosely basing it on the original work. With the success of New Treasure Island, Tezuka traveled to Tokyo in search of a publisher for more of his work.

After visiting Kobunsha Tezuka was turned down. Whilst continuing his study in medical school Tezuka published his first masterpieces: Soon after Tezuka published his first major success Jungle Emperor Leo , it was serialized in Manga Shonen from to By , Ambassador Atom proved to be only a mild success in Japan; however, one particular character became extremely popular with young boys: This encounter gave Tezuka the idea to create Atom.

The character Atom and his adventures became an instant phenomenon in Japan. In Tezuka first published what he would consider his life's work, Phoenix , which originally appeared in Mushi Production Commercial Firm.

It was widely reported that Tezuka worked as a director on the film, though Tezuka himself denied working on it. In , Tezuka entered the animation industry in Japan by founding the production company Mushi Productions as a rivalry with Toei Animation. He first began innovating the industry with the broadcast of the animated version of Astro Boy in ; this series would create the first successful model for animation production in Japan and would also be the first Japanese animation dubbed into English for an American audience.

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Other series were subsequently translated to animation, including Jungle Emperor , the first Japanese animated series produced in full color. In , Mushi Productions collapsed financially and the fallout would produce several influential animation production studios including Sunrise. Tezuka died of stomach cancer on 9 February in Tokyo.

Also, beginning in , the Japanese toy company Kaiyodo began manufacturing a series of figurines of Tezuka's creations, including Princess Knight, Unico, the Phoenix, Dororo, Marvelous Melmo, Ambassador Magma, and many others.

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To date, three series of the figurines have been released. His legacy has continued to be honored among manga artists and animators.