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NOTE: The final print edition of The Osamu Tezuka Story is designed to be read in the traditional Japanese order from right to left. This sample has been formatted in the Western style for Issuu.


The

OSAMU TEZUKA Story A LIFE IN MANGA AND ANIME Toshio Ban and Tezuka Productions Translated by Frederik L. Schodt

Stone Bridge Press  |  Berkeley, California


ON JULY 7, 1937, WHEN OSAMU WAS IN THE 3RD GRADE, THE MARCO POLO BRIDGE INCIDENT OCCURRED…

IN APRIL OF THE NEXT YEAR, A NATIONAL MOBILIZATION LAW WAS PASSED… AND THE WAR BEGAN TO PROFOUNDLY AFFECT THE LIVES OF ORDINARY CITIZENS.

...OF “POPULAR READING MATTER CREATED FOR PROFIT AND PANDERING TO CHILDREN’S TASTES.”

…IT WAS THE START OF WAR WITH CHINA.

IN OCTOBER 1938, THE INTERIOR MINISTRY ISSUED A SPECIAL LIST OF DIRECTIVES, DESIGNED TO “PURIFY CHILDREN’S READING MATTER.” IT WAS THE START OF STRICT GOVERNMENT REGULATION...

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OF COURSE, MANGA PUBLICATIONS WERE AFFECTED, TOO.


WITH THIS, THE INTERIOR MINISTRY AND MILITARY STARTED REALLY CRACKING DOWN ON MANGA PUBLICATION. *

REPORTING FOR WORK!

TEZUKA?

THAT’S THE SORT OF ERA IT WAS.

WHEN INAI ARRIVED AT THE SCHOOL…

AMONG THE DIRECTIVES WAS A SENTENCE DEMANDING A REDUCTION IN MANGA PRODUCTION.

WHEN OSAMU WAS IN THE SECOND TERM OF 3RD GRADE, A NEW YOUNG TEACHER NAMED INAI WAS ASSIGNED TO HIS CLASS.

3RD GRADE, “WEST” CLASS…

WHAT CLASS HAVE YOU BEEN ASSIGNED TO?

HMM. I WONDER IF THAT’S THE FORMER TEACHER’S NAME?

WHY, THAT’S YOUNG TEZUKA’S CLASS…

IT WAS AN ODD SORT OF INTRODUCTION.

* Source: Bessatsu Taiyō: Kodomo no Shōwa-Shi (1935–45)

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WELL, GREAT TO HAVE YOU!

I’M THE NEW TEACHER, INAI.


THIS IS HOW I WRITE MY NAME…

OKAY, BOYS AND GIRLS... I’M MR. INAI, YOUR NEW TEACHER.

WE’RE GOING TO BE STUDYING TOGETHER.

WHAT’S THIS? DON’T TELL ME EVERYONE’S READING MANGA IN CLASS!?

“TEZUKA”? THERE A PUPIL HERE NAMED TEZUKA!?

UH, OH… TEZUKA’S IN FOR IT NOW!

…AND WHEN CAUGHT BY HIS TEACHER, TEZUKA WAS TRULY SCARED.

IN THOSE DAYS, MANGA WERE MORE FROWNED UPON THAN THEY ARE NOW…

I’M CONFISCATING THIS RIGHT NOW.

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WE’RE SUPPOSED TO BE STUDYING!!

UM, YESSIR. I DREW IT.


TN: Teacher’s Lounge.

YES, BUT TAKE A LOOK. THIS IS REALLY GOOD!

SO TEZUKA’S DRAWING MANGA AGAIN, IS HE?

HOLD ON, MASTER TEZUKA.

AT THE RATE YOU’RE GOING, YOU COULD BECOME A PROFES­­ SIONAL SOMEDAY!

SO I WANT YOU TO KEEP DRAWING!

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I’M RETURNING YOUR MANGA.


THANK YOU SOOO MUCH, MR. INAI!!

HIP HIP HOORAAY!

HE FELT HE HAD OFFICIAL APPROVAL TO CONTINUE DRAWING.

MR. INAI COULD BE SCARY WHEN ANGRY, BUT HE WASN’T ANGRY THIS TIME. HE’D READ THE MANGA AND LIKED THEM! NOTHING COULD HAVE MADE OSAMU HAPPIER.

MR. INAI’S WORDS REALLY ENCOURAGED THE YOUNG OSAMU TEZUKA…

IN THOSE DAYS, MOST PEOPLE DIDN’T THINK MUCH OF MANGA, BUT HIS OWN TEACHER HAD READ HIS, AND INSTEAD OF BERATING HIM, HAD PRAISED HIM!

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HEY, TEZ, WHATCHA DRAWING THIS TIME?

A MANGA FLIP BOOK!

SEE? YOU FLIP THE PAGES LIKE THIS…

WOW! THE DRAWINGS REALLY MOVE!

…EVEN THOUGH IT WAS NORMALLY RESERVED FOR HIS TEACHER.

EMBOLDENED, OSAMU STARTED DRAWING MORE AND MORE MANGA AT SCHOOL.

OSAMU ALSO LIKED TO DRAW PICTURES ON THE BLACKBOARD.

… MOVED SMOOTHLY, LIKE REAL ANIMATION.

BUT BEFORE ERASING, OSAMU ALWAYS SAW AN OPPORTUNITY TO DOODLE A BIT…

...AND HE NEVER LET THE OPPORTUNITY PASS.

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MUCH LATER, TEZUKA WOULD SAY THAT THE IMAGES HE DREW IN THE CORNER OF HIS NOTEBOOK PAGES…

AFTER CLASS, IT WAS THE STUDENTS’ JOB TO ERASE THE TEACHER’S CHALK MARKS FROM THE BLACKBOARD.


WOW!!

THIS EPISODE BECAME SOMETHING OF A LEGEND AMONG OSAMU’S CLASSMATES.

AN’ TEACHER USES A BIG COMPASS TO DRAW HIS!

LOOK… TEZUKA’S CIRCLES’RE ROUNDER THAN TEACHER’S!

SOMETIMES HE WOULD DRAW WHAT SEEMED LIKE MEANINGLESS SCRIBBLES ON PAPER.

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...AND HE ALWAYS FOUND NEW WAYS TO HAVE FUN.

OSAMU ALSO LIKED TO DRAW WITH HIS FRIENDS…


From Kami no Toride (“Paper Fortress”). AIR RAID! AIR RAID! HEAD FOR THE BOMB SHELTER!

IN HIS AUTOBIOGRAPHICAL MANGA, PAPER FORTRESS, TEZUKA DESCRIBES THE AIR RAID.

WHILE NOT A STRICT DOCUMENTARY, IT CONVEYS THE HORROR OF HIS EXPERIENCE.

TOKYO HAD NEARLY BEEN DESTROYED, SO HUGE FORMATIONS OF B-29’S NOW TARGETED OSAKA.

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From Kami no Toride (“Paper Fortress”).

IN ADDITION TO ORDINARY BOMBS, THE B-29S SCATTERED FIREBOMBS.

FOR SOME REASON, THESE WERE CALLED M-69s, OR “MOLOTOV’S BREADBASKETS.”*

THEY CONSISTED OF LARGE TUBES THAT WOULD BREAK APART WHILE FALLING, SCATTERING CLUSTERS OF INCENDIARY DEVICES IN EVERY DIRECTION.

WHEN THEY FELL CLOSE BY, IT SOUNDED LIKE A HUGE RAIN STORM.

WHEN THEY RAINED DOWN RIGHT ON TOP OF YOU, THEY GAVE OFF A METALLIC, SCREECHING SOUND. THIS IS IT! I’M GONNA DIE RIGHT NOW!

*“Molotov” was the name of the Soviet foreign minister at the time. He was Stalin’s right-hand man.

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IN MARCH 1945, B-29s CONDUCTED AN ESPECIALLY HUGE RAID ON OSAKA.


From Kami no Toride (“Paper Fortress”).

INJUNE 1945, B-29S AGAIN CARRIED OUT REPEATED, MASSIVE FIREBOMBINGS. IN JULY THEY RAIDED GREATER OSAKA, INCLUDING SAKAI CITY. THERE WAS ALSO A RAID ON AUGUST 14TH, THE DAY BEFORE THE WAR ENDED.


SOME ALSO SHELTERED UNDER THE ŌHASHI BRIDGE. TRAGICALLY, THIS BRIDGE WAS A GOOD VISUAL TARGET FOR THE B29S, AND IT TOOK A DIRECT HIT.

CAN THESE REALLY BE HUMANS? THEY LOOK LIKE CHARRED DOLLS!!

From Kami no Toride (“Paper Fortress”).

165

HUGE CROWDS TOOK REFUGE ON THE BANKS OF THE YODO RIVER.


IN THE SUMMER OF 1947, OSAMU TEZUKA VISITED TOKYO, FOR THE FIRST TIME AFTER THE WAR ABLE TO CALL HIMSELF A MANGA ARTIST.

227


TN: Nagoya.

NAGOYA CITY STATION? WHAT A RAIN STORM!

AMAZING SUMMER SURF!

WOW. IT’S MORNING…

MUST BE NEAR HAMAMATSU …

LATER, IN TOKYO…

HE GOT OFF AT SHINJUKU STATION TO GO TO HIS GRANDPARENTS’ IN SHIMO­ KITAZAWA.

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WOW! SHINJUKU STATION’S TOTALLY CHANGED!

TEZUKA HAD BEEN TO SHINJUKU BEFORE THE WAR. BUT NOW THE RUINED STREETS WERE LINED WITH SHACKS.

NONETHELESS, ON ARRIVAL, HE DIDN’T WASTE ANY TIME.

TIME TO GO INTO ACTION!

AND IN 1947, A TOKYO PUBLISHER HAD ISSUED A NEW CHILDREN’S MAGAZINE CALLED MANGA SHŌNEN, BUT TO THE OR “MANGA OSAKA-BASED BOY”…*

IN THOSE DAYS, A TOKYO ARTISTS’ ASSOCIATION— CALLED THE “NEW MANGA GROUP” BEFORE THE WAR AND THE “MANGA GROUP” LATER— WAS VERY ACTIVE.

TEZUKA, THIS HAD ALL SEEMED A FAR-OFF EVENT.

* Published by Gakudōsha.

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A HOT DAY IN TOKYO, AUGUST 1947

THAT’S STRANGE. ACCORDING TO THE ADDRESS I LOOKED UP, THERE’S SUPPOSED TO BE A PUBLISHER AROUND HERE!

IT’S WAY TOO HOT FOR ME!

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HMM... DON’T SEE ANYTHING, ‘WONDER IF IT WAS DESTROYED IN THE WAR?

LESSEE… SHOULD BE HERE SOMEWHERE…

I’LL GO STRAIGHT FOR A TOP PUBLISHER, AND VISIT KODANSHA!

BUT WHAT AM I DOING?

S’CUSE ME, SIR… HAVE YOU EVER HEARD OF KODANSHA?

SURE, IT’S RIGHT NEXT DOOR TO OUR ŌTSUKA POLICE STATION!

I CAN’T WASTE ANY TIME!!

UNTIL THEN, TEZUKA HAD KNOWN TINY LOCAL PUBLISHERS. KODANSHA WAS IN TOKYO’S OTOWA AREA, SO IT WAS REFERRED TO AS THE “OTOWA PALACE,” AND TO HIM IT LOOKED LIKE ONE.

WOW! THIS IS KODANSHA’S BUILDING?

TN: Kodansha, Greater Japan Oratorical Society.

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PHEW! BARELY MADE IT!

…BUT IT’S GETTING HARDER TO BALANCE IT WITH MY STUDIES!

IT’S GREAT HAVING LOTS OF MANGA WORK…

267


YIKES!

TEZUKA! SEE ME IN MY OFFICE LATER!

C’MON IN!

THE PROFESSOR REALIZED TEZUKA WAS DRAWING MANGA DURING CLASS!

WELL, FOR PUNISHMENT…

BUT AMAZINGLY, HE MANAGED TO PULL IT OFF.

IT WASN’T EASY FOR TEZUKA TO LEAD SUCH A DOUBLE LIFE.

LISTEN. YOU REALLY THINK YOU CAN BECOME A DOCTOR WHEN YOU’RE DRAWING MANGA DURING MY LECTURE? EH? ...I WANT YOU TO DRAW ME!

I’M SORRY, SIR…

268


AFTER THE WAR, IT FINALLY BECAME POSSIBLE TO SEE MANY LONG-BANNED FOREIGN FILMS …

…INCLUDING THE ANIMATION— SUCH AS WALT DISNEY’S SNOW WHITE—THAT TEZUKA SO LOVED.

AND ONE DAY, WHEN HE WENT WITH HIS MOTHER…

I NEED TO ASK YOU ABOUT SOMETHING, MAMA…

WHAT IS IT?

I’M TRYING TO DECIDE IF I SHOULD BECOME A DOCTOR, OR A MANGA ARTIST.

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TEZUKA BECAME A FREQUENT THEATERGOER.


WELL, WHICH DO YOU LIKE THE MOST?

WELL, MANGA, OF COURSE.

THEN CHOOSE THE PATH YOU LOVE.

TEZUKA WAS THEN SO BUSY WITH HIS MANGA DEADLINES THAT HE HAD TAKEN TO DRAWING IN SCHOOL.

“Choose the path you love…”

THE ANIMATION THEY SAW THEN WAS THE HUMPBACKED HORSE, FROM SOVIET RUSSIA.

THE MOVIE’S ABOUT TO START!

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THANKS, MAMA. I REALLY APPRECIATE IT!


JANUARY, 1950. TEZUKA DREW HIS MANGA VERSION OF JOHANN WOLFGANG GOETHE’S PLAY, FAUST.

...BUT IN TEZUKA’S MANGA, THEY ARE DEEPLY LINKED.

Konyok-Gorbunok (“The Humpbacked Horse”), a 1947 Soviet film by Ivan Ivanov-Vano.

THESE WORKS MAY SEEM UNRELATED. CAPTIVATED, HE WOULD WATCH IT OVER AND OVER AGAIN, DOZENS OF TIMES. TEZUKA HAD READ FAUST OVER AND OVER SINCE MIDDLE SCHOOL.

GOSH… I’D JUST LOVE TO ANIMATE FAUST SOMEDAY…

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AMAZING!

THIS ANIMATED FILM SHOCKED TEZUKA.


A MOVIE TICKET THEN COST ¥120, AND A BOWL OF RAMEN ¥30 OR ¥40, SO MAGAZINES WERE MORE EXPENSIVE THAN THEY ARE NOW.*

IN 1952 MANY MONTHLY MAGAZINES FOR KIDS COST ABOUT ¥95.

IN THE EARLY 1950S PUBLISHERS BROUGHT OUT MORE AND MORE MONTHLY CHILDREN’S MAGAZINES, AND AN ERA OF FIERCE COMPETITION ENSUED.

BUT MORE THAN ANYTHING ELSE, KIDS’ MAGAZINES OFFERED DREAMS.

THE MAGAZINES CAME WITH LITTLE KITS, FROM WHICH KIDS COULD ASSEMBLE MOVIE PROJECTORS, CAMERAS, MODEL PLANES, AND SO ON—TOYS NORMALLY TOO EXPENSIVE TO BUY SEPARATELY…

ONE OF THE MAGAZINES’ CHARMS WAS THE FREEBIE TOY KITS INCLUDED WITH THEM.

* In 1952, the expanded New Year’s edition of Shonen Club was ¥95; the summer expanded edition of Omoshiro Book was ¥85; and the October edition of Manga Shonen was ¥90.

323


SO PUBLISHERS COULD NO LONGER AFFORD TO INCLUDE REALLY DETAILED KITS.

BY 1954, THE MINISTRY OF TRANSPORT DECREED THAT MAGAZINES WITH WOOD, METAL, AND CLOTH MATERIALS WOULD NO LONGER BE TREATED AS PRINTED MATTER. THIS MEANT THAT SHIPPING MAGAZINES WITH THESE MATERIALS BECAME PROHIBITIVELY EXPENSIVE.

HERE’S A MODEL OF THE EMPIRE STATE BUILDING AND A HUGE SEAPLANE, BUILT FROM A SPECIAL SHŌNEN CLUB FREEBIE KIT BEFORE THE WAR.*

AND THE COMPETITION REALLY HEATED UP AMONG KIDS’ MAGAZINES OVER THESE MANGA SUPPLEMENTS.

THE SUPPLEMENTS STARTED WITH ONLY 30 OR 40 MANGA PAGES, BUT THEY SOMETIMES GREW TO 100. IT WAS LIKE BUNDLING SEPARATE MANGA PAPERBACKS WITH THE MAGAZINES!

OF COURSE, THE KIDS WANTED TO MAXIMIZE THEIR LIMITED ALLOWANCES…

MOUNTAINS OF KIDS’ MAGAZINES, SWOLLEN WITH SUPPLEMENT MANGA, WOULD PILE UP IN BOOKSTORES.

…SO THEY TENDED TO BUY THE FATTEST MAGAZINES POSSIBLE!

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SPECIAL NEW YEAR’S EDITIONS EACH YEAR PLAYED AN IMPORTANT ROLE IN DETERMINING EACH MAGAZINE’S CIRCULATION.

Shonen Club freebie kit (from “Kodansha’s Great Exhibition” pamphlet).

INSTEAD, SINCE THERE WAS ALREADY A MANGA BOOM, THEY STARTED INCLUDING SEPARATE, PAPER-BASED MANGA BOOKLETS IN THEIR MAGAZINES.


THE MOST POPULAR ARTISTS BECAME SUPER BUSY, NOT ONLY DRAWING SERIALIZATIONS IN THE MAGAZINES, BUT ALSO DRAWING MANGA SUPPLEMENTS FOR THEM! YOU CAN TELL HOW BUSY TEZUKA WAS, JUST FROM THE NUMBER OF WORKS HE WAS SERIALIZING.

BUT WE HAVEN’T RECEIVED ANYTHING YET!

WE RECEIVED WORD THE OTHER DAY THAT YOU SENT US YOUR PAGES…

HELLO? DR. TEZUKA?

I BETTER GO TO TAKARAZUKA AN’ KEEP AN EYE ON HIM!!

THIS IS A BIG PROBLEM! HE’S PROB’LY BUSY WORKING FOR SOME OTHER MAGAZINES!

325

HERE’S AN EDITOR IN CHARGE OF TEZUKA AT ONE MONTHLY…

“UM, ER…. PLEASE ACCEPT MY SINCERE APOLOGIES. I’M ACTUALLY DRAWING THEM AS-WE-SPEAK!”


SO SORRY YOU HAD TO COME ALL THE WAY HERE, SIR…

YOU SAY HE JUST LEFT FOR TOKYO, MRS. TEZUKA?!

TAKARAZUKA...

WHAT?!

SO I NOW KNOW HE’S IN TOKYO, BUT WHERE…?

AN’ OF COURSE THE OTHER EDITORS WON’T TELL ME WHERE HE IS…

I’LL HAVE TO VISIT THE INNS HE OFTEN USES…

YOU SURE HE’S NOT STAYING HERE?

NOPE. HE’S NOT HERE.

326

SORRY, SIR. NO ONE NAMED TEZUKA HERE…

HE’S NOT AT HIS APARTMENT IN YOTSUYA…


TO THE CONSTERNATION OF EDITORS, HE WOULD SOMETIMES DASH OUT TO SEE A MOVIE IN THE MIDDLE OF JOBS.

SINCE TEZUKA HAD RESOLVED TO WATCH 365 MOVIES A YEAR, AND COULD ONLY DO SO IN BETWEEN JOBS, HE WAS CLEARLY NO ORDINARY MOVIE BUFF…

“Some memories of my single years are deeply connected with films, with Gary Cooper in High Noon, and Carol Reed’s The Third Man…”*

TEZUKA WOULD OFTEN VISIT THEATERS ALONE, EVEN ON NEW YEAR’S MORNING…

THE DRAWING TO THE RIGHT, SHOWING HIM SURROUNDED BY COUPLES, REVEALS HIS COMPLICATED LONELINESS AT THE TIME.

* Quote and illustration from Tezuka’s essay “Eiga Kodoku” (“Alone with Films”) in his Mitari, Tottari, Utsushitari (“Watching, Shooting, and Screening”) column.

384


RATS! NO SIGN OF DR. TEZUKA COMING BACK TO HIS WORKPLACE YET…

GUESS WE’LL JUST HAVE TO GO SEARCH FOR HIM AGAIN….

WAIT! THAT’S HIM!

OKAY, DR. TEZUKA, LET’S GO TO WORK! WE’VE ALREADY RESERVED A HOTEL ROOM FOR YOU!

TEZUKA’S ENTHUSIASM FOR ORSON WELLES’S ACTING IN THE THIRD MAN QUICKLY SPREAD TO HIS ARTIST PALS, TOO.

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IN THOSE DAYS, WHEN CAUGHT BY HIS EDITORS, TEZUKA USED TO IMITATE ORSON WELLES’S SLY GRIN IN THE THIRD MAN.


AND EVENTUALLY…

SOMETIMES, WHEN HE AND HIS ARTIST PALS WERE CONFINED TO WORK IN THE SAME HOTEL, THEY WOULD HAVE DEEP DISCUSSIONS ABOUT MOVIES.

THEY STARTED COMPETING, TO DO THE BEST ORSON WELLES IMITATION…

I’LL TURN OFF THE LIGHT, OKAY?

WASN’T THE THIRD MAN AMAZING?!

AND THE MUSIC WAS GREAT, TOO!

NOW I’LL TURN IT ON…

WOW. LOOKS JUST LIKE HIM. I’LL TRY NEXT. THEN ME, OKAY?!

IT’D BE BETTER IF WE HAD A CAT BY US…

I’LL NEVER FORGET THE WAY WELLES GRINS IN THE DARKNESS!

REALLY REMINDS ME OF THAT SCENE…!

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DESPITE IT BEING IN THE DEAD OF WINTER, AFTER FINISHING HIS WORK TEZUKA INSISTED ON SIGHTSEEING WITH ONE OF THE EDITORS.

SINCE WE’RE ALL THE WAY DOWN HERE IN KYUSHU, LET’S GO VISIT MT. ASO!!

HE WROTE ABOUT THIS LATER, IN A COLORFUL FASHION IN HIS AFTERWORD TO CYCLONE Z.

…IT WAS A BIT EXAGGERATED, MANGASTYLE…

“To the editors in those days I was like an outlaw, beyond the pale, with no fixed address.

“Boiling with rage, the editors had come en masse all the way to Kyushu to find me…

“I had taken off without warning, by train and plane, for Kyushu Island.

“And this being the case, I later had to face true cosmic retribution…”

446


I CAN’T WALK ANOTHER STEP!

SEND ALL MY EFFECTS TO MY FAMILY… WISH I COULD COME UP WITH SOME LAST GOOD STATEMENT…

WOW! THIS IS A REAL BLIZZARD!!

OK. ANYTHING ELSE?

UH, OH…

WHA? YOU’RE KIDDING?!

I WANT LEIJI MATSUMOTO TO CONTINUE DRAWING PHOENIX FOR ME! SATORU INOUE TO DRAW ASTRO BOY! AND AS FOR CYCLONE Z…

NO! I’LL NEVER LAST THAT LONG! I WANT YOU TO CONVEY MY DYING WORDS TO THE WORLD!

HOKAY. WITH THAT, YOU CAN BREATHE YOUR LAST IN PEACE... ALL THE EDITORS IN TOKYO WHO WORK WITH YOU WILL PROB’LY REJOICE!

THE BLIZZARD’S STOPPED!

* A pun on a saying by Goemon Ishikawa, a famous thief: “Sand on the beach may one day disappear, but thieves never will.”

447

HANG IN THERE! I’LL GO GET HELP!

BUT HOW ABOUT, “SAND ON THE BEACH MAY ONE DAY DISAPPEAR, BUT MANGA ARTISTS NEVER WILL.”!? *


HA! I MIGHT EVEN MAKE IT TO THAT MOUNTAIN HUT AND SURVIVE!

“In those days, I was still single, and acting irresponsibly dayto-day…

“I think this sentiment unconsciously manifested in the android character ‘Jet’ in Cyclone Z.”*

MANGA CREATED BY A NEW GENERATION, IN A NEW STYLE, HAD STARTED TO APPEAR. AND TEZUKA FOUND HIMSELF IN A CREATIVE DILEMMA.

“But I was also secretly starting to dream... ...of finding a pretty and kind life-partner to help me out.

IN 1957, WHEN TEZUKA’S KYUSHU ADVENTURE TOOK PLACE, IT HAD ALREADY BEEN 10 YEARS SINCE HIS FIRST PAPERBACK MANGA HAD BEEN PUBLISHED IN OSAKA, AND 7 YEARS SINCE HE HAD BEGUN DRAWING FOR TOKYO MAGAZINES.

* From the afterword to Senpū Z (“Cyclone Z”) in Tezuka Osamu Manga Zenshū (“The Complete Collection of Osamu Tezuka’s Manga”).

448

ALWAYS BUSY, TEZUKA SOON HAD TO RETURN TO TOKYO.


JULY, 1956, THE GOVERNMENT ISSUED A WHITE PAPER ON “JAPANESE ECONOMIC GROWTH IN THE MODERN ERA” WITH A SUBTITLE DECLARING “THE POSTWAR PERIOD IS OVER.”

“Young people, called the “Sun Tribe,” began sporting _ “Shintarō” -style haircuts.

“And the Zengakuren leftist student group began protesting around a U.S. air base in Tachikawa.

“Teenagers were intoxicated with rock & roll. “It started with a movie based on Shintarō Ishihara’s novel, Season of the Sun.* * TN: Taiyō no Kisetsu in Japanese.

449


TN: Namiki House.

“Then, in 1958, the government outlawed houses of prostitution.

“But the new generation had new philosophies and lifestyles. The Baby Boomers had come of age.”*

OWWW! GOTTA BE CAREFUL IN THIS TINY SPACE!

YOU OK, DR. TEZUKA?

* From Boku wa Mangaka (“I Am a Manga Artist”).

450

“Those of us who had matured during the war or immediate postwar were apathetic and insecure.


AROUND THIS TIME, YOUNG BUDDING MANGA ARTISTS OFTEN VISITED HIM, OR SENT HIM THEIR WORK.

THINK I COULD MOVE TO A BIGGER WORK SPACE, IMAE?

‘PROBABLY BE BETTER TO RENT AN ENTIRE HOUSE NOW…

AROUND THIS TIME, TEZUKA STARTED HIRING BOTH A MANAGER AND ASSISTANTS, TO INCREASE HIS PRODUCTIVITY.

SO TEZUKA LOOKED FOR A NEW STUDIO IN HATSUDAI, IN TOKYO’S SHIBUYA WARD.

AND IN THE SPRING OF 1957 HE MOVED.

WOW. THIS GUY FROM AIZUWAKAMATSU CITY’S REALLY GOOD WITH GAGS…

OKAY, LET’S CONTACT HIM, THEN…

451

IT’S TOO CROWDED HERE…

HIS FIRST MANAGER—MR. IMAE—KNEW THE MANGA BUSINESS, AND HAD ONCE BEEN AN ASSISTANT TO KENNOSUKE NIIZEKI, AN ARTIST TEZUKA HAD ADMIRED AS A CHILD.

SO HE WAS ABLE TO CHOOSE HIS ASSISTANTS FROM AMONG THEM.


The Osamu Tezuka Story: A Life in Manga and Anime preview  

A documentary manga biography of the influential artist and the birth and evolution of manga and anime in Japan. Purchase at www.stonebridge...

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