Review of Buddha, Vol. 1: Kapilavastu (Buddha #1) by Osamu Tezuka

Tezuka manages to sustain a gripping pace while inserting subtle philosophy and universal themes.

If the other 7 volumes are as good as this one it might be his greatest series. I like this first volume more than most of the volumes of Phoenix.

While the narrative is not bound by the strictures of its underlying faith – at least not yet – the moral compass of the plot is geared toward that expression of enlightenment, whether through sacrifice and death or through patience and love. The love of humanity is present in many if not all of Tezuka’s work. He is famous for his heart. He never loses sight of this central concern in his characters. He knows that the reader will sympathize with someone who is performing either evil or magnanimous acts out of love or other well-established motives. By clarifying the motive the action proceeds smoothly and the characters are allowed to react as the situations arise. I got the sense that the world extended far beyond the borders of the comic frame and could sink into the pages and feel the dirt and grit of the landscape even when every extraneous detail was excluded.

He was a utilitarian artist and consummate storyteller. No matter how complex the plot becomes I cherish the moments I spend reading with Tezuka’s creations because they shed light on the beauty of the human soul. When he wants to show the soul’s wickedness it is depicted nakedly and in lurid ways, but when that beauty overcomes the inherent flaws in mankind, you can appreciate his work as more than mere entertainment. Tezuka winds a convincing yarn even when he bends the laws of physics and plays around with anachronisms.

One of the few times when manga becomes indistinguishable from literature. At least it seems to have placated most critics of the medium. The most sophisticated work by the most important graphic storyteller in Japanese history.

Review of Uzumaki: Spiral into Horror, Vol. 1 by Junji Ito

Many of Junji Ito’s themes and motifs are simple and even nonsensical, but they tend to stick in the mind.

They have the ineluctable quality of nightmares, of good horror films. His concepts have the same staying power as a cheesy slasher flick, with the advantage of impressive artwork. No matter how far he takes the mutilation and monstrosities, they are rooted in true nightmares and real-life phobias. One gets the sense that the author is of a delicate sensibility and exorcises these demons in his work. Maybe horrors accumulate inside his mind and he has no choice but to draw manga for temporary relief.

Inanimate objects take on ominous contortions and morph into a dramatic diorama of blood and guts in most examples. Something as tame as clay pots are twisted into mesmerizing terror in his most representative work, Uzumaki. More so than in Tomie or Gyo, this is considered his stand-out production.

Reading it once is enough to start seeing spirals, to be infected by the madness. He points out society’s flaws indirectly, and you can usually dig beneath his nonsensical fables for subtle commentary. It was easy for me to acquire a taste for this brand of obscuring reality and blending it with nightmare. There is a gnawing madness to this and most of his other stories. Everything from marionettes to advertisements to snails to hot air balloons become objects to be questioned, or even to be abhorred. In Junji Ito nothing is as it seems. But under the horrid images, I can sense humor. The surface is only one layer. The true heart of his manga lies in a pervading irony and solid sense of grotesque joy that is easy to miss if you only consider the bones of the story.

Like in any good horror story, the characters in Uzumaki are constantly acting contrary to reason. I have heard of the unsuccessful live action film based on the manga. His ideas really only work on paper if you ask me. The exaggeration becomes silly when mishandled. That’s why I’m a fan of the manga alone, and will remain a fan, as we’re finally getting more of his titles and collections in English.

Review of The Book of Human Insects by Osamu Tezuka

With the Book of Human Insects, Tezuka’s appeal is reaches new heights. He compressed an incredibly fascinating character study into a short space.

It is what he did with MW, but you’ll see even more compression here. One eternally gets the sense that Tezuka suffered from too many ideas. He simply could not draw fast enough. In fact, I would have been okay with him just resorting to stick figures or blocking out his stories and allowing apprentices and assistants to finish his works. But no, he chose to work much harder than anyone else and do everything himself.

The Book of Human Insects, with its bleak commentary on art, is actually prophetic. How many artists would discover Tezuka and then copy and reinvent his ideas? He single-handedly created a market for anime with Astro Boy, and revolutionized manga into a legitimate career path. After leaving behind 150,000 pages of drawings in the famous 700 volume Tezuka collection, he still didn’t want to stop at the end of his life. The inspiration he found from Hollywood and Disney is clear in some of his work, but in the end he showcased a capacity to invent ideas at a greater rate than any other creator of his time.

The Book of Human Insects is a good place to enter into Tezuka’s work. Before embarking on Ode to Kirihito or Barbara or MW, this one, solid volume is enough to convince anyone with literary leanings that Tezuka was more than just a serious contender in the medium. He might have been the Mozart of manga. He makes everyone else look like Salieri. Sure, he had his flaws. You can find plenty of jokes that really aren’t funny and plotlines that come out of nowhere only to go nowhere, but you won’t find that kind of thing in this volume.

After reading The Book of Human Insects I needed no more convincing. I wanted to reread it. But I knew there was too much Tezuka left. I couldn’t pause to linger over this fine work of storytelling. I had to move on to his other works. The quality of Tezuka is such that even when he is not at his best, he is still addictive. And even when he was just starting, his brilliance was recognizable. When the medium didn’t allow for much space or experimentation, he still found ways to innovate with works like The Mysterious Underground Men. This work is marked by adult themes, adult atmosphere and a total lack of appeal for children. Tezuka was making an effort to elevate manga above the level of the funny papers and to spread appreciation.

The Book of Human Insects categorizes many typical characters, recognizable in part, from other examples of his work. It contains journalists, writers, actors, assassins, businessmen, lovers, but is devoid of children. It is fairly obvious when Tezuka is trying to be mature. It is a testament to him that he could dash off something like The Book of Human Insects while working on other projects simultaneously.

Tezuka must have internalized the basic themes he wished to explore: the human spirit, sacrifice, religious dogmas, futurism, dystopia, love, jealousy, etc. etc. And he conjures scenes organically, invents plot twists at the drop of a hat, inserts the right amount of conflict, tension, and mixes up the atmosphere as necessary. This book occupies a special place in my mind as one of the most crystallized Tezuka works. It’s hard to beat for sheer intense storytelling. It contains all the drama and comedy and tragedy you could ask for from a graphic work. All he needed to do was dream, and let the characters come to life, and draw them into being in the midst of their frantic worlds.