“ Tezuka ” redirects here. For early people with this surname, see Tezuka ( surname ) Osamu Tezuka ( 手塚 治虫, b. 手塚 治, Tezuka Osamu ; ( 1928-11-03 ) 3 November 1928 – 9 February 1989 ) was a japanese manga artist, cartoonist, and animator. Born in Osaka Prefecture, his prolific output, pioneering techniques, and advanced redefinitions of genres earned him such titles as “ the Father of Manga “ ( マンガの父, Manga no Chichi ), “ the Godfather of Manga ” ( マンガの教父, Manga no Kyōfu ) and “ the God of Manga ” ( マンガの神様, Manga no Kami-sama ). additionally, he is often considered the japanese equivalent to Walt Disney, who served as a major inspiration during Tezuka ‘s formative years. [ 1 ] Though this phrase praises the quality of his early manga works for children and animations, it besides blurs the meaning influence of his former, more literary, gekiga works.
Reading: Osamu Tezuka – Wikipedia
Tezuka began what was known as the manga revolution in Japan with his New Treasure Island published in 1947. His output would spawn some of the most influential, successful, and well-received manga series including the children mangas Astro Boy, Princess Knight and Kimba the White Lion, and the adult-oriented serial Black Jack, Phoenix, and Buddha, all of which won respective awards. Tezuka died of stomach cancer in 1989. His death had an immediate impact on the japanese public and other cartoonists. A museum was constructed in Takarazuka dedicated to his memory and life works, and Tezuka received many posthumous awards. several animations were in output at the fourth dimension of his death along with the final chapters of Phoenix, which were never released .
biography [edit ]
early animation ( 1928–1945 ) [edit ]
Tezuka was born in Toyonaka, Osaka. He was the eldest of three children. [ 3 ] The Tezuka family were booming and knowing ; his forefather Yutaka worked in management at Sumitomo Metals, his grandfather Taro was a lawyer, and his great-grandfather Ryoan and great-great-grandfather Ryosen were doctors. His mother ‘s family had a long military history. [ 4 ] belated in life, he gave his mother credit for inspiring assurance and creativity through her stories. She frequently took him to the Takarazuka Grand Theater, which much headlined the Takarazuka Revue, an all-female melodious theater company. Their quixotic musicals aimed at a female audience, had a large influence of Tezuka ‘s late works, including his costume designs. not merely that, but the performers ‘ boastfully, sparkle eyes besides had an influence on Tezuka ‘s artwork style. [ 5 ] He has said that he has a profound “ spirit of nostalgia ” for Takarazuka. [ 6 ] When Tezuka was young, his father showed him Walt Disney films and he became a Disney movie yellowish brown, seeing the films multiple times in a row, most famously seeing Bambi more than 80 times. [ 7 ] Tezuka started to draw comics around his second class of elementary school, in big part inspired by Disney animation ; [ 7 ] he drew sol much that his mother would have to erase pages in his notebook in arrange to keep up with his output. Tezuka was besides inspired by the works by Suihō Tagawa and Unno Juza. [ 8 ] Later in life, he would state of matter that the most significant influence on his desire to be an animator was not Disney but the experience of watching the chinese animation Princess Iron Fan as a child. [ 9 ] Around his fifth year, he found a background beetle, known as “ Osamushi ” in japanese. It so resembled his own name that he adopted “ Osamushi ” as his penitentiary name. [ 8 ] Tezuka continued to develop his manga skills throughout his school career. During this period he created his first base adept amateur works. [ 8 ] During high school in 1944, Tezuka was drafted to work for a factory, supporting the japanese war effort during World War II ; he simultaneously continued writing manga. In 1945, Tezuka was accepted into Osaka University and began studying medicine. During this time, he besides began publishing his first gear professional function. [ 10 ]
early success ( 1946–1951 ) [edit ]
Tezuka in the 1950s Tezuka came to the realization that he could use manga as a means of helping to convince people to care for the universe. [ citation needed ] After World War II, at age 17, he published his first professional work, Diary of Ma-chan, which was serialized in the elementary school children ‘s newspaper Shokokumin Shinbun in early 1946. Tezuka began talks with boyfriend manga creator Shichima Sakai, who pitched Tezuka a fib based on Robert Louis Stevenson ‘s classical venture novel, Treasure Island. Sakai promised Tezuka a publish spot from Ikuei Shuppan if he would work on the manga. Tezuka finished the manga, only loosely basing it on the original influence. [ 11 ] Shin Takarajima ( New Treasure Island ) was published and became an nightlong success, which began the gold historic period of manga, a fad comparable to american english amusing book Golden Age at the like time. [ 12 ] With the success of New Treasure Island, Tezuka traveled to Tokyo in search of a publisher for more of his work. Kobunsha turned Tezuka toss off, but Shinseikaku agreed to publish The Strange Voyage of Dr. Tiger and Domei Shuppansha agreed to publish The Mysterious Dr. Koronko. While still in medical school Tezuka published his first base masterpieces : a trilogy of skill fabrication epics called Lost World ( 1948 ), Metropolis ( 1949 ), and Nextworld ( 1951 ). These works featured early steampunk elements. [ 13 ] soon subsequently, Tezuka published his beginning major achiever, Kimba the White Lion, which was serialized in Manga Shonen from 1950 to 1954. [ 14 ] In 1951 Tezuka graduated from the Osaka School of Medicine [ 15 ] and published Ambassador Atom, the first appearance of the Astro Boy character. That lapp class Tezuka joined a group known as the Tokyo Children Manga Association, consisting of other manga artists such as Baba Noboru, Ota Jiro, Furusawa Hideo, Eiichi Fukui, Irie Shigeru, and Negishi Komichi. [ 15 ]
Astro Boy, national fame and early animation ( 1952–1960 ) [edit ]
By 1952, Ambassador Atom had proven to be an only mild success in Japan ; however, one particular character became highly popular with young boys : a android automaton named Atom. Tezuka received several letters from many young boys. Expecting success with a serial based around Atom, Tezuka ‘s manufacturer suggested that he be given human emotions. One day, while working at a hospital, Tezuka was punched in the face by a torment american G.I. This meet gave Tezuka the idea to include the theme of Atom ‘s interaction with aliens. [ 19 ] On 4 February 1952, Tetsuwan Atom began serialization in Weekly Shonen Magazine. The character Atom and his adventures became an instant phenomenon in Japan. ascribable to the success of Tetsuwan Atom, in 1953 Tezuka published the shōjo manga Ribon no Kishi ( Princess Knight ), serialized in Shojo Club from 1953 to 1956. [ 20 ] In 1954 Tezuka first published what he would consider his life ‘s work, Phoenix, which primitively appeared in Mushi Production Commercial Firm. [ 21 ]
Production career ( 1959–1989 ) [edit ]
Tezuka ‘s beginning work to be adapted for animation was Saiyuki, a recite of the chinese history of Journey to the West. Produced by Toei Animation, Tezuka was officially credited as the director of the film. however, later crew accounts would prove that the manga artist was unmanageable to motivate to do function. Most of the direction was done by Yabushita Taiji rather. Tezuka was finally given the job of storyboarding the film, indeed that he did n’t actually have to animate anything and something in the production could get done. He did not follow Toei ‘s deadlines, and after a year of working on the project and several weeks of threats from Toei ‘s producers, he ultimately delivered his 500-page storyboard so the animators could do their job in the fall of 1959. That said, the crew found the storyboard to be wholly unpractical, lacking tempo and a clear plot for a 90-minute film, alternatively something that would be better told through an open-ended weekly comedian like what Tezuka had been producing. This ran counter to Toei ‘s “ climax method ” that had the goal of a boastful finish at the end for audiences to leave the cinema remember. The handwriting for the film was credited to Uekusa Keinosuke. The movie was released as Alakazam the Great in 1960. That said, many of the animators were initially shocked at the total they had to produce in such a short amount of time—amounting to a frame a day, thinking it unachievable. however, Tezuka ‘s simplified art vogue made the integral vivification action a lot more efficient. Tezuka did not enjoy his meter at Toei, and he specially did not like that he felt he had no control over “ his ” history or the ending. [ 22 ] That said, this film is recognized as a massive turn point in vivification history. It introduced the use of simplify art style and limited animation as labor and monetary value savers. It introduced Tsukioka Sadao, one of Tezuka ‘s assistants, to Toei where he would later become the conductor of the studio ‘s first base television receiver series, and it introduced Tezuka to the animators he would later poach for his own studio. [ 23 ] In 1961, Tezuka entered the animation diligence in Japan by founding the production company Mushi Productions as a rival of Toei Animation. His initial staff was composed of animators he had met while working on Saiyuki that he convinced to join by paying the animators more than doubling what Toei was paying them ampere well as paying for food. Their first gear film was Tales from a Certain Street Corner ( Aru Machikado no Monogatari ). An ‘anti-Disney ‘, experimental film. Just like on Saiyuki, Tezuka would much fall behind his own deadlines, and the staff would have to pick up the slack only for Tezuka to take credit for it later. Tales from a Certain Street Corner was shown at a one special screen and featured many “ tricks ” that would be late standardized as labor-saving measures in the zanzibar copal diligence such as repeated and reversed animation cycles of characters dancing, frames being held for a long menstruation of time. This like screen besides featured the first cover of Tezuka ‘s Astro Boy initial two episodes eight weeks before its original circulate on the 5 or 6 November 1962 at the Yamaha Hall. [ 24 ] Astro Boy was first broadcast on New Year ‘s Day 1963 ; this series would create the first successful model for animation production in Japan and would besides be the first japanese vivification dubbed into English for an american consultation and besides created the market for children ‘s trade. This is in big depart because Tezuka was able to undercut his competitors, cutting costs to 2.5 million yen per episode by using techniques that would by and by be adopted by the television zanzibar copal diligence at boastfully such as shooting on threes, stop images, repetition, sectioning, combined use, and short shots. none of these methods were invented by Tezuka or Mushi Pro, but were alternatively refined there. During production, the staff besides found that while the short cuts were initially obvious, the habit of soundscaping helped to mitigate it. [ 25 ] The entirely reason Astro Boy was able to survive its origin is because Tezuka was able to sell the foreign rights to NBC Enterprises [ citation needed ] ( an significant eminence from NBC itself which was the entity Tezuka believed he was selling to ). The american company ordered 52 episodes, a crucial investing because Mushi Pro entirely had four episodes in the can and lone enough resources for one episode more. In the american localization of function, even more over the top voice effects were used to mitigate the obviously brassy vivification. The habit of sound would be foster utilized and exemplified in early zanzibar copal to follow, leading to many of the “ stock ” zanzibar copal sound effects modern audiences are now used to. Selling to an american market was very restrictive, though. They were not to include any indication that the show was made in Japan, they were not to have any discharge that lasted more than an episode, all street signs had to be in English, religious references, “ pornographic ” themes, or nakedness. Tezuka agreed to this, claiming that it would fit better with the sci-fi put by giving the smell of a “ placelessness ”. however, he would soon be disappointed by the american market when a Mushi Pro representative went to discuss the future year ‘s episode order only to find out that the Americans did n’t need anymore, believing that 52 episodes were more than adequate to cycle through indefinitely. [ 26 ] other series were subsequently adapted to vivification, including Jungle Emperor ( 1965 ), the first japanese animated series produced in entire color. [ 27 ] [ 28 ] Jungle Emperor was besides successfully sold to NBC Enterprises who about made Mushi Pro clothe the rampantly animals featured. They were finally able to negotiate “ than animals were permitted to be ‘naked ‘ in natural settings, and that the delineation of black characters was permissible, a long as they were presented as ‘civilized ‘ ; evil characters could silent only be white. ” [ 29 ] In the former 60s and 70s, it was unclutter that the heighten of Mushi Pro was a short one and it was sliding into bankruptcy. Tezuka ‘s fiscal model was unsustainable and the company was profoundly in debt. In two desperate attempts to earn enough money to pay investors, Tezuka turned to the adult film market and produced A Thousand and One Nights ( 1969 movie ) and Cleopatra ( 1970 movie ). Both attempts failed. [ 30 ] Tezuka stepped polish as acting conductor in 1968 to found a new animation studio, Tezuka Productions, and continued experimenting with animation recently into his life. In 1973, Mushi Productions collapsed financially ; the side effect would produce several influential animation product studios, including Sunrise. his family has lived on .
Gekiga graphic novels ( 1967–1989 ) [edit ]
In 1967, in answer to the magazine Garo and the gekiga movement, Tezuka created the magazine COM. [ 28 ] By doing then, he radically changed his art from a cartoony, Disney-esque slapstick style towards a more naturalistic draw style ; at the time the themes of his books became focused on an adult hearing. A common component in all these books and short stories is the identical colored and immoral nature of the chief characters. The stories are besides filled with explicit ferocity, erotic scenes, and crime. The change of his manga from aimed at children to more ‘literary ‘ gekiga manga started with the yōkai manga Dororo in 1967. This yōkai manga was influenced by the success of and a response to Shigeru Mizuki ‘s GeGeGe no Kitarō. [ citation needed ] Simultaneously, he besides produced Vampires that, like Dororo, besides introduced a stronger, more coherent storyline and a shift in the draw stylus. After these two he began his truthful first base gekiga try with Swallowing the Earth. [ 31 ] Dissatisfied with the result, he soon after produced I.L.. His work Phoenix began in 1967.
Read more: Mỹ Tâm – Wikipedia tiếng Việt
Besides the long-familiar series Phoenix, Black Jack and Buddha, which are drawn in this manner, he besides produced a huge sum of one-shots or shorter serial, such as Ayako, Ode to Kirihito, Alabaster, Apollo’s Song, Barbara, MW, The Book of Human Insects, and a large act of short stories that were subsequently jointly published in books such as Under the Air, Clockwork Apple, The Crater, Melody of Iron and Other Short Stories, and Record of the Glass Castle. Tezuka would become a bit mild in narrative tone in the 1980s with his follow-up works such as Message to Adolf, Midnight, Ludwig B ( unfinished ), and Neo Faust .
death [edit ]
Tezuka died of stomach cancer on 9 February 1989 in Tokyo. [ 32 ] His final words were : “ I ‘m begging you, let me work ! “, spoken to a nanny who had tried to take away his drawing equipment. [ 33 ] Although Tezuka was agnostic, he was buried in a buddhist cemetery in Tokyo. In 2014, it was reported that Tezuka ‘s daughter, Rumiko Tezuka [ ja ], opened a drawer to her father ‘s desk which had been locked since his death. In it she found a half-eaten slice of chocolate, a handwritten test about Katsuhiro Otomo in involve to his good oeuvre on Akira, sketches from his respective projects, and a big number of erotic sketches of anthropomorphic animals. [ 35 ]
stylus [edit ]
Tezuka is known for his imaginative stories and stylized japanese adaptations of western literature. Tezuka ‘s “ cinematic ” page layouts were influenced by Milt Gross ‘ early graphic novel He Done Her Wrong. He read this record as a child, and its style characterized many manga artists who followed in Tezuka ‘s footsteps. [ 36 ] His knead, like that of other manga creators, was sometimes farinaceous and violent. He invented the distinctive “ big eyes ” style of japanese animation, drawing inspiration from western cartoons and animate films of the meter such as Betty Boop, Mickey Mouse, and other Disney movies .
Works [edit ]
Tezuka ‘s complete oeuvre includes over 700 volumes, with more than 150,000 pages. [ 38 ] [ 39 ] Tezuka ‘s creations include Astro Boy ( Mighty Atom in Japan ), Black Jack, Princess Knight, Phoenix ( Hi no Tori in Japan ), Kimba the White Lion ( Jungle Emperor in Japan ), Unico, Message to Adolf, The Amazing 3, Buddha, and Dororo. His “ life ‘s knead ” was Phoenix —a report of life and death that he began in the 1950s and continued until his death. In addition, Tezuka headed the vivification production studio apartment Mushi Production ( “ Bug Production ” ), which pioneered television vivification in Japan. [ 41 ]
Bibliography ( manga ) [edit ]
A arrant tilt of his works can be found on the Tezuka Osamu Manga Museum web site. [ 42 ]
personal animation [edit ]
Tezuka was a descendant of Hattori Hanzō, [ 58 ] a celebrated ninja and samurai who faithfully served Tokugawa Ieyasu during the Sengoku menstruation in Japan. Tezuka ‘s childhood dub was gashagasha-atama : “ messy head ” ( gashagasha is slang for messy, atama means head ). [ citation needed ] As a child, Tezuka ‘s arms swelled up and he became ill. He was treated and cured by a doctor of the church, which made him besides want to be a repair. At a ford point, he asked his mother whether he should look into doing manga full-time or whether he should become a doctor. At the time, being a manga author was not a peculiarly rewarding job. The answer his mother gave was : “ You should work doing the thing you like most of all. ” Tezuka decided to devote himself to manga creation on a full-time basis. He graduated from Osaka University and obtained his aesculapian degree, but he would subsequently use his aesculapian and scientific cognition to enrich his sci-fi manga, such as Black Jack. [ 39 ] [ 59 ] Tezuka enjoyed insect collection and entomology ( even adding the character 虫 ‘bug ‘ to his pen name ), Disney, and baseball — in fact, he licensed the “ turn up ” version of his quality Kimba the White Lion as the logo for the Seibu Lions of the Nippon Professional Baseball League. [ 60 ] [ 61 ] A fan of Superman, Tezuka was honorary president of Japan ‘s Superman Fan Club. [ 62 ] In 1959 Osamu Tezuka married Etsuko Okada at a Takarazuka hotel. [ citation needed ] Tezuka met Walt Disney in person at the 1964 New York World ‘s Fair. In a 1986 entrance in his personal diary, Tezuka stated that Disney wanted to hire him for a potential skill fiction project. [ citation needed ] In January 1965, Tezuka received a letter from American film director Stanley Kubrick, who had watched Astro Boy and wanted to invite Tezuka to be the art film director of his future movie, 2001: A Space Odyssey ( which was finally released in 1968 ). Although flattered by Kubrick ‘s invitation, Tezuka could not afford to leave his studio apartment for a year to live in England, so he had to turn down the offer. Although he was not able to work on 2001, he loved the film, and would play its soundtrack at maximum bulk in his studio to keep him awake during hanker nights of work. [ 63 ] [ 64 ] Tezuka ‘s son Makoto Tezuka became a film and anime director. [ 60 ]
bequest and charm on manga diligence [edit ]
Stamps were issued in Tezuka ‘s award in 1997. besides, beginning in 2003, the japanese toy dog 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. To date, three serial of the figurines have been released. Tezuka ‘s bequest has continued to be honored among manga artists and animators. He guided many well-known manga artists, such as Shotaro Ishinomori and Go Nagai. Artists that have cited Tezuka as an influence include Monkey Punch, Katsuhiro Otomo, Akira Toriyama and Naoki Urasawa. [ 65 ] [ 66 ] [ 67 ] [ 68 ] From 2003 to 2009, Urasawa and Takashi Nagasaki adapted an bow of Astro Boy into the murder mystery series Pluto. [ 69 ] Tezuka was a personal friend ( and apparent aesthetic determine ) of brazilian comedian book artist Mauricio de Sousa. In 2012, Maurício published a two-issue story arch in the Monica Teen comic ledger featuring some of Tezuka ‘s main characters, including Astro Boy, Black Jack, Sapphire, and Kimba, joining Monica and her friends in an gamble in the Amazon rain forest against a smuggling administration chopping down hundreds of trees. This was the first fourth dimension that Tezuka Productions allowed oversea artists to use Tezuka ‘s characters. [ 70 ] In October 2019, a stick out was announced called Tezuka 2020, which is AI -illustrated manga in his style. At first, the illustrations were distorted and horrifying, but after studying actual human faces, the illustrations looked more like his. [ 71 ] After looking through thousands of AI-generated pictures, one stood out, and the illustrator Urumu Tsunogai created the modern protagonist. In 2020, an AI writer-artist made by Kioxia was tasked to make a new “ Tezuka ” manga called Paidon [ja], which takes target in a futuristic apocalyptic society, which was released in the magazine Morning on 27 February 2020. It is partially of the project, which will besides be drawn by physical human beings such as Shigeto Ikehara, Kenichi Kiriki, and Urumu Tsunogai. Tezuka ‘s son held a ceremony on 26 February 2020, to introduce people to the manga. The publisher of the magazine already confirmed that a sequel is in output. [ 72 ] [ 73 ] [ 74 ] [ 75 ] [ 76 ] [ 77 ]
Awards and recognition [edit ]
Osamu Tezuka Manga Museum [edit ]
The Osamu Tezuka Manga Museum The city of Takarazuka, Hyōgo, where Tezuka grew up, opened a museum in his memory. [ 3 ] The Osamu Tezuka Manga Museum ( 宝塚市立手塚治虫記念館, literature. “ Takarazuka City Tezuka Osamu Memorial Hall ” ) was inaugurated on 25 April 1994, and has three floors ( 15069.47 ft² ). In the basement there is an “ animation Workshop ” in which visitors can make their own animation, and a mockup of the city of Takarazuka and a replica of the table where Osamu Tezuka worked. Outside of the build ‘s capture, there are imitations of the hands and feet of several characters from Tezuka ( as in a true walk of fame ) and on the inside, the submission hall, a replica of Princess Knight ‘s furniture. On the lapp floor is a permanent exhibition of manga and a room for the display of zanzibar copal. The exhibition is divided into two parts : Osamu Tezuka and the city of Takarazuka and Osamu Tezuka, the author. The second base floor contains, along with several exhibitions, a manga library with five hundred works of Tezuka ( some alien editions are besides deliver ), a video library, and a lounge with interior decoration inspired by Kimba the White Lion. There is besides a glass sculpt that represents the planet earth and is based on a book written by Tezuka in his childhood called Our Earth of Glass .