Japanese cartoonist and animator
- I conceived this story [ MW ] with the intention of presenting readers a picaresque drama that distort the traditional atmosphere of my stories leave them stunned.
- I wish that all the ills of society - conformism, laziness, indolence, betrayal, violence, lust , rape - and especially the evils of politics will be represented in the form of an absolute depravity.
- Now I feel a great regret. My style inadequate forces me to complete the work without being able ...
- From the Afterword to April 1978 MW , vol. 3, translation by Francesco Nicodemus, Hazard Editions, Milan, 2005, p. 193. ISBN 887502037X
- The children face problems such as violence, abuse, suicide etc. that medicine can not heal. It will never help these children psychologically and be his support ...? Even when they are in difficulty, in principle they do not speak with adults, or confide about their true intentions. However, expect some serious messages from adults. I will continue to send messages through manga. Children avoid them what force or what they want to impose anything. That is why I will continue to look for those things that [...] inspire their hearts.
- From the intervention to the fifteenth national conference on school health and safety in schools , 1987; quoted in AA.VV., Osamu Tezuka: A Manga Biography , vol. 2, translated by Marta Fogato, Coconino Press, Bologna, 2001, p. 79. ISBN 8888063072
- The new readers have mentality, fashions, feelings completely different from those of previous readers. Should I draw comics following my first readers in their growth? Or should I stop doing the cartoonist? ... More or less every three years a cartoonist for children is cornered. I, too, every three years, living a crisis. So I decide and I get back to work for my new readers as if they were the first. ... This is why I am certain that the good work that will draw able to make happy readers of all time.
- From My Diary manga , 1966; quoted in AA.VV., Osamu Tezuka: A Manga Biography , vol. 3, translated by Marta Fogato, Coconino Press, Bologna, 2001, p. 26. ISBN 8888063102
- The science fiction and manga readers had the same ... Most fiction writers then had had some experience in the comic and some of it had even been absorbed completely ... I can not understand why those who love science fiction also loves the manga and vice versa. There are two kinds characterized by a biting satire and at worst are called "extravagant". ... Both are aimed toward the future, and therefore contain romantic adventures for young people.
- Since I cartoonist ; quoted in AA.VV., Osamu Tezuka: A Manga Biography , vol. 3, translated by Marta Fogato, Coconino Press, Bologna, 2001, p. 73. ISBN 8888063102
- I feel there is sensuality ... eroticism in the primary things that move, like animals and insects. Being able to inspire the movement to still images ... gives me the joy of the creator that breathes life into things that do not have life. The movement must be sufficiently round and sweet ... so express its eroticism. In creating cartoons I always think of an ideal, but ... half the finish to doubt the rightness of what I'm doing. So I put all my expectations always work next. * * [...] I often say jokingly that comics are my true wife and that the cartoons are my lover. The fact that I am fully dedicated to animation, my lover ... is because it allows me to express in a sublime ... the interesting metamorphosis of a changing body. For me, the greatest fun, no doubt, lies in the draw and give movement to change processes. Always look in my cartons this metamorphosis.
- From Interview to the author, in Osamu Tezuka, Jumping; quoted in AA.VV., Osamu Tezuka: A Manga Biography , vol. 4, translated by Marta Fogato, Coconino Press, Bologna, 2001, p. 178. ISBN 8888063188
- I am convinced that comics should not only make people laugh. For this in my stories found tears, anger, hatred, pain and end not always happy.
- Quoted in Helen McCarthy, Osamu Tezuka: God of manga , translated by Fabio Deotto, Edizioni BD, 2010, back cover.
- Long ago, many of the small hells that took place in the camps right next to my house showed the joy of living, and tirelessly despite everything
- From Save the Planet of glass ; quoted in AA.VV., Osamu Tezuka: A Manga Biography , vol. 1, translated by Marta Fogato, Coconino Press, Bologna, 2000, p. 106. ISBN 888806303X
- What I try to appeal through my works is simple. The opinion is just a simple message that follows: "Love all the creatures! Love everything that has life"! I have been trying to express this message in every one of my works. Though it has taken the different forms like "the presentation of nature," "the blessing of life," "the suspicion of too much science-oriented civilisation," anti-war and so on.
- As quoted in Japan-zone
- Comics are an international language, they can cross boundaries and generations. Comics are a bridge between all cultures
- As quoted in Transnational Perspectives on Graphic Narratives p. 5
- I first followed the comics of Tagawa Suihō and Yokoyama Ryūichi. But suddenly, once I became devoted to Disney, I set out to copy and master that stuffed-animal style, eventually ending up with how I now draw.
- Those American comics themselves were heavily influenced by Keaton’s comedies, Mack Sennett, those sorts of films from the golden age of comedy. The gagmen that appeared there, for example Roscoe Arbuckle or Ben Turpin, there were lots of comics that used their style, their faces just as is. Especially Chaplin with his bowed legs and over-sized shoes. Those sorts of features were used directly in comics. In that era, all American cartoonists imitated the stars of comedy. That is what I worked so hard at copying, and so that’s why my comics are bowlegged and big-shoed. At the level of content too I was deeply influenced by the strong social caricatures of Chaplin’s comedies, the tears mixed with the laughter. The biggest influence of all was the rhythm.
- Around 1945, daily life might have been hard, but the reputation of Disney was at its highest. The voices of Mickey Mouse and Donald Duck had stabilized, Snow White and Bambi were huge hits and had received a number of international prizes. It really was like the brightness of a rising sun. And then Japanese children after the war had no choice but to face the flood of Disney comics that accompanied the brainwashing of “American democracy.” That was their merit as propaganda against the Japanese.
- Tezuka Osamu and American Comics, (1973), as quoted by Ryan Holmberg, The Comics Journal, Jul 16, 2012.
About Osamu TezukaEdit
- Tezuka is a hero in Japan, a pioneer on equal standing with the world’s other great illustrators and animators, including Walt Disney. This high status is a result of his prolific output, innovative style and the role he played in elevating manga to a form of art. Tezuka’s legacy continues to grow in Japan and abroad as new reissues or translations of his more than 700 publications are released — from tales of robot “Astro Boy” to the troubled world of doctor “Black Jack.” Then there are the ongoing exhibitions of his work at museums across Japan, including the Tezuka Osamu Manga Museum in his hometown of Takarazuka, Hyogo Prefecture.
- Tezuka amazed all with his attention to detail and drawing abilities, and some teachers were so impressed that they nurtured his talents through the difficult years of World War II. In 1944, when all students were required to leave school and join the war effort by working in factories, Tezuka would draw manga and leave it in the toilets for other workers to read.
But one memory from his childhood would linger longer than the others: the firebombing of Osaka. The devastation of that event, and the war that caused it, left a lasting mark on the young artist.
- Tezuka could never completely abandon medicine. Although he never actively practiced, he became a licensed doctor later in life, and one of his most famous manga series stars the rogue genius doctor, Black Jack. But life as both a doctor and an in-demand (though underpaid) young artist was difficult. Tezuka struggled to meet deadlines and commitments. His family feared for his health and begged him to focus on medicine, but he had become too successful, and too passionate, to stop.
- Tezuka continued producing work at an astounding pace right up until his untimely death from stomach cancer at 60. Nothing could slow him: not censorship, the demands of various editors nor changes in drawing trends (even when more realistic — i.e., more time consuming — illustrations became popular).
- Kris Kosaka, "The life of Osamu Tezuka, Japan’s ‘god of manga’", Japan Times, 2016/08/06
- Tezuka was born in Toyanaka City, Osaka, in 1928. Though he attended medical school and became a licensed physician, he chose not to work as a doctor and instead devoted himself to writing and drawing manga and making animated films.
Over the course of his long career Tezuka became a defining force in shaping the genre, publishing more than 700 manga running to more than 150,000 pages. Early Tezuka characters had large eyes, inspired by their American counterparts Betty Boop and Disney's Bambi. Large eyes have since become a stylistic hallmark of the whole genre.
- For Tezuka, a doctor is not just someone who heals the body, but someone who appreciates the value of life, and inspires others to value it as well. In Tezuka's Buddhist cosmology all life is sacred and nothing is more valuable than creating or continuing life.
- Would we have manga without Tezuka? According to Gravett, the question "is rather like asking if we would have French-language comics without Herge, or American comic books without Jack Kirby. Tezuka was pivotal and a huge inspiration [for manga artists]."
- Cian O'Luanaigh, "Osamu Tezuka: Father of manga and scourge of the medical establishment", The Guardian, 21 Jul 2010