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The Art of Osamu Tezuka: God of Manga, by Helen McCarthy, Katsuhiro Otomo
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Osamu Tezuka has often been called the Walt Disney of Japan, but he was far more than that. Packed with stunning images, many never before seen outside Japan, this book reveals why he is one of the key figures of th-century pop culture, paying tribute to the work of an artist, writer, animator, doctor, entrepreneur and traveller whose insatiably curious mind created dozens of animated films and series, and over ", pages of comic art in one astonishingly creative lifetime. Absolutely authoritative, and illustrated with an astonishing selection of Tezukas work, it was unsurprising that the first edition of the book was awarded a prestigious Harvey Award.
- Sales Rank: #827247 in Books
- Published on: 2013-02-04
- Original language: English
- Dimensions: 12.05" h x .71" w x 8.98" l, .0 pounds
- Binding: Paperback
- 272 pages
About the Author
Helen McCarthy is one of the west's most distinguished manga experts. The Harvey-award-winning biographer of Osamu Tezuka, she is regularly interviewed in the mass media about manga, has curated a Tezuka exhibition at London's Barbican Centre, and the ultimate compliment has seen her work translated back into Japanese.
Most helpful customer reviews
24 of 26 people found the following review helpful.
Well researched biography of Osamu Tezuka's life and work
By Parka
[[VIDEOID:38657541]]It comes with cardboard onlay of Astro Boy pasted on top the hardcover, a 45 minute documentary DVD and a soft transparent vinyl dust jacket. There are two publishers for the book, Ilex and Abrams ComicArt, with Ilex distributing for the UK market.
The author Helen McCarthy has compiled a rather in depth biography of Osamu Tezuka. The content is presented chronologically detailing the different characters, book titles and animation he has created. Over his career, he has created a staggering amount of over 170,000 pages of comic in over 700 titles. He's a prolific artist at the start who became even more so after using comic assistants, a system currently used today to create comics and animation.
In addition to the manga and anime art, there are also a lot of great photos of Osamu Tezuka, even from when he was a kid born in 1928, thanks to his father who's a photographer. The biography looks at his life of creating comics from when he was a kid, to studying medicine and to the post war period when he rose to fame with the numerous creation to his name.
Since he created so many titles, the book only list his key works and characters. But even so, there are quite a lot ranging from his 4-panel strips to Black Jack and later on animation titles. It's interesting to find out that many characters he created actually cross over to other titles making cameo appearances, sometimes even including Osamu Tezuka himself. Many themes in his comics are from his philosophy and influences from life.
On the DVD, the documentary shows us how he works when camera men are allowed, for the first time, into his personal studio. There's a section showing him rushing for a publication deadline while chasing a flight overseas at the same time. He was drawing on the car, with his editor holding a watch, constantly informing him of the time left. There's a shot of his assistant smiling which I interpret it to be, "That's how he is all the time, drawing." He finished the rest of the pages on the plane and met the deadline by faxing them over.
Osamu Tezuka is really in love with his work, blurring the line between dedication and addiction. His last words when he died in 1989, at the age of 60, were, "I'm begging you, let me work."
This book is really well put together and comes with a great video documentary as well. It's recommended to all fans of Osamu Tezuka.
(More pictures are available on my blog. Just visit my Amazon profile for the link.)
13 of 13 people found the following review helpful.
It's hard to imagine a more visually comprehensive and well-researched volume ever appearing in English again
By GraphicNovelReporter.com
Let's just suppose, for the sake of argument, that you wanted to persuade the skeptical of the artistic merit of either manga or anime. There are plenty of accomplished series in both media you could introduce them to, perhaps pointing out the compelling themes and striking imagery in a helpful, over-the-shoulder kind of way. But here's another option: You could simply have them flip through the pages of Helen McCarthy's The Art of Osamu Tezuka for 10 or 15 seconds. If they still don't get it, chances are they're operating under a different conception of what constitutes art in the first place.
Those of a certain age might recall the splash that Christopher Finch's The Art of Walt Disney made back when it first appeared in the 1970s. Here was a comprehensive volume bursting not only with rich colors and impeccable design, but that gathered a wealth of material that otherwise was difficult to access. Moreover, Finch's book hit readers like a cultural ton of bricks: You could really see, firsthand, the impact that Disney had on imagination itself. Well, The Art of Osamu Tezuka does the same thing--times 10. And the nice thing is that it's lacking the hagiographical elements of The Art of Walt Disney--McCarthy's measured prose clearly reflects an admiration for its subject, but it never strays into fannish idolatry.
At risk of wearing out this analogy's welcome, I should point out that this book, unlike Finch's, actually showcases the art of, well, you know, the subject himself, not his production teams or staff animators. Indeed, the argument might be advanced that while Disney and Tezuka's status as pop-culture titans are frequently equated, Disney was a businessman with an artistic sensibility--and Tezuka was the opposite. Certainly this handsome coffee table book proves the point repeatedly. In terms of his manga work, it reaffirms Tezuka's status as a visual genius on par with someone like Will Eisner on at least three levels--as pioneer, draftsman, and storyteller. But in its additional tracing of Tezuka's work in animation, you have to add comparisons to the Fleischer brothers, Chuck Jones, and a host of others as well. In short, every library and school art department should own a copy of this book if for no other reason than to inspire young artists.
Of course one of the most enduring aspects of Tezuka's achievements, and one that's clearly evident here, is the way that they could shift between adult and child audiences without missing a beat, producing classic characters and narratives for both. When Tezuka tried to change horses midstream is when he could run into trouble, as McCarthy is quick to note in terms of how the attempt to make Astro Boy darker or more conflicted turned off many fans. But when one observes the full tonal spectrum of the individual works on display in this book, a spectrum that encompasses the cuteness of Kimba the White Lion and the homicidal madness of M/W, Tezuka's emotional range can't help but astound. In fact, even if you peruse McCarthy's book without prior knowledge of the God of Manga's work, you'd still be left with the sense that his was an authentic and holistic humanism because he was never afraid to embrace the polar opposites that are contained in each of us. As a result, Tezuka's artistic sensibility remains a forceful argument for why there can't be light without darkness, and vice versa.
Aside from its thematic and generic diversity, Tezuka's output was also extraordinary in terms of its sheer volume. Surely it's a daunting task whenever an author must distill decades of accomplishments into a single overview, but McCarthy's achievement in compilation is nothing short of mind-blowing. As she points out, over his lifetime Tezuka produced some "170,000 pages of comic art in around 700 different titles." And remember, that's just manga. The fact that McCarthy also culled the best of his animation cels, posters, illustration, juvenilia, and other forms of artwork is just one more reason that it's hard to imagine a more visually comprehensive and well-researched volume ever appearing in English again.
How did Tezuka manage to be so singularly prolific? That question is tackled in the eye-opening DVD that is included with The Art of Osamu Tezuka. A large part of it is dedicated to footage shot by a Japanese documentary crew that was able to gain access to his carefully guarded, isolation chamber-like personal studio. Or maybe "gain access" is not the right way to put it: Tezuka only allowed living and breathing people to enter the space insofar as they were installing cameras and mirrors (to capture him from different angles). The result is a staggering portrait of personal discipline, as Tezuka is captured working on multiple projects with barely a moment's interruption. You almost want to laugh out loud when his wife finally appears--her role at their home more like than of a proprietor at a favorite inn that he occasionally visits.
Finally, where most critical biographies end at the subject's death followed by a brief, inevitably upbeat wrap-up, The Art of Osamu Tezuka continues at length, gauging the artist's influence not just in imaginative literature, but in fields such as robotics and medicine. In addition, it even features a section on criticisms of Tezuka and his legacy. Somehow, though, that seems just like how he would have wanted this book to conclude--by adding the requisite darkness to go along with all the blindingly bright light that precedes it.
-- Peter Gutiérrez
4 of 4 people found the following review helpful.
A good book, but more translation would have been appreciated
By Laughing Dragon
I bought this book after seeing the excellent Astro Boy movie, and I have to say that it's worth every dollar. It's exhaustively researched and richly illustrated, and gives a reader curious about the life and work of Japan's "God of Manga", Osamu Tezuka, plenty to chew on. My only caveat is that the comics included in the book are often untranslated, even the ones pertaining to Astro Boy, and that was bit disappointing. But that's a small quibble; overall I really enjoyed this book.
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