Japanese Guy That Was Studying but Was Looking at Furry Art Instead

Japanese cartoonist and animator (1928–1989)

"Tezuka" redirects hither. For other people with this surname, run across Tezuka (surname).

Osamu Tezuka
Tezuka in 1951
Born	Tezuka Osamu ( 手塚 治 ) ( 1928 -xi-03)iii November 1928 Toyonaka, Osaka Prefecture, Empire of Japan
Died	nine Feb 1989(1989-02-09) (aged 60) Tokyo, Nippon
Nationality	Japanese
Pedagogy	Nara Medical Academy (Grand.D., PhD.) 1961)
Occupation	Comic artist animator cartoonist
Years active	1946–1989
System	Mushi Production Tezuka Productions
Notable work	Astro Boy Kimba the White King of beasts Princess Knight Phoenix Dororo Animerama Buddha Black Jack
Spouse(s)	Etsuko Okada ​ (m. 1959⁠–⁠1989)​
Children	Makoto Tezuka Rumiko Tezuka
Japanese proper name
Kanji	手塚 治虫
Transcriptions Romanization Tezuka Osamu
Signature

Osamu Tezuka ( 手塚 治虫 , b. 手塚 治 , Tezuka Osamu; (1928-11-03)three November 1928 – 9 February 1989) was a Japanese cartoonist, manga creative person, and animator. Built-in in Osaka Prefecture, his prolific output, pioneering techniques, and innovative redefinitions of genres earned him such titles as "the God of Manga" ( マンガの神様 , Manga no Kami-sama ), "the Male parent of Manga" ( マンガの父 , Manga no Chichi ), and "the Godfather of Manga" ( マンガの教父 , Manga no Kyōfu ). Additionally, he is often considered the Japanese equivalent to Walt Disney, who served as a major inspiration during Tezuka'due south formative years.^[one] Though this phrase praises the quality of his early comic works for children and animations, information technology also blurs the significant influence of his later, more literary, gekiga works.

Tezuka began what was known as the comic revolution in Japan with his New Treasure Island published in 1947. His output would spawn some of the most influential, successful, and well-received comic series including the children mangas Astro Male child, Princess Knight and Kimba the White Panthera leo, and the developed-oriented serial Black Jack, Phoenix, and Buddha, all of which won several 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 product at the time of his death along with the final chapters of Phoenix, which were never released.

Biography [edit]

Early on life (1928–1945) [edit]

Tezuka was born in Toyonaka, Osaka. He was the eldest of 3 children.^{[2] [iii]} The Tezuka family were prosperous and well-educated; his father Yutaka worked in management at Sumitomo Metals, his grandad Taro was a lawyer, and his great-granddaddy Ryoan and great-cracking-grandfather Ryosen were doctors. His female parent's family had a long military history.^[four]

Afterward in life, he gave his mother credit for inspiring confidence and creativity through her stories. She frequently took him to the Takarazuka Grand Theater, which often headlined the Takarazuka Revue, an all-female musical theater troupe. Their romantic musicals aimed at a female person audience, had a large influence of Tezuka'south later works, including his costume designs. Not only that, but the performers' large, sparkling optics also had an influence on Tezuka'southward art mode.^[v] He said that he had 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 buff, seeing the films multiple times in a row, near famously seeing Bambi more than 80 times.^[7] Tezuka started to draw comics around his second year of elementary school, in large office inspired past Disney animation;^[vii] he drew so much that his mother would have to erase pages in his notebook in order to keep up with his output. Tezuka was likewise inspired past the works by Suihō Tagawa and Unno Juza.^[8] Afterwards in life, he would state that the most important influence on his desire to exist an animator was not Disney simply the experience of watching the Chinese animation Princess Iron Fan as a kid.^[ix]

Around his 5th year, he found a basis beetle, known as "Osamushi" in Japanese. It and then resembled his own name that he adopted "Osamushi" equally his pen proper name.^[8] Tezuka continued to develop his comic skills throughout his schoolhouse career. During this period he created his first expert amateur works.^[8]

During high school in 1944, Tezuka was drafted to work for a factory, supporting the Japanese war attempt during World War II; he simultaneously continued writing comic. In 1945, Tezuka was accepted into Osaka University and began studying medicine. During this fourth dimension, he also began publishing his first professional person works.^[x]

Early success (1946–1951) [edit]

Tezuka came to the realization that he could use comic as a means of helping to convince people to care for the earth.^{[ citation needed ]} After World State of war Two, at age 17, he published his first professional person work, Diary of Ma-chan, which was serialized in the elementary school children's newspaper Shokokumin Shinbun in early on 1946.

Tezuka began talks with swain comic creator Shichima Sakai, who pitched Tezuka a story based on Robert Louis Stevenson's classic take a chance novel, Treasure Island. Sakai promised Tezuka a publishing spot from Ikuei Shuppan if he would work on the comic. Tezuka finished the comic, simply loosely basing it on the original work.^[11] Shin Takarajima (New Treasure Isle) was published and became an overnight success, which began the golden age of comics, a craze comparable to American comic book Gold Age at the same 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 down, 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 schoolhouse Tezuka published his first masterpieces: a trilogy of science fiction epics chosen Lost World (1948), Metropolis (1949), and Nextworld (1951). These works featured early on steampunk elements.^[13]

Before long afterward, Tezuka published his showtime major success, 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 advent of the Astro Male child graphic symbol. That same twelvemonth Tezuka joined a grouping known as the Tokyo Children Manga Clan, consisting of other comic artists such as Baba Noboru, Ota Jiro, Furusawa Hideo, Eiichi Fukui, Irie Shigeru, and Negishi Komichi.^[15]

Astro Boy, national fame and early blitheness (1952–1960) [edit]

By 1952, Ambassador Atom had proven to be an merely mild success in Japan; however, one item grapheme became extremely pop with immature boys: a humanoid robot named Cantlet.^[16] Tezuka received several letters from many young boys.^[17] Expecting success with a series based around Atom, Tezuka's producer suggested that he be given human emotions.^[18] I day, while working at a hospital, Tezuka was punched in the face by a frustrated American K.I. This encounter 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 Nihon.

Due to the success of Tetsuwan Cantlet, in 1953 Tezuka published the shōjo manga Ribon no Kishi (Princess Knight), serialized in Shojo Club from 1953 to 1956.^[twenty]

In 1954 Tezuka get-go published what he would consider his life's work, Phoenix, which originally appeared in Mushi Production Commercial Firm.^[21]

Production career (1959–1989) [edit]

Tezuka's get-go work to exist adapted for animation was Saiyuki, a retelling of the Chinese story of Journey to the West. Produced by Toei Blitheness, Tezuka was officially credited as the managing director of the motion picture. However, later crew accounts would testify that the manga artist was difficult to motivate to practise work. Nearly of the management was done by Yabushita Taiji instead. Tezuka was eventually given the task of storyboarding the film, and so that he didn't actually accept to animate annihilation and something in the production could get washed. He did not follow Toei's deadlines, and subsequently a yr of working on the project and several weeks of threats from Toei's producers, he finally delivered his 500-page storyboard and then the animators could do their task in the autumn of 1959. That said, the crew found the storyboard to exist entirely unpractical, lacking pacing and a clear plot for a 90-infinitesimal flick, instead something that would be better told through an open-concluded weekly comic like what Tezuka had been producing. This ran counter to Toei'due south "climax method" that had the goal of a big terminate at the stop for audiences to leave the cinema remembering. The script for the movie was credited to Uekusa Keinosuke. The film was released as Alakazam the Great in 1960.

That said, many of the animators were initially shocked at the corporeality they had to produce in such a curt amount of time—amounting to a frame a day, thinking it undoable. Withal, Tezuka's simplified art mode made the entire animation process much more than efficient.

Tezuka did not savour his time at Toei, and he especially did not like that he felt he had no control over "his" story or the ending.^[22] This film is recognized as a massive turning betoken in animation history. It introduced the use of simplified art style and limited animation as labor and cost savers. Information technology introduced Tsukioka Sadao, one of Tezuka'south administration, to Toei where he would later get the director of the studio's beginning TV serial, and information technology introduced Tezuka to the animators he would later poach for his own studio.^[23]

In 1961, Tezuka entered the animation industry in Nippon by founding the product company Mushi Productions as a rival of Toei Animation. His initial staff was equanimous of animators he had met while working on Saiyuki that he convinced to join by paying the animators more than double what Toei was paying them as well as paying for food. Their kickoff motion-picture show was Tales from a Certain Street Corner (Aru Machikado no Monogatari). An 'anti-Disney', experimental film. Merely like on Saiyuki, Tezuka would oft fall backside his own deadlines, and the staff would have to selection upwards the slack only for Tezuka to take credit for it afterwards. Tales from a Certain Street Corner was shown at a single special screening and featured many "tricks" that would exist afterward standardized every bit labor-saving measures in the anime industry such every bit repeated and reversed blitheness cycles of characters dancing, frames beingness held for a long period of time. This aforementioned screening also featured the first screening of Tezuka's Astro Male child initial 2 episodes viii weeks earlier its original broadcast on the 5 or 6 Nov 1962 at the Yamaha Hall.^[24]

Astro Boy was beginning broadcast on New year'southward Day 1963; this series would create the kickoff successful model for animation production in Japan and would besides be the offset Japanese animation dubbed into English for an American audience and besides created the marketplace for children's merchandise. This is in large part because Tezuka was able to undercut his competitors, cut costs to 2.five million yen per episode by using techniques that would later be adopted by the television anime industry at big such as shooting on threes, stop images, repetition, sectioning, combined use, and short shots. None of these methods were invented past Tezuka or Mushi Pro, merely were instead refined there. During production, the staff also constitute that while the short cuts were initially obvious, the use of soundscaping helped to mitigate it.^[25]

The only reason Astro Male child was able to survive its inception is because Tezuka was able to sell the foreign rights to NBC Enterprises^{[ citation needed ]} (an of import distinction from NBC itself which was the entity Tezuka believed he was selling to). The American visitor ordered 52 episodes, a crucial investment considering Mushi Pro only had 4 episodes in the can and merely enough resources for ane episode more. In the American localization, even more over the peak sound effects were used to mitigate the apparently cheap animation. The use of sound would be further utilized and exemplified in other anime to follow, leading to many of the "stock" anime sound effects modern audiences are now used to.

Selling to an American market was very restrictive, though. They were not to include whatsoever indication that the show was made in Japan, they were non to have any arc that lasted more than an episode, all street signs had to be in English language, there could be no religious references, "adult" themes, or nudity. Tezuka agreed to this, claiming that it would fit better with the sci-fi setting past giving the sense of a "placelessness". However, he would soon exist disappointed by the American market when a Mushi Pro representative went to discuss the next year's episode guild just to notice out that the Americans didn't need anymore, believing that 52 episodes were more than enough to cycle through indefinitely.^[26]

Other serial were subsequently adapted to animation, including Jungle Emperor (1965), the starting time Japanese animated series produced in full color.^{[27] [28]} Jungle Emperor was also successfully sold to NBC Enterprises who most made Mushi Pro clothe the wild 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, as long as they were presented equally 'civilized'; evil characters could still only be white."^[29]

In the late 60s and 70s, it was clear that the rise of Mushi Pro was a brusque i and it was sliding into bankruptcy. Tezuka's fiscal model was unsustainable and the company was deeply in debt. In two desperate attempts to earn enough money to pay investors, Tezuka turned to the adult film market and produced A 1000 and One Nights (1969 film) and Cleopatra (1970 film). Both attempts failed.^[30]

Tezuka stepped downward as acting director in 1968 to found a new animation studio, Tezuka Productions, and connected experimenting with animation belatedly into his life. In 1973, Mushi Productions collapsed financially; the fallout would produce several influential animation production studios, including Sunrise.

Gekiga graphic novels (1967–1989) [edit]

In 1967, in response to the mag Garo and the gekiga motion, Tezuka created the magazine COM.^[28] By doing so, he radically changed his art from a cartoony, Disney-esque slapstick style towards a more than realistic drawing mode; at the time the themes of his books became focused on an developed audience. A common chemical element in all these books and short stories is the very night and immoral nature of the principal characters. The stories are also filled with explicit violence, erotic scenes, and criminal offence.

The alter 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 likewise produced Vampires that, like Dororo, as well introduced a stronger, more coherent storyline and a shift in the drawing mode. After these two he began his true beginning gekiga attempt with Swallowing the Earth.^[31] Dissatisfied with the effect, he soon after produced I.50.. His work Phoenix began in 1967.

Besides the well-known series Phoenix, Black Jack and Buddha, which are drawn in this style, he also produced a vast amount of one-shots or shorter series, such every bit Ayako, Ode to Kirihito, Alabaster, Apollo's Song, Barbara, MW, The Book of Human Insects, and a large number of curt stories that were later collectively published in books such as Under the Air, Clockwork Apple, The Crater, Melody of Iron and Other Short Stories, and Record of the Drinking glass Castle.

Tezuka would become a chip milder in narrative tone in the 1980s with his follow-up works such every bit Message to Adolf, Midnight, Ludwig B (unfinished), and Neo Faust.

Decease [edit]

Tezuka died of tum cancer on 9 February 1989 in Tokyo.^[32] His last words were: "I'grand begging you, let me piece of work!", spoken to a nurse who had tried to accept abroad his drawing equipment.^[33]

Although Tezuka was agnostic, he was buried in a Buddhist cemetery in Tokyo.^[34]

In 2014, information technology was reported that Tezuka's daughter, Rumiko Tezuka [ja], opened a drawer to her father'due south desk which had been locked since his death. In information technology she found a half-eaten slice of chocolate, a handwritten essay about Katsuhiro Otomo in regard to his good work on Akira, sketches from his various projects, and a large number of erotic sketches of anthropomorphic animals.^[35]

Way [edit]

Tezuka is known for his imaginative stories and stylized Japanese adaptations of Western literature. Tezuka'due south "cinematic" folio layouts were influenced by Milt Gross' early on graphic novel He Done Her Incorrect. He read this volume as a child, and its style characterized many manga artists who followed in Tezuka'south footsteps.^[36] His work, like that of other comic creators, was sometimes gritty and violent.

He invented the distinctive "large eyes" style of Japanese animation,^[37] drawing inspiration from Western cartoons and animated films of the time 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'due south 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 three, Buddha, and Dororo. His "life's work" was Phoenix—a story of life and death that he began in the 1950s and continued until his death.^[40]

In addition, Tezuka headed the animation production studio Mushi Production ("Problems Product"), which pioneered Telly animation in Nippon.^[41]

Bibliography (manga) [edit]

A complete listing of his works can be found on the Tezuka Osamu Manga Museum website.^[42]

• Astro Boy , 1952–68. A sequel to Helm ATOM (1951), with Atom renamed Astro Boy in the The states.^[43] as its main character. Eventually, Astro Male child would become Tezuka'south most famous creation. He created the nuclear-powered, all the same peace-loving, boy robot first after being punched in the face by a drunken GI.^[43] In 1963, Astro Male child made its debut as the offset domestically produced blithe program on Japanese television. The 30-minute weekly plan (of which 193 episodes were produced) led to the first craze for anime in Japan.^[44] In America, the Idiot box series (which consisted of 104 episodes licensed from the Japanese run) was also a hit,^{[45] [46]} becoming the first Japanese blitheness to be shown on US tv, although the U.S. producers downplayed and disguised the show'due south Japanese origins.^{[47] [48]} Several other Astro Boy serial take been made since, every bit well as a 2009 CGI-animated feature picture Astro Boy.
• Kimba the White Panthera leo , 1950–54. A shōnen manga series created by Tezuka which was serialized in the Manga Shōnen mag. An anime based on the manga was created, broadcast in Japan from 1965 and in North America from 1966. It was the start color blithe television series created in Japan.^[49] Disney's The Lion Rex is believed by some to have been inspired past Kimba the White Lion.^{[50] [51] [52] [53] [54] [55] [56]}
• Princess Knight , 1953–68. 1 of Tezuka's near famous works and widely regarded every bit a archetype, Princess Knight has been very influential in the manga and anime manufacture. Its portrayal of gender roles is ambiguously interpreted by critics; some claim it has pro-feminist ethics and others think it expresses misogynist ideals of the 1950s–60s Japanese society. Notwithstanding, it would first a tradition of androgynous-like heroines and plant several trends in the shōjo genre. In fact, information technology is considered to exist ane of the get-go works in this genre that was narrative-focused and that portrays a female superhero.
• Phoenix , 1954–88. Tezuka's near profound and ambitious piece of work, dealing with man'southward quest for immortality, ranging from the distant past to the far future. The central grapheme is the Phoenix, the physical manifestation of the cosmos, who carries within itself the power of immortality; either granted by the Phoenix or taken from the Phoenix by drinking a small amount of its claret. Other characters appear and reappear throughout the serial; commonly due to their reincarnation. The piece of work remained unfinished at the fourth dimension of Tezuka'south death in 1989. Phoenix has been filmed several times, most notably every bit Phoenix 2772 (1980). Baku Yumemakura was influenced past Phoenix; Yumemakura would keep to write the script for Boku no Son Goku.
• Dororo , 1967–68, is a manga series almost a boy called Hyakkimaru who has been robbed of 48 of his body parts by 48 different devils. In order for him to retrieve a stolen part, he must eliminate the devil that stole it. Hyakkimaru meets a boy thief, Dororo, and together they travel while existence constantly attacked by ghosts and monsters. In 1969, the manga series was adapted into an anime that consisted of 26 episodes. In 2019, nearly l years later on, the manga series was re-adapted into another anime series with 24 episodes.^[57]
• Buddha , 1972–83, is Tezuka's unique interpretation of the life of Gautama Buddha, the founder of Buddhism. The critically acclaimed series is ofttimes referred to as a gritty portrayal of the Buddha's life. The series began in September 1972 and ended in Dec 1983, equally one of Tezuka's final epic manga works. Nearly three decades after the manga was completed, two anime movie adaptations were released in 2011 and 2014.
• Black Jack , 1973–83. The story of Black Jack, a talented surgeon who operates illegally, using radical and supernatural techniques to combat rare afflictions. Blackness Jack received the Japan Cartoonists' Association Special Award in 1975 and the Koudansha Manga Award in 1977. Three Black Jack TV movies were released between 2000–01. In fall 2004, an anime television series was aired in Nihon with 61 episodes, releasing some other moving picture after. A new series, titled Blackness Jack 21, started broadcasting on 10 April 2006. In September 2008, the kickoff volume of the manga had been published in English past Vertical Publishing and more volumes are being published to this day.

Personal life [edit]

Tezuka was a descendant of Hattori Hanzō,^[58] a famous ninja and samurai who faithfully served Tokugawa Ieyasu during the Sengoku period in Japan.

Tezuka'southward childhood nickname was gashagasha-atama: "messy head" (gashagasha is slang for messy, atama means head).^{[ citation needed ]} As a child, Tezuka'due south arms swelled upwards and he became ill. He was treated and cured by a doctor, which made him also desire to be a doctor. At a crossing signal, he asked his mother whether he should look into doing manga full-time or whether he should go a dr.. At the time, being a manga writer was not a particularly rewarding task. The answer his mother gave was: "You should piece of work doing the thing you like most of all." Tezuka decided to devote himself to manga creation on a total-fourth dimension ground. He graduated from Osaka Academy and obtained his medical caste, but he would later use his medical and scientific noesis to enrich his sci-fi manga, such every bit Black Jack.^{[39] [59]}

Tezuka enjoyed insect collecting and entomology (even adding the character 虫 'issues' to his pen name), Disney, and baseball — in fact, he licensed the "grown up" version of his grapheme 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 chairman 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'southward Fair. In a 1986 entry in his personal diary, Tezuka stated that Disney wanted to hire him for a potential scientific discipline fiction project.^{[ citation needed ]}

In January 1965, Tezuka received a letter from American pic managing director Stanley Kubrick, who had watched Astro Boy and wanted to invite Tezuka to be the art managing director of his next picture, 2001: A Space Odyssey (which was eventually released in 1968). Although flattered by Kubrick'southward invitation, Tezuka could not afford to go out his studio for a year to live in England, so he had to pass up the offering. Although he was not able to work on 2001, he loved the film, and would play its soundtrack at maximum book in his studio to proceed him awake during long nights of piece of work.^{[63] [64]}

Tezuka's son Makoto Tezuka became a film and anime managing director.^[60]

Legacy and influence on manga manufacture [edit]

Stamps were issued in Tezuka'due south honor in 1997. Also, outset in 2003, the Japanese toy company Kaiyodo began manufacturing a series of figurines of Tezuka's creations, including Princess Knight, Unico, the Phoenix, Dororo, Marvelous Melmo, Administrator Magma, and many others. To engagement, three series of the figurines have been released.

Tezuka'southward legacy has continued to exist honored among manga artists and animators. He guided many well-known manga artists, such as Shotaro Ishinomori and Become 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 adjusted an arc of Astro Boy into the murder mystery serial Pluto.^[69]

Tezuka was a personal friend (and credible artistic influence) of Brazilian comic book creative person Mauricio de Sousa. In 2012, Maurício published a ii-issue story arc in the Monica Teen comic book featuring some of Tezuka'southward main characters, including Astro Boy, Black Jack, Sapphire, and Kimba, joining Monica and her friends in an take chances in the Amazon rainforest against a smuggling organization chopping downwardly hundreds of trees. This was the kickoff time that Tezuka Productions allowed overseas artists to employ Tezuka's characters.^[70]

In October 2019, a projection was announced called Tezuka 2020, which is AI-illustrated manga in his style. At first, the illustrations were distorted and horrifying, but after studying bodily human faces, the illustrations looked more like his.^[71] After looking through thousands of AI-generated pictures, i stood out, and the illustrator Urumu Tsunogai created the new protagonist. In 2020, an AI writer-artist fabricated past Kioxia was tasked to brand a new "Tezuka" manga called Paidon [ja] , which takes place in a futuristic apocalyptic guild, which was released in the magazine Morning time on 27 February 2020. It is part of the project, which will likewise be drawn by physical human beings such equally 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 product.^{[72] [73] [74] [75] [76] [77]} The manga was published in English on June 4, 2020 under the proper noun Phaedo.^[78]

Awards and recognition [edit]

• 1957 Shogakukan Manga Honour for Manga Seminar on Biology and Biiko-chan ^[79]
• 1975 Bungeishunjū manga Award
• 1975 Japan Cartoonists Clan Honor—Special Honour
• 1977 Kodansha Manga Laurels for Blackness Jack and The Three-Eyed One ^[80]
• 1980 Inkpot Laurels, San Diego Comic-Con
• 1983 Shogakukan Manga Award for Hidamari no Ki ^[79]
• 1984 Animafest Zagreb Grand Prize for Jumping
• 1985 Hiroshima International Animation Festival for Onboro-Motion picture
• 1986 Kodansha Manga Accolade for Message to Adolf ^[80]
• 1989 Nihon SF Taisho Award – Special Honour
• 1989-1990 Winsor McCay Award – Lifetime or career contributions in animation^[81]
• 1989 Order of the Sacred Treasure, third class (posthumous)
• 2004 Eisner Honor for Buddha (vols. 1–two)
• 2005 Eisner Award for Buddha (vols. 3–4)
• 2009 Eisner Award for Dororo
• 2014 Eisner Award for The Mysterious Undercover Men ^[82]

Osamu Tezuka Manga Museum [edit]

The Osamu Tezuka Manga Museum

The city of Takarazuka, Hyōgo, where Tezuka grew upwards, opened a museum in his memory.^[three] The Osamu Tezuka Manga Museum ( 宝塚市立手塚治虫記念館 , lit. "Takarazuka Metropolis Tezuka Osamu Memorial Hall") was inaugurated on 25 April 1994, and has iii floors (15069.47 ft²). In the basement there is an "Animation Workshop" in which visitors can brand their own animation, and a mockup of the city of Takarazuka and a replica of the table where Osamu Tezuka worked.

Outside of the building's entrance, there are imitations of the hands and feet of several characters from Tezuka (every bit in a true walk of fame) and on the inside, the entry hall, a replica of Princess Knight'southward furniture. On the aforementioned floor is a permanent exhibition of manga and a room for the display of anime. The exhibition is divided into two parts: Osamu Tezuka and the city of Takarazuka and Osamu Tezuka, the author.

The 2nd floor contains, forth with several exhibitions, a manga library with v hundred works of Tezuka (some foreign editions are also present), a video library, and a lounge with decor inspired by Kimba the White Lion.

There is too a glass sculpture that represents the planet Earth and is based on a volume written by Tezuka in his childhood called Our Earth of Drinking glass.

Run across also [edit]

• Makoto Tezuka
• List of Osamu Tezuka manga
• List of Osamu Tezuka anime
• Tezuka Award
• Tezuka Osamu Cultural Prize
• Tezuka Productions
• Tokiwa-sō

References [edit]

Citations [edit]

1. ^ Tezuka Osamu Monogatari, Tezuka Productions, 1992 .
2. ^ Patten 2004, p. 145.
3. ^ ^{a b} Galbraith, Patrick W. (2009). The Otaku Encyclopedia: An Insider's Guide to the Subculture of Cool Japan. Kodansha International. pp. 220–21. ISBN978-four-7700-3101-3.
4. ^ The Art of Osamu Tezuka, God of Manga, Helen McCarthy, Abrams ComicsArts, 2009, p. 15
5. ^ "Osamu Tezuka, God of Manga". Legacy.com. 3 November 2010. Archived from the original on 11 November 2017. Retrieved 10 November 2017.
6. ^ Gravett, Paul (2004). Manga: threescore Years of Japanese Comics. Harper Design. p. 77. ISBN978-1-85669-391-two.
7. ^ ^{a b} "Osamu Tezuka: Fighting for peace with the Mighty Atom". 19 Baronial 2007.
8. ^ ^{a b c} "1930s：History：ABOUT TEZUKA OSAMU：TezukaOsamu.net(EN)". Tezukaosamu.internet . Retrieved 22 Baronial 2018.
9. ^ Du, Daisy Yan (2019). Blithe Encounters. Academy of Hawaii Press. pp. 58–69. ISBN9780824877514.
10. ^ "1940s：History：Nearly TEZUKA OSAMU：TezukaOsamu.net(EN)". Tezukaosamu.net . Retrieved 22 August 2018.
11. ^ "Tezuka Osamu Outwits the Phantom Blot: The Instance of New Treasure Island cont'd - The Comics Journal - Page 2". Tcj.com. 22 Feb 2013. Retrieved 22 Baronial 2018.
12. ^ Wells, Dominic (xiii September 2008). "Osamu Tezuka the master of mighty comic". The Times. London. Retrieved xx May 2010.
13. ^ Cavallaro, Dani (2015). The Art of Studio Gainax: Experimentation, Style and Innovation at the Leading Edge of Anime. McFarland & Visitor. p. 41. ISBN978-1-4766-0070-iii.
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Sources [edit]

• Ladd, Fred (2009). Astro Boy and anime come up to the Americas: an insider'due south view of the nascence of a popular civilisation phenomenon. McFarland & Co. ISBN978-0-7864-3866-2.
• Patten, Fred (2004). Watching Anime, Reading Manga: 25 Years of Essays and Reviews. Stone Bridge Press. ISBN978-1-880656-92-1.
• Schodt, Frederik L. (2007). The Astro Male child Essays: Osamu Tezuka, Mighty Atom, and the Manga/Anime Revolution. Stone Bridge Press. ISBN978-1-93333054-9.

Farther reading [edit]

• One thousand. Clinton Godart, "Tezuka Osamu'due south Circle of Life: Vitalism, Development, and Buddhism," Mechademia (University of Minnesota Press) Nov 2013, Volume viii, Result 1, pp. 34 – 47.
• Helen McCarthy. The Fine art of Osamu Tezuka: God of Manga. (New York: Abrams ComicArts, 2009). ISBN 978-0-81098249-nine. Biography and presentation of Tezuka's works.
• Frederik L. Schodt. Dreamland Japan: Writings on Modern Manga. (Berkeley: Stone Bridge Press, 1996/2011). ISBN 978-1-93333095-2
• Natsu Onoda Power. God of Comics: Osamu Tezuka and the Creation of Post-World War II Manga. (Jackson: Academy Printing of Mississippi). ISBN 978-i-60473221-iv.

External links [edit]

• Official website (available in Japanese and English)
• Osamu Tezuka at Observe a Grave
• Osamu Tezuka at IMDb
• Osamu Tezuka at Anime News Network'southward encyclopedia
• Osamu Tezuka at the Cyberspace Speculative Fiction Database
• "Faces and Traces – Osamu Tezuka: A Japanese godfather of modern twenty-four hour period manga" by Eyad N. Al-Samman at the Wayback Machine (archived viii June 2011) – Republic of yemen Times

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Source: https://en.wikipedia.org/wiki/Osamu_Tezuka

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