Osamu Tezuka Archives - Robot 6 @ Comic Book Resources
Editorial cartoons | The Indianapolis Star first altered a cartoon by Gary Varvel and then removed it from its website after receiving an outpouring of protests from readers. The cartoon, a reaction to President Obama’s executive actions delaying deportations, showed a white family sitting around a Thanksgiving table, looking in horror as brown-skinned people, presumably immigrants, climbed in the window. The caption was “Thanks to the president’s immigration order, we’ll be having extra guests this Thanksgiving.” “Gary did not intend to be racially insensitive in his attempt to express his strong views about President Barack Obama’s decision to temporarily prevent the deportation of millions of immigrants living and working illegally in the United States,” Executive Editor Jeff Taylor said in a post explaining the removal of the cartoon. “But we erred in publishing it.” Tom Spurgeon offers some commentary. [Indianapolis Star]
Manga | There are 200 million volumes of Naruto in print worldwide as of September, according to a press release from Japan’s Fuji TV, which on Dec. 13 will feature an interview with creator Masashi Kishimoto. The two-part conclusion of the hit manga will appear today in Weekly Shonen Jump magazine; the 71st volume of the series was published last week in Japan. [Anime News Network]
Digital comics | Manga publisher Vertical Inc. announced this weekend that it has acquired the digital rights to all the manga it has published by Osamu Tezuka, including Buddha and Black Jack. [Anime News Network]
Creators | Michael Cavna talks with Calvin and Hobbes creator Bill Watterson about his just-released poster for the Angoulême International Comics Festival and his other recent public projects. [Comic Riffs]
Awards | Alexis Deacon has won the 2014 Observer/Cape/Comica graphic short story prize for “The River,” “a luscious, tangled, whispering kind of story” that earned him £1,000 (about $1,611 U.S.). The runners-up were Fionnuala Doran’s “Countess Markievicz” and Beth Dawson’s “After Life.” The short-story competition has been held annually since 2007 by London’s Comica Festival, publisher Jonathan Cape and The Observer newspaper. [The Observer]
Publishing | Mark Peters spotlights Archie Comics’ recent transformation from staid to startling, with titles like Afterlife With Archie and the new Chilling Adventures of Sabrina. [Salon]
Awards | The finalists for the inaugural Kirkus Prize literary awards include two graphic novels: Roz Chast’s Can’t We Talk About Something More Pleasant? is one of six nominees in the Nonfiction category, and Cece Bell’s El Deafo is one of the picks for the Young Readers award. The winners in all three categories, who will receive $50,000 each, will be announced during a ceremony held Oct. 23 in Austin, Texas. [The Washington Post]
Manga | A prequel to Osamu Tezuka’s classic Astro Boy manga is in the works for the Japanese magazine Monthly Hero’s. Tezuka’s son, Makoto Tezuka, is supervising the production of the story, which focuses on the time before the “birth” of the iconic robot boy. [Anime News Network]
He’s gathered a Murderers’ Row of great contributors and collaborators to tell the life’s stories of 16 cartoonists, in the most obvious format to do so — comics, of course.
But what, exactly, constitutes a cartoonist? Some of those included might have worked at one point in the field, but made their greatest marks in other areas: people like Walt Disney, Theodor “Dr. Seuss” Geisel and Hugh Hefner (whose inclusion will likely be the biggest surprise to more readers; and, make no mistake, the book is made as much for the casual reader as the expert, armchair or otherwise). Others you might not think of as cartoonists at all, like Edward Gorey or Al Hirschfeld.
And changing the world — the whole world?! — is a pretty bold claim, certainly bolder than changing, say, a genre, or a medium or an industry. Certainly Disney and Osamu Tezuka qualify, as do Jerry Siegel and Joe Shuster, who introduced the superhero as we know it, and Jack Kirby, who reimagined the superhero, made countless contributions to the form and who created or co-created characters and concepts that today make billions of dollars.
But what about Harvey Kurtzman, Robert Crumb and the aforementioned Hirschfeld? Are their influences and innovations on equal footing?
Conventions | Lance Fensterman, ReedPOP’s global senior vice president, talks about his company’s strategy of focusing on a few big shows, rather than a lot of smaller ones, and gives the numbers for last month’s Chicago Comic & Entertainment Expo: Attendance was about 62,900, up 18 percent from last year, and the show floor grew by 15,000 square feet. Attendees are mostly in the 18-to-35 age group, and the majority are male, although the proportion of women at C2E2 has increased by 6 percent since 2011. Male or female, many of the folks on the floor seem to be “casual consumers” rather than “hardcore fans”: About 50 percent of attendees at New York Comic Con were there for the first time. “Depending on which exhibiting company you’re talking to, they either love it or they’re not sure what to do with it,” Fensterman said. “You’re delivering new readers and new potential consumers. We think it’s cool that you’re getting that fresh perspective, not quite so jaded (been there, done that).” [ICv2]
The Google Cultural Institute has compiled images, videos and documents for an exhibit on Osamu Tezuka, marking the first time a manga artist has been featured in the digital historical archive.
Launched in 2011, the initiative is “an effort to make important cultural material available and accessible to everyone and to digitally preserve it to educate and inspire future generations.” With the participation of 40 institutions in 14 countries, the Google Cultural Institute offers free access to photographs, footage and documents from historical events and figures of the 20th century.
According to Asahi Shimbun, the Tezuka exhibit was added to the “Cultural Figures” section on Monday, the fiction birthday of Astro Boy. The collection consists of 172 images, video and text pieces from Tezuka Productions and the Osamu Tezuka Manga Museum.
“Tezuka repeatedly expressed his opposition to war and discrimination and emphasized the preciousness of life through his works,” said Yoshihiro Shimizu, chief of the copyright business division of Tokyo-based Tezuka Productions. “I am happy that information concerning Tezuka is spread around the globe (through the site) and his ideas are shared.”
When Osamu Tezuka passed away in February 1989 at age 60, he left behind countless fans, an influential body of work that includes Astro Boy, Black Jack and Buddha and, tantalizingly, a locked desk with a lost key.
Rocket News 24 reports that recently, some 25 years after the death of the “god of manga,” his daughter Rumiko to open the desk, where she discovered a half-eaten piece of chocolate, a handwritten essay about Akira creator Katsuhiro Otomo and a bag of sketches, including a stash of erotic drawings by Tezuka.
Note: I feel like I should place a warning in here, but I’m honestly at a loss as to whether these sketches aren’t safe for work. They’re not so much graphic as they are … odd?
Here’s a treat for fans of both Astro Boy and Katsuhiro Otomo: The creator of Akira drew Osamu Tezuka’s robot for the cover of the third volume of the industry magazine Anime Busience as only Otomo can.
Crunchyroll notes that Neon Genesis Evangelion character designer and manga author Yoshiyuki Sadamoto took on Akira for the cover of the magazine’s second volume (below), while Evangelion creator Hideaki Anno depicted Space Battleship Yamato for the first.
Digital comics | The Korea Times takes a look at the comics market in that country, where government suppression of comic books in the 1990s (and school-sponsored book burnings even before that) has combined with the current demand for free digital material (in the form of the wildly popular “webtoons”) to create an uncertain environment for cartoonists trying to make a living from their work. “Unlike Japanese manga, which continues to drive a large part of the country’s publishing market and provide a creative influence to movies, music and video games, Korea’s cartoon culture was deprived of its opportunity to thrive,” said Lee Chung-ho, president of the Korea Cartoonist Association. “However, the most difficult process for us will be to find a sustainable business model. Readership has increased dramatically through webtoons, but you have no clear idea on how many of these readers will be willing to pay for content.” [The Korea Times]
Comics sales | ICv2 crunches the January numbers and calculates that just one comic, Batman #27, sold more than 100,000 copies in January, something that hasn’t happened since August 2011; this follows a weak December in which only three comics broke the 100,000 mark. The retail news and analysis site also lists the top 300 comics and graphic novels for the month. [ICv2]
Creators | Batman writer Scott Snyder talks about his plans for Batman #28, writing the Riddler, working with artist Greg Capullo on the action sequences, and getting ready for Batman’s 75th anniversary. [Hero Complex]
Creators | Eugenia Williamson profiles Shelli Paroline and Braden Lamb, whose work as artists on the Adventure Time comics has brought them an unexpected measure of fame. [The Boston Globe]
A Centaur’s Life, Vol. 1 (Seven Seas): Easily the weirdest comic I read this month, Kei Murayama’s manga is about an alternate world where everything is the exact same as it is in ours, save for the fact that there are multiple races like centaurs, angel folk, goat folk, cat folk, dragon people and so on. Oh, and while human beings apparently still exist, the only one glimpsed is a medieval knight seen in flashback, having enslaved a centaur is some bizarre armor/restraining device in order to ride him.
What makes the manga so weird, however, is that there doesn’t seem to be any reason, at least not in this first volume, for why our heroine Himeno is a centaur, and why her classmates are all various fantasy races living out an otherwise completely mundane existence.
Himeno is a sweet, shy, pretty and popular Japanese schoolgirl (who is also a centaur). She’s afraid of boys, likes hanging out with her friends, and love sweets, although she worries about getting fat. The stories are mostly of the frivolous high-school comedy sort that could easily have been told with human characters.
In the first story, Himeno is self-conscious about her genitals, which she’s never looked at, as she’s afraid they might resemble those of a cow the kids once saw on a field trip (unlike some centaurs, the ones in this comic keep their horse parts covered in elaborate pants that appear difficult to put on and take off). In another, her class puts on a play, and she’s cast as the female lead, while her best friend — a girl with bat wings, a spade-shaped tail and pointy ears — is the male lead. In another, she’s suspected of doing some modeling work, in violation of school policy regarding part-time jobs.
Last weekend I went to Comic Arts Brooklyn. I bought a lot of comics. Here are six that I think are really good, and I think you should try to find as well.
Legal | Palestinian cartoonist Mohammed Saba’aneh was released from an Israeli prison on Monday, as scheduled. Saba’aneh, who was originally held without charges and eventually sentenced to five months for “contacts with a hostile organization,” drew several cartoons while he was in prison and plans to do a show of his prison drawings, focusing on Palestinian prisoners who, he says, are in prison “just because they are Palestinians.” [PRI's The World]
Manga | In a major coup for a manga publisher, Digital Manga (which, contrary to its name, also published print manga) announced at Anime Expo that it has signed a deal with Tezuka Productions to publish all of Osamu Tezuka’s works in North America. While the details aren’t entirely clear, it sounds like Digital is working on some new licenses and will have digital rights to books released here in print by other publishers. [Anime News Network]
Letting It Go (Drawn and Quarterly): When we last saw Miriam Katin, it was in the pages of her We Are On Our Own, her 2006 graphic memoir about how she and her mother survived the Holocaust, hiding out from the Nazis in the Hungarian countryside. Her new memoir continues that story, by skipping ahead to her current life as a middle-aged artist living in New York City and harboring the deep and bitter prejudices against a city, a country and a people that her childhood understandable instilled in her.
The subject matter is awfully heavy, but it’s presented quite lightly — this is a fun, funny comic about a grown woman coming to terms with the irrational prejudices and bias born of the irrational prejudice and biases of others.
When we meet the Miriam of Letting It Go, she and her husband are seemingly living an idyllic artistic life, he in a room playing his clarinet, she procrastinating starting to draw something. When her grown son says he wants to move to Berlin, she reacts negatively instinctively, and gradually comes to terms with it, visiting him in Berlin, and then returning a second time almost immediately in order to see some of her art hanging at a show there, learning the word vergangenheitsbewältigung (coming to terms with the past) and how to start doing it … if not how to pronounce it.
Katin’s graphic novel is border-less, the “panels” implied ones formed by the consecutive, often overlapping images, giving the artwork a winding, rhythmic flow that moves over the pages like water. That and the somewhat-sketchy nature of the art, in which you can see each and every line that goes into the drawings, gives the book an incredibly intimate feel, as if a reader has simply discovered Katin’s sketchbook, rather than something mass-produced.