By Osamu Tezuka, translated by Frederik L. Schodt (Dark Horse Manga)
ISBN: 978-1-56971-678-6
Osamu Tezuka rescued and revolutionised the Japanese comics industry. From the late 1940s onward until his death in 1989, he generated an incomprehensible volume of quality work that transformed the world of manga and how it was perceived. A passionate fan of Walt Disney’s cartoon films, he performed similar sterling service with the country’s fledgling animation industry.
His earliest stories were intended for children but right from the start his ambitious, expansive fairytale-flavoured stylisations harboured more mature themes and held hidden treasures for older readers and the legion of fans growing up with his many manga masterpieces…
“The God of Comics†was born in Osaka Prefecture on November 3rd 1928. As a child he suffered from a severe illness which made his arms swell. The doctor who cured him also inspired the boy to study medicine, and although Osamu began his professional drawing career while at university in 1946, he wisely persevered with his studies and qualified as a medical practitioner too. Then, as he faced a career crossroads, his mother advised him to do the thing which made him happiest.
He never practiced as a healer but the world was gifted with such unforgettable comics masterpieces as Kimba the White Lion, Buddha, Black Jack and so many other graphic narratives.
Working ceaselessly over decades Tezuka and his creations inevitably matured, but he was always able to speak to the hearts and minds of children and adults equally. His creations ranged from the childishly charming to the disturbing – such as Adolf or The Book of Human Insects.
He died on February 9th 1989, having produced more than 150,000 pages of timeless comics, recreated the Japanese anime industry and popularised a peculiarly Japanese iteration of graphic narrative which became a fixture of world culture.
This superb digest volume (168 x 109 x 33 mm) continues to present – in non-linear order – early exploits of his signature character, with the emphasis firmly on fantastic fun and family entertainment…
Tetsuwan Atomu (literally “Mighty Atom†but known universally as Astro Boy due to its successful, if bowdlerised, dissemination around the world as an animated TV cartoon) is a spectacular, riotous, rollicking sci fi action-adventure starring a young boy who also happens to be one of the mightiest robots on Earth.
The landmark, groundbreaking series began in the April 3rd 1952 issue of ShÅnen Kobunsha and ran until March 12th 1968 – although Tezuka often returned to add to the canon in later years. Over that time Astro spawned the aforementioned global TV cartoon sensation, comicbook specials, games, toys, collectibles, movies and the undying devotion of generations of ardent fans.
Tezuka often drew himself into his tales as a commentator and in his revisions and introductions often mentioned how he found the restrictions of ShÅnen comics stifling; specifically, having to periodically pause a plot to placate the demands of his audience by providing a blockbusting fight every episode. That’s his prerogative: most of us avid aficionados have no complaints…
Tezuka and his production team were never as wedded to close continuity as the fans. They constantly tinkered and revised both stories and artwork in later collections, so if you’re a certified purist you are just plain out of luck. Such tweaking and modifying is the reason this series seems to skip up and down the publishing chronology. The intent is to entertain at all times so the stories aren’t treated as gospel and their order is not immutable or inviolate.
It’s just comics, guys…
And in case you came in late, here’s a little background to set you up…
In a world where robots are ubiquitous and have (limited) human rights, brilliant Dr. Tenma lost his son Tobio in a road accident. Grief-stricken, the tormented genius used his position as head of Japan’s Ministry of Science to build a replacement. The android his team created was one of the most ground-breaking constructs in history, and for a while Tenma was content.
However, as his mind re-stabilised, Tenma realised the unchanging humanoid was not Tobio and, with cruel clarity, summarily rejected the replacement. Ultimately, the savant removed the insult to his real boy by selling the robot to a shady dealer…
Some time later, independent researcher Professor Ochanomizu was in the audience at a robot circus and realised diminutive performer “Astro†was unlike the other acts – or any artificial being he had ever encountered. Convincing the circus owners to part with the little robot he closely studied the unique creation and realised just what a miracle had come into his hands…
Part of Ochanomizu’s socialization process for Astro included placing him in a family environment and having him attend school just like a real boy. As well as friends and admirers the familiar environment provided another foil and occasional assistant in the bellicose form of Elementary School teacher Higeoyaji (AKA Mr. Mustachio) …
The astounding action and spectacle resumes in this third mighty monochrome digest volume following ‘A Note to Readers’ – which explains why one thing that hasn’t been altered is the depictions of various racial types in the stories.
‘The Greatest Robot on Earth’ was first seen from June 1964 through January 1965 in ShÅnen Magazine, and introduces formidable fighting fabrication Pluto. This monstrous mechanoid marvel was commissioned by Sultan; a small disgruntled Eastern potentate who dreams of being King of the World, and convinces himself that if his colossal construction (built by enigmatic masked genius Dr. Abullah) defeats and destroys the seven most powerful robots in existence, Pluto could declare himself ultimate overlord of the planet and rule as Sultan’s proxy…
Nothing is ever that simple of course. Despite initially eradicating mighty – and benevolent – Mont Blanc of Switzerland, Pluto’s ferocious attack on Astro Boy ends in a draw. Cleverly outmanoeuvred, the beast withdraws to reconsider.
As the cataclysmic conflicts continue and a pantheon of super-robots inexorably grows smaller, Astro futilely seeks ways to help his fellow targets but meets with repeated failure. However, what nobody expects was pulverising Pluto challenging his core programming and developing a conscience…
Packed with devious plot twists and sudden surprises, this extended epic also includes a starring role for Astro’s feisty little sister Uran before our artificial hero achieves his dream of upgrading his power to one million horsepower (thanks to a reconciliation with Dr. Tenma) and takes on the conflicted Pluto one last time…
Action-packed and brutally astute – Tezuka gives each endangered robot beguiling character and a winning personality before it is led to the slaughter – this is a stunning example of the author’s narrative mastery and still manages to pull off a stunning surprise ending.
Concluding this Little Book of Wonders is ‘Mad Machine’ (ShÅnen Kobunsha August to September 1958) which introduces robot Parliamentarian Colt and his crusade to establish an official “Machine Day†for and celebrating Earth’s non-organic citizens.
His real troubles only begin after his triumph, as the mean-spirited and corrupt movers and shakers of business enterprise Colossal attempt to turn back progress and thwart the will of the people – organic and otherwise.
The plan involves hiring certified mad scientist Dr. Nutso to build a device capable of generating waves to disrupt the brains of all thinking machines…
With mechanisms from cars to military machines going bonkers, it’s a good thing the greedy double-dealing quack warned the public first. His treacherous tactic – designed to extort two fees for his machine – allows Professor Ochanomizu time to dismantle Astro Boy until the first fusillade of Nutso Waves passes.
Now, however, the Prof has only minutes to reassemble the mechanical marvel and have Astro destroy the hidden generator inside the heavily booby-trapped Colossal skyscraper before the next program-scrambling barrage begins…
Astro Boy is one of the most beguiling kids’ comics ever crafted: a work all fans and parents should know, but be warned: although tastefully executed, these tales don’t sugar-coat drama or combat and not all endings can be judged as happy by today’s anodyne, risk-averse definitions.
Breathtaking pace, outrageous invention, bold, broad comedy and frenetic action are the watchwords for this riotous assemblage, bringing to a close another perfect exhibition of Tezuka’s uncanny storytelling gifts which can still deliver a potent punch and instil wide-eyed wonder on a variety of intellectual levels.
Tetsuwan Atom by Osama Tezuka © 2002 by Tezuka Productions. All rights reserved. Astro Boy is a registered trademark of Tezuka Productions Co., Ltd., Tokyo Japan. Unedited translation © 2002 Frederik L. Schodt.