Hayao Miyazaki’s tough feelings on the father of manga, Osamu Tezuka

May 25 to 30 is Studio Ghibli Week at Polygon. To commemorate the arrival of the Japanese animation house’s library on digital and streaming services, we’re surveying the studio’s history, effect, and greatest styles. Follow along via our Ghibli Week page.

In part thanks to global distribution offers– like the ones that brought Studio Ghibli movies to HBO Max and Netflix worldwide– Hayao Miyazaki is a family name around theworld That’s less true for manga’s tutelary saint Osamu Tezuka, though his profession has actually probably had even more of an effect on contemporary media than Miyazaki.

And Miyazaki himself may have a bone to pick with that.

Miyazaki is a humanist artist, creator of some of the most touching, mild, and confident movies in the animated canon. He’s also an outspoken idealist with no apparent inhibitions about revealing his viewpoint, and in a day-to-day series for Ghibli Week, we’re highlighting some of the things the reclusive director has actually notoriously disdained.

So, does Hayao Miyazaki contempt the “Father of Manga?” Yes. It’s also clear that he admires him, too.

Osamu Tezuka’s Shin Takarajima, or New Treasure Island.

Tezuka’s Shin Takarajima, or New Treasure Island.

Image: Osamu Tezuka/ Ikuei Shuppan.

Tezuka started his creative profession in the days of the Allied profession of Japan that right away followed The second world war. His extremely effective (though loose) manga adjustment of Robert Louis Stevenson’s Treasure Island– completely poised to impress the Western authorities in charge of censoring Japanese media– kicked off manga’s first golden era, and he went on to create Astro Kid, Princess Knight, and Kimba the White Lion, along with numerous similarly prominent, more adult works. He’s informally called the “Father of Manga,” and his contributions to the nascent anime market have also caused him to be compared to Walt Disney– who Tezuka himself revered.

When Tezuka’s profession was kicking off, there’s no concern that the teenaged Miyazaki saw Tezuka as an aspirational figure. in 2009, Miyazaki spoke to the LA Times about the minute he recognized he ‘d gone beyond goal to replica.

“When I was finally forced to admit that my drawings actually did look like Tezuka’s, I took out the sketches I had stored in the drawer of our dresser and burned them all. I burned them and resolved to start over from scratch, and in the belief that I needed to study the basics first, I went back to practicing drawing and draftsmanship. Yet it still wasn’t easy to rid myself of Tezuka’s influence.”

In his later profession, Tezuka split off from his early kid-friendly work to join the gekiga motion of 1960 s Japan, which was kind of comparable to what American comics went through in the 1980 s: including more realism and darker stories, in a search for an adult audience. In an essay published in Starting Point, a book of his early writing, Miyazaki has actually discussed how he found the cynicism of Tezuka’s later animated work off- putting:

I found myself revolted by the low-cost pessimism of works like [Mermaid] or [The Drop], which revealed a drop of water falling on a thirsty male adrift at sea. I felt that this pessimism was qualitatively various from the pessimism Tezuka used to have in the old days, as in the early days of [Astro Boy], for example– however it also might have been that in the early days I felt great catastrophe and shivered with enjoyment at Tezuka’s low-cost pessimism exactly due to the fact that I was soyoung […]

I felt the very same thing with Tezuka’s Tales of a Street Corner– the animated movie which Muschi Pro put whatever into making. There’s a scene in the movie where posters of a violinist and a ballerina of some such things are run over and spread by soldiers’ boots during an air raid and after that waft into the flames like moths. I bear in mind that when I saw this, I was so disgusted that chills ran down my spinal column.

https://www.youtube com/watch? v= XpwbNYFvZy4

Miyazaki has actually even slammed Tezuka’s determination to accept an extremely low budget to produce an animated tv series of his incredibly popular Astro Kid manga. 1962’s Astro Kid series is credited with setting the first stylistic requirements for the anime visual. And if Tezuka had actually held out for more money, Miyazaki has said, the anime market may not be so associated with low production requirements, small incomes, and overwork.

However like most of us with youth idols, Miyazaki hasn’t lost sight of the good in Tezuka’swork According to Ghibli Blog, he when informed the national Japanese paper Yomiuri Shimbun:

The world that Tezuka revealed us wasn’t just bright, however typically scary, unreasonable, confident or unpleasant. Modernism suggested success and mass intake and at a time it created damage. At the corner of Asia, just Tezuka found it. He recognized the absurdity of modernism more deeply than Disney.

And there’s something delightfully balanced in Osamu Tezuka revering Walt Disney, Hayao Miyazaki questioning his relationship to Tezuka in his own work, and his work ending up being so consequently effective that the Walt Disney Corporation came knocking for the distribution rights. Not that they made good use of them when they got them, however that’s a totally various story.

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Neela Josh
Neela Josh
I work as the Content Writer for Gaming Ideology. I play Quake like professionally. I love to write about games and have been writing about them for two years.

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