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God of Comics: Osamu Tezuka and the Creation of Post-World War II Manga (Great Comics Artists Series) Paperback – May 14, 2009

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Editorial Reviews

From the Inside Flap

An assessment of the worldwide achievement of the man who made manga mainstream

About the Author

Natsu Onoda Power is visiting assistant professor at Georgetown University's Davis Performing Arts Center. Her work has appeared in the International Journal of Comic Art.
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Product Details

  • Series: Great Comics Artists Series
  • Paperback: 208 pages
  • Publisher: University Press of Mississippi (May 14, 2009)
  • Language: English
  • ISBN-10: 1604732210
  • ISBN-13: 978-1604732214
  • Product Dimensions: 5.9 x 0.8 x 8.9 inches
  • Shipping Weight: 12 ounces (View shipping rates and policies)
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #1,437,387 in Books (See Top 100 in Books)

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Format: Paperback
Power's dissertation comes as many other Tezuka books have; well thought-out, researched into the ground, and with great pictures at that. The books main fault is its beginning which gives a brief (but not too brief) account of manga before WWII, starting with great visual poets like Kakuyu (1053-1140), who Tezuka appropriated and used himself, and moving all the way to post-war Tezuka, as the title states. It was interesting for me, but for anyone but the hardcore collector, it may seem like a slow buildup to our main subject.

But when Power starts talking Tezuka, it's ON. An in depth analysis covers almost every major work he's done from 'akaihon' like "New Treasure Island" and its wonderful, film-like narrative, all the way to greats like "Black Jack" and "Buddha". Chapter 4 is a look at Tezuka's "Star System", his inherent (and fictional) world of 'stars' that make up his manga world, and, like movie stars, appear all over. This is one of the most interesting and memorable things about Tezuka's art, and Power does a great job reminding us why this man is worshiped as a god.

Power also gives us Tezuka's look at animation and his difficulties with it. Chapter 8 focuses on the multiple styles that Tezuka worked in and one begins to wonder how one man put out so many tens of thousands of pages. But Power covers that as well, telling of Tezuka's large fan-base (ranging from ages 5 to 80) and his loyal workers who did countless hours of beta and coloring work so that he could complete the massive amount of work he started (though "Phoenix" and a few others were left unfinished at his death in 1989).

This is some great research accompanied by untranslated pages of certain Tezuka works, all nicely tied in with each topic.
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