Buddha, Volume 02: The Four Encounters

Comics god Osamu Tezuka's darkest work, MW is a chilling picaresque of evil. Steering clear of the supernatural as well as the cuddly designs and slapstick humor that enliven many of Tezuka's better-known works, MW explores a stark modern reality where neither divine nor secular justice seems to prevail. This willfully "anti-Tezuka" achievement from the master's own pen nevertheless pulsates with his unique genius.Michio Yuki has it all: looks, intelligence, a pedigree as the scion of a famous Kabuki family, a promising career at a major bank, legions of female admirers. But underneath the sheen of perfection lurks a secret with the power to shake the world to its foundations.During a boyhood excursion to one of the southern archipelagos near Okinawa, Yuki barely survived exposure to a poison gas stored at a foreign military facility. The leakage annihilated all of the island's inhabitants but was promptly covered up by the authorities, leaving Yuki as an unacknowledged witness--one whose sense of right and wrong, however, the potent nerve agent managed to obliterate.Now, fifteen years later, Yuki is a social climber of Balzacian proportions, infiltrating the worlds of finance and politics by day while brutally murdering children and women by night--perversely using his Kabuki-honed skills as a female impersonator to pass himself off as the women he's killed. His drive, however, will not be satiated with a promotion here and a rape there. Michio Yuki has a far more ominous objective: obtaining MW, the ultimate weapon that spared his life but robbed him of all conscience.There are only two men with any hope of stopping him: one, a brilliant public prosecutor who struggles to build a case against the psychopath; the other, a tormented Catholic priest, Iwao Garai, who shares Yuki'ls past--and frequently his bed.Serialized beginning in 1976 in Big Comic magazine, where Tezuka's trailblazing medical thriller Ode to Kirihito had appeared a few years earlier, MW probes the complexities of homoeroticism as well as the reality of extensive U.S. military presence in Japan. The result is as bracing today as it was thirty years ago."Darker than you think-than you want to think […] MW took on the stuff of today's headlines some thirty years ago." -The Agony Column"MW is the newest of those masterpieces to be translated into English, and like everything else with [Tezuka's] name on it, you are cheating yourself out of one of the best graphic novels out right now if you don't read it." -Advanced Media Network"Tezuka spins an entertaining, slightly preposterous yarn, serving up more plot twists, car chases, and gender-bending costume changes than Dressed to Kill and The Manchurian Candidate combined." -popcultureshock"You'll stare at the page, eyes popping and muttering, 'I cannot believe I just read that.' But you did, and it worked, and you turn the page." -David Welsh, Comic World News

Osamu Tezuka's vaunted storytelling genius, consummate skill at visual expression, and warm humanity blossom fully in his eight-volume epic of Siddhartha's life and times. Tezuka evidences his profound grasp of the subject by contextualizing the Buddha's ideas; the emphasis is on movement, action, emotion, and conflict as the prince Siddhartha runs away from home, travels across India, and questions Hindu practices such as ascetic self-mutilation and caste oppression. Rather than recommend resignation and impassivity, Tezuka's Buddha predicates enlightenment upon recognizing the interconnectedness of life, having compassion for the suffering, and ordering one's life sensibly. Philosophical segments are threaded into interpersonal situations with ground-breaking visual dynamism by an artist who makes sure never to lose his readers' attention.Tezuka himself was a humanist rather than a Buddhist, and his magnum opus is not an attempt at propaganda. Hermann Hesse's novel or Bertolucci's film is comparable in this regard; in fact, Tezuka's approach is slightly irreverent in that it incorporates something that Western commentators often eschew, namely, humor. (lib)

Long considered as one of Osamu Tezuka's most political narratives, Ayako is also considered to be one of his most challenging as it defies the conventions of his manga by utilizing a completely original cast and relying solely on historical drama to drive the plot. Ayako, pulls no punches, and does not allow for gimmicks as science-fiction or fantasy may. Instead Tezuka weaves together a tale which its core simply focuses on a single family, a family that could be considered a metaphor for a rapidly developing superpower.Overflowing with imagery of the cold war seen through Japan's eyes, Ayako is firmly set in realism taking inspiration from a number of historical events that occurred over the American occupation and the cultural-revolution which soon followed. Believed to be Tezuka's answer to the gekiga (dramatic comics) movement of the 60's, Ayako should be considered one of the better early examples of a seinen (young adult) narrative to be published.Initially set in the aftermath of World War II, Ayako focuses its attention on the Tenge clan, a once powerful family of landowners living in a rural community in northern Japan. From the moment readers are introduced to the extended family, it is apparent that the war and American occupation have begun to erode the fabric that binds them all together. The increasing influence of political, economic and social change begins to tear into the many Tenge siblings, while a strange marriage agreement creates resentment between the eldest son and his sire. And when the family seems to have completely fallen apart, they decide to turn their collective rage on what they believe to be the source of their troubles-the newest member of the Tenge family, the youngest sister Ayako. (lib)