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Ukiyo-e, World War II, and : The Influences on Tezuka Osamu’s Development of the Modern World of and

Katherine Thornton-Gibson Oklahoma State University

Walt Disney’s famous motion picture “sketches” in Japanese.1 These works cartoons, which bounced around to jovial showed body movement and the daily life of tunes and sang and danced their way across common individuals such as bathers, sumo the television screen into the hearts of wrestlers, and working men. Even at that, millions of Americans, did not just cater to Hokusai’s manga was not necessarily a new the Western market. Disney’s early films phenomenon. There are several emakimono, were seen and loved by well-off individuals ink on hand scrolls, from the twelfth and in Europe and Asia as well, including . thirteenth century that depict movement and A boy, who grew up to become just as action of creatures in simplified forms. A famous a man as Disney in his own rather famously cited emakimono that shows cinematic history, was one such privileged animated, even cartoonish, movement is the individual. Tezuka Osamu (1928-1989), Choju Jinbutsi Giga.2 This scroll depicts the influenced by his own cultural heritage in , Buddhist priests and practitioners, Japanese art, was moved by what he saw in and other individuals as animals in energetic Walt Disney, Charlie Chaplin, and other poses and interactions. movie stars of the early years preceding Ukiyo-e prints and kusazoshi, quite World War II. Through these media sources, popular from the seventeenth to the he was motivated to develop his own media nineteenth century, depicted a variety of of choice. By these actions, Tezuka Osamu scenes of daily life, folklore, explicit was able to influence the development of the shunga, landscapes and portraits. The ukiyo- Japanese cartooning methodology, anime e prints could be bought separately or in and manga, to what it is today. books and were often pieces to stories.3 Manga was not a new invention of the They were used almost like magazines twentieth century. Hokusai Katsushika (1760-1849), most famously known for his 1 “Katsushika Hokusai Biography.” Katsushika works in ukiyo-e woodblock prints, created Hokusai Biography. Accessed 8 June 2016. a series of volumes that he titled Manga or http://www.katsushikahokusai.org/biography.html. 2 Hays, Jeffrey. Accessed 2010. http://factsanddetails.com/japan/php?itemid=697&cat id 20&subcatid=129. 3 Stewart, Basil. A Guide to Japanese Prints and Their Subject Matter. New York: n.p., 1979. Print. The Papers, Vol. 3, No. 1, August 2017 344 today. They also worked, to some degree, as However, to think about it, these were an equalizer between classes. The children’s books created in the seventeenth Yoshiwara district of the floating world or century onward. Most of Europe at that time ukiyo was primarily designed as a pleasure had not developed extensive enjoyment- district for those who could afford it. based children’s literature, instead keeping Typically merchants, the lowest class, had their texts to moral development with a thin the most money and spent quite a bit of it spattering of woodblock illustrations.6 there. Other classes could go and see it if At first, ukiyo-e prints were used as they could pay the fees or if they were even collectible items. It became a booming niche allowed to travel. The ukiyo-e prints market for decorations though after Edo provided those who wanted mementos of burned during the Furisode Fire in the mid- their visit with a small decorative token and seventeenth century7. People rebuilt their even acted as a souvenir or a daydream to houses after the fire and needed a cheap way those who could not visit. of decorating. These woodblock prints met Kusazoshi were also illustrated, that need. published, and distributed in the same The ukiyo-e prints, in the later part of manner as the ukiyo-e prints but were the nineteenth century lost their value as typically stories targeted towards children decorative and collectable art though and and those who could not read extensive were used as wrapping paper for shipment amounts of . They were written often of goods. With the advent of Commodore extensively written in hiragana. There were Perry and the opening of Japan to Western a few different variations of kusazoshi: trade, many goods entered the West shortly kibyoshi, ao-hon, kuro-hon, and aka-hon.4 after into the Japonisme fad-market that These illustrated children’s books, kabuki sprang up. Often, Western artists would play based stories, ghost stories, and some collect the discarded scraps and utilize the adult content were accessible for many pieces as either art for themselves, or as levels of society with a high literacy rate models for new styles. Van Gogh, Dega, amongst Japan’s population. They were Matis, even Monet and Toulouse-Lautrec, cheaply made and cheaply distributed.5 all quite famous for the development of new art styles, specifically Impressionism, were

4 all greatly influenced by the Japanese Weiss, Jennifer. “Art from the Edo Period: The 8 Origins of Manga-Odigo Travel Blog.” Odigo Travel woodblock prints. Hokusai’s Manga were Blog. N.p., 29 Nov. 2015. Web. Accessed 19 May 2016; “JAANUS / Aohon 青本.” JAANUS / Aohon 青本. Accessed 19 May 2016. ?” The Journal. N.p., 5 Jan. 2012. Web. 19 May 2016. http://www.aisf.or.jp/~jaanus/deta/a/aohon.htm; 6 “JAANUS / Kurohon 黒本.” JAANUS / Kurohon 黒本. Taylor, Peter. “History of Children’s Books and Accessed 19 May 2016. Their Illustration.” History of Children’s Books and http://www.aisf.or.jp/~jaanus/deta/k/kurohon; Their Illustration. N.p., n.d. Web. 19 May 2016. 7 “JAANUS / Akahon 赤本.” JAANUS / Akahon 赤本. Artifacts: Prints of the Floating World. Dir. Dr. Accessed 19 May 2016. Kevin John McIntyre. Discovery Channel, 2007. http://www.aisf.or.jp/~jaanus/deta/a/akahon. DVD.Youtube. 16 Dec. 2015. Web. 15 May 2016. 5 Holmberg, Ryan. “The Bottom of a Bottomless 8 Eisenman, Stephen, and Thomas E. Crow. Barrel: Introducing Akahon Manga, What Was Nineteenth Century Art: A Critical History. London:

The Phoenix Papers, Vol. 3, No. 1, August 2017 345 also quite popular amongst the Impressionist 1930s.11 Storytellers and their art helped to artists. This was the first true introduction of set up the prominent Japanese art to the public of Europe. dialogues and genres of the twentieth The prints faded out with the deaths of century, such as action and adventure, the most prominent ukiyo-e contributing superheroes, the supernatural, war, and artists. Hokusai Katsushika (1760-1849), science fiction stories. Kamishibai Utamaro Kitagawa (1753-1806), Hiroshige storytellers kept audiences entertained Utagawa (1795-1858), and Kyosai throughout the depression era and during Kawanabe (1831-1889) were just a few of World War II. There are several manga the last such artists. The images of these artists and figures that became prominent stories were being replaced through poster due to initial works in the kamishibai field, design, political cartooning, and improved such as Takeo Nagamatsu, Sanpei Shirato, printing techniques that made the , and .12 These woodblock prints into an old style art form artists and storytellers may or may not have that took too much time and money to create been seen by Tezuka Osamu in his early for public distribution.9 childhood years, but the artistic impact of The story lines were changing. It became their works helped the field in which Tezuka popular for individuals to create beautiful would participate. He was in his late images in storyboard form to sell to people childhood to mid-teenage years during the ventured to the cities and told stories to the depression and World War II, the same time people gathered. A predecessor in Japan to period that kamishibai was in vogue. The the development of animé – the French word reason he may not have seen these were for animation that was adapted by the two-fold, he did not live directly in Japanese, was manga kamishibai. Anime is and the Japanese government set up a policy the animated and televised version of to take down the kamishibai artists and manga. “Kamishibai were picture stories storytellers due to their determination that enacted by itinerant storytellers with “amusements for the masses are debasing illustrated boards set in a Punch-and-Judy- themselves to the lowest common like state.”10 Kamishibai is thought to have denominator…” as the Home Ministry shown up in and around Tokyo in the early stated in 1937.13 The Ministry did not end up taking kamishibai entirely out of the picture so to speak, but instead revamped it. Thames and Hudson, 1994. Print.. Lane, Richard. They had the artwork and the storytellers Images from the Floating World: The Japanese Print: Including an Illustrated Dictionary of Ukiyo-e. portray stories of courage and valor on the New York: Putnam, 1978. Sullivan, Michael. The home front and created propaganda that hid Meeting of Eastern and Western Art. Berkeley: the war crime atrocities and provided University of California Press, 1989. 9 Gallo, Max. The Poster in History. New York: American Heritage Pub.; Distributed by McGraw- Hill, 1974. 11 10 Nash, Manga Kamishibai, 15. Nash, Eric Peter. Manga Kamishibai: The Art of 12 Japanese Paper Theater. New York: Abrams Nash, Manga Kamishibai, 101. 13 Comicarts, 2009., 15. Nash, Manga Kamishibai, 167. The Phoenix Papers, Vol. 3, No. 1, August 2017 346 morally boosting stories of people’s self- popular. The Revue and Grand Theater were sacrifice during that trying time.14 established in 1913 by the Hankyu Railway Tezuka Osamu was born in , as a way to draw tourism into the Osaka to Tezuka Fumiko and Yutaka. He Takarazuka area. The had a younger sister, Minako, and a younger often portrayed lavish Western style plays, brother, Hiroshi. He had an extensive, such as which Tezuka is said to prodigious family line, with several doctors, have seen multiple times and influenced the a lawyer, and many military individuals – all storyline of Mighty Atom. to become later inspirations in Tezuka’s Tezuka, with his family’s penchant for manga and anime.15 movie theaters and film, was introduced to Tezuka’s parents were rather well-off many early animations and live action films. individuals. His father enjoyed photography, Animé saw its beginning with very short and his mother loved the theater. They both animated illustrations in the beginning of the also found comic books and movies to be 20th centuries with Humorous Phases of fascinating, accumulating quite a collection Funny Faces by Stuart Blackton in 1906, for their time. They purchased a foreign film Fantasmagorie by Émile Cohl in 1908, and projector and movies to show to family and Little Nemo by Winsor McCay in 1911. friends. They went out to see the acting Tezuka though was born during the same theater and the movie theater, where Tezuka time frame that Walt Disney produced grew to enjoy Disney films. His mother was Steamboat Willie. By that point, animation an ardent storyteller and musician, again had been able to develop longer stretches of influencing Tezuka’s life and career. film time. Japan kept up with these new They moved to Takarazuka during his innovations, producing their own animations childhood, where his mother often took in the early 20th century too. Namakura them to see plays performed at the Gatana of 1917, Kobu-tori of 1929, and Takarazuka Grand Theater.16 The Oira no Yaku of 1931 are all good examples Takarazuka Revue was renowned for being of early Japanese animation prior to a full female acting cast, in comparison to Tezuka’s involvement in the industry.17 Kabuki theaters of the same time period that Animated films that Tezuka is known to to were full male acting casts. Kabuki initially have seen in the early animation years was a mixed cast, but was banned from produced in Japan include Norakuro of 1933 using female actresses to keep moral order and Tako no Hone of 192718. Due to the less than thirty years after the initial firebombings during World War II, many development of its known theatrical form in Japanese animations and films were lost. the seventeenth century, the same time Some movies can only be assumed to have frame that Ukiyo-e started to become 17 14 Crow, Jonathan. “Early Japanese Animations: The Nash, Manga Kamishibai, 168. Origins of Anime (1917-1931).” Open Culture. N.p., 15 McCarthy, Helen, and . The Art of 4 June 2014. Web. 19 May 2016. Osamu Tezuka: God of Manga. New York: Abrams 18 Schodt, Frederik L. The Essays: Osamu ComicArts, 2009, 15. Tezuka, Mighty Atom, and the Manga/anime 16 McCarthy, The Art of Osamu Tezuka, 16. Revolution. Berkeley, CA: Stone Bridge, 2007, 57. The Phoenix Papers, Vol. 3, No. 1, August 2017 347 been seen by Tezuka, but there is little proof novelist, Frans Marsereel and his work on of all that he had seen or read in his lifetime. Passionate Journey (1919).22 His life took him on two different paths. The other congruent path that Tezuka His family insisted on a progressive took began when he became horribly ill education for his siblings and himself. The working in a school factory in Osaka children were all enrolled in co-ed producing asbestos panels. His arms swelled schooling.19 They all were provided up like balloons from a bad infection. accommodations and encouragement for Subsequently, he spent a long time in the their many interests in an effort to develop hospital. Due to the difficulties he faced themselves as not just contributing members during this time, he took a great interest in of society but as intellectual, upright the doctors, the staff, and the proceedings individuals that could think outside of an that took place during his hospital stay. He antiquated, rigid, crumbling political and later went on to attend medical school and social structure. His parents encouraged the gain his degree in medicine to be a children to read challenging books, Tezuka practicing physician. He became proficient read Crime and Punishment multiple times at detailed depictions of medical dissections, as a child and enjoyed Russian literature cells, and instrumentation, as seen in his immensely.20 manga . He never really did much As children, he and his siblings drew and in his field of study, though he did publish a doodled quite often. They drew inspirations paper on “Spermatogenesis in Animals as they received from their father and mother, Revealed by Electron Microscopy,” also and their surroundings. Some of these translated as “A Microscopic Study of the drawings, preserved with the family, Membrane Structure of Heterotypic depicted military and war material that they Spermtids.”23 may have seen or heard about. Tezuka is Tezuka, during his lifetime, drew “over renowned for his artistic documentation of one hundred and fifty thousand pages of insects and bugs as a child.21 Many of his 22 early drawings, though, were based off of Buisson, Lauren. “The Great American Novel and Not a Word in It: The Graphic Novels of Lynd comic strips, Disney animations and comics, Ward.” UCLA Library Special Collections Blog. and proto-graphic novels. Some of these N.p., 28 Oct. 2014. Web. 19 May 2016. 23 proto-graphic novels were European and Yasuzumi, G., Hiroaki Tanaka, and Osamu Tezuka. “Spermatogenesis in Animals as Revealed American cartoon books, such as Milt by Electron Microscopy VIII. Relation between the Gross’s He Done Her Wrong (1930). That Nutritive Cells and the Developing Spermatids in a particular cartoon was a “parody” on Lynd Pond Snail, Cipangopaludina Malleata Reeve.” The Journal of Biophysical and Biochemical Cytology 7, Ward’s Gods’ Man (1929), who was no. 3 (1960): 499-504. Accessed 8 June 2016. influenced by an early woodblock print http://www.ncbi.nlm.nih.gov/pmc/articles/PMC2224 836/; “Permanent Exhibition： Tezuka Osamu Manga Museum： TezukaOsamu.net(EN).” Permanent Exhibition： Tezuka Osamu Manga 19 “Permanent Exhibition： Tezuka Osamu Manga Museum： TezukaOsamu.net(EN). Accessed 19 May Museum： TezukaOsamu.net(EN).” 19 May 2016. 20 2016. Schodt. The Astro Boy Essays, 25. http://tezukaosamu.net/en/museum/permanent_3.html 21 McCarthy, The Art of Osamu Tezuka, 114. . The Phoenix Papers, Vol. 3, No. 1, August 2017 348 comics and created five hundred different different manga bring the action into focus works, populated by over one thousand and manipulation through cinematic frame highly individualistic characters.”24 He shots similar to scenes in movies where pan, made his debut in 1946 with Ma-chan no close-ups, splices, fades, and rotations help Nikkicho (The Diary of Ma-Chan) which with the movement and dynamic portrayals was a small comic strip of four panels seen in the story. These styles of film depiction in Mainichi Shogakusei Shinbun.25 Quite a were actually unprecedented in Japan right few of his early published manga were before these novels hit market. distributed in aka-hon as one shot stories. He During the war, Japan had banned the continued to produce works until his death import of European or American films and in 1989 shortly after the Showa Emperor comic books which were advancing in their died. He left many stories unfinished, some imagery and camera action frames. Japan of which his staff has taken on to produce, created their own movies and propaganda but most have been left as is.26 with early film styles that kept to the stage In Tezuka’s early published cartoons, acting from Europe and America. This pre- during the occupation years, he had to war methodology restricted special effects adhere to the occupying force’s strict obtained from camera movement. Society guidelines on what he could and could not within Japan became used to the type of publish. This was to keep art that reached cinematic methodology in which they were the masses from possibly inciting riots, allowed to participate. When provided with protests, and other potential violent acts the new stylizations coming in from Europe towards the American occupying troops. and America, people became entranced with These images included most forms of war, the dynamic styles. They wanted more and violence, and some cultural aspects, such as Tezuka filled that niche with his manga martial arts, swordplay, and the samurai style. This thrilled the reader as the story class display. When the occupation ended, came to life and they were thrown into the these works would all become very popular midst of the action, rather than watching topics for many manga artists. objectively from the sidelines.27 New , A Man from Mars, Working the manga venue helped in and were all popular, long- story Tezuka’s funding for his medical school early creations of Tezuka. These special degree. He drew for several different manga by Tezuka diverged from the usual companies to receive small payments during path of early-twentieth-century manga – his school career. The irony here is two-fold. which typically used to be a stylized version Firstly, he spent most of his time creating of American comic books before the war manga to go to medical school, which and during the occupation. These new and overlapped his study time, creating for a very busy, stressed Tezuka. The second part 24 Schodt, The Astro Boy Essays, 16. 25 to the ironic situation was that when he was Power, Natsu Onoda. God of Comics: Osamu in class, though taking notes, he was often Tezuka and the Creation of Post-World War II Manga. Jackson: U of Mississippi, 2009, 38. 26 McCarthy, The Art of Osamu Tezuka, 234. 27 Power, God of Comics, 40-55.

The Phoenix Papers, Vol. 3, No. 1, August 2017 349 working on creating new characters and Cartoons. Within the film during a scene more manga. He was working to work. A with internationally influenced animated professor once informed Tezuka, after posters, between seconds 8:19 and 8:20 is a seeing his work, that he should “become a reference to ukiyo-e by Tezuka. The poster , so as not to end up killing his featured is the famous print by Tōshūsai patients from malpractice.”28 Sharaku: A Samurai’s Manservant produced His most famous work, starting as a in 1794. This shows that Tezuka was at least manga, and his introduction to mass aware of the historical Japanese art form production televised series anime, was Ukiyo-e woodblock prints, even though his Tetsuwan Atomu – Astro Boy, Mighty Atom, fixation was more towards modern cartoons Captain Atom, and - it and modern film media. was given many different translated titles. It is also a reflection of the social and This was one of the first serialized cultural influence of war during the span of animations from Japan that worked with 28:18 to almost the end of the film. Posters Tezuka’s eight rules of animation. It was are torn down and replaced with a scheming also the first serialized Japanese animation blue man with mustache presenting by Tezuka to be dubbed into English and something reminiscent of the Nazi salute. shown to American audiences in the 1960s. Posters that were not torn down had items The manga of Tetsuwan Atomu took on exchanged for military paraphernalia that various lives with diverging paths and story exhibited death heads. It is possible to arcs. Astro Boy was not even referred to as assume this section of the movie reflects Tetsuwan Atomu initially. It was first called World War II. Though the Korean War had Atomu Taishi (General Atom).29 just ended in 1953, the Vietnam war in 1961 Mighty Atom was not his first animation had just started not too many months before though. He had several shorts prior to the production of this movie and the Sino- Mighty Atom. Mighty Atom was just his first, Indian War was just beginning in 1962. The and Japan’s first, televised, serialized recent wars could have potentially, animation. A remarkable piece that Tezuka subconsciously prompted Tezuka to take the brought out prior to the production of the story in the direction he did in Story of a serialized Mighty Atom was Aru Machikado Certain Street Corner. no Monogatari (Story of a Certain Street To diverge from Tezuka’s experimental Corner, 1962) to showcase what his newly art animation Story of a Certain Street founded Tezuka Osamu Production, Corner, one must look to the man’s established in 1961, later renamed Mushi revolutionary work in establishing the Productions in 1962, could create. The style televised serialization of anime based on his is reminiscent of early Hanna Barbera or prior manga work with his big hit, Mighty even Leon Schlesinger Productions - later to Atom. The story line of Atomu Taishi be sold and renamed Warner Brothers reflects influences of World War II on Tezuka like Story of a Certain Street 28 Power, God of Comics, 62. Corner. The context of the storyline was 29 Schodt, The Astro Boy Essays, 16.

The Phoenix Papers, Vol. 3, No. 1, August 2017 350 such: space people and Earth people, living necessary to standardize characters - to keep on a planet similar to Earth, approached a a character’s features relatively the same time of war when food and resources were throughout the course of a series. scarce and the two groups were blaming Tezuka was also able to sell the series to each other. The scientist, who designed and an American company who named the series built Atom in the manga, lost his son during Astro Boy and dubbed it into English. The the feuds. He decided to create a American company was then able to edit replacement robotic son, but was infuriated material and text within the episodes to when he discovered that his mechanical son better cater to their own audiences who could not grow up, thereby selling him to came to love Astro Boy just as much as the circus. Tenma, the scientist, also created Speed Racer, Josie and the Pussy Cats, and a weapon to be used against the space Johnny Quest. people. Atom, who later on learns of his In his development of mass production father’s contemptuous ways, goes about anime, Tezuka had to create a fast, cheap trying to moderate and negotiate between way to publish his works. Tezuka’s eight the two warring factions in an effort to keep rules of animation revolutionized the the world from being destroyed.30 production of animation and made the The initial set up of Tetsuwan Atomu, process much more affordable – exactly design, and story line exhibit the deep what he and many other artists were looking influence that war had on Tezuka during his for. This method is described by Frederick childhood. It also reveals Tezuka’s Schodt in The Astro Boy Essays.31 Schodt is moralistic side that tends to bleed through also cited by both Natsu Power and Helen most if not all of his manga and anime. He McCarthy in their respective books on looks for ways in his animations and manga Tezuka Osamu, which indicates just how to show a soft side, to provide hope and famous this concept is: amusement to his reader, whether the topic 1. Shooting three frames of film is serious or humorous. The use of Tezuka’s for every drawing instead of one or eight rules of animation and his almost two to create the illusion of fluid factory-like production team helped to movement. create Tetsuwan Atomu cheaply and quickly, 2. Using only one drawing in a which helped the series run for as long as it tome, or “still” shot, when shooting did. The cost of production was made close-ups of a character’s face. palatable by virtue of contracting with a 3. Zooming in or out on face local, large candy company to help sponsor shots or physically sliding a single the production company and create drawing under the camera to create merchandise. He made it acceptable practice the illusion of movement with a for companies to sponsor animation studios single drawing. and to establish a merchandising routine 4. Shooting a single short with those companies. This made it sequence of animated drawings and

30 Schodt, The Astro Boy Essays, 17. 31 Schodt, The Astro Boy Essays, 71-72.

The Phoenix Papers, Vol. 3, No. 1, August 2017 351

then repeating it again and again frame, background, imagery, and personnel while sliding the background image. to fill in the scenes. Tezuka was known to This was particularly useful for fill in the images with his main characters repetitive movements like walking or and to ink the eyes before handing the pages running. Six or twelve drawings off to be finished by the other individuals could thus be used to show a working for him. This is what is meant by movement as long as necessary. the factory system. 5. When a character moves an Tezuka’s works reached out to multiple arm or leg, animating only that generations, some grew up with Tezuka, portion and shooting the rest from some only learned about his works after he one drawing. passed away. His moral overtones and anti- 6. Animating the mouth alone war friendly sentiments portrayed (rather than using full animation throughout his stories reflected his learning synchronized to the sound) and from World War II and Walt Disney’s abbreviating the drawings used, influences.32 His artistic style derived from showing only a fully open mouth, a his passion for movies and theatrical shut mouth, and a partially open performances that he, as a child, enjoyed mouth to represent characters with his family. His knowledge of medicine, speaking. law, and other such facts that he gained from 7. Creating a “bank system” of both his relatives and his own education pop images to save on the total number up again and again in his works. His of drawings, allowing reuse of the imagination for stories that wrap up a reader same drawings in different in fantastic adventures was all his own. situations. Though some say that he was just a man 8. Using more short takes in who helped to create “factory anime/factory place of single long takes that manga” he is truly a man to be revered. The usually required more movement. amount of his works and contributions to the world of anime and manga contribute to his As mentioned before, Tezuka was able title, The God of Comics. to revolutionize the process of both Tezuka was regarded as the Disney of animation and manga production. His Japan. He had seen, by the time Japan shut factory system, using the “banking system” down importation of Western media during and “star system” helped to coordinate with World War II, Snow White and the Seven apprentices and other artists to create vast Dwarfs, Pinocchio, Dumbo, and . amounts of pages for the . He wrote Tezuka had also been privileged to see many down on his pages what type of background of the early shorts. All of was needed, who and what should be in the these movies and shorts created by Walt shot, the text for wording, and such other items. The “factory artists” working on the 32 Brode, Douglas. From Walt to Woodstock: How page would then be able to find the correct Disney Created the Counterculture. Austin: U of Texas, 2004. Print. The Phoenix Papers, Vol. 3, No. 1, August 2017 352

Disney exhibited flat black and white round to utilize in its own film . or oval eyes, geometrically based features, Both characters lost their fathers early on in and an overly detailed background. Snow life. runs away and grows up in the White and the Seven Dwarfs (1937) was a forest, afraid because he is convinced that revolutionary full length animation for its his actions led to the death of his father. time, being executed in full color, with a Kimba and his mother are attacked by special artistic manner of moving through poachers and he escapes to grow up in the frames and scenes as though it existed in a forest alone. Both Simba and Kimba’s three dimensional world that a camera could throne is taken over by an evil adult lion. In zoom in and out of and pan around in at Kimba the Jungle Emperor the role is played will. by Claw who is missing an eye whereas the Disney also consistently portrayed his character in The Lion King is played by Scar three most famous stars, Mickey Mouse, who has a scar across one of his eyes. The Donald Duck, and Goofy in different roles evil adult lions are normally helped out by throughout their careers, staring them as hyenas. Simba and Kimba are both helped detectives and traveling performers, children out by a monkey and a bird. Kimba was and teenagers, etc. They were more obvious featured in America during the 1960s as a than Tezuka Osamu’s star system usage by Saturday cartoon favorite for many children. far, but they were anamorphic creatures, not Though there are similarities seen characters designed to resemble humans. throughout both films, Disney Production Tezuka actually took characters, outfitted Company claims originality, and Tezuka them in new trappings and presented them Osamu’s company backs up that claim, with a new name and entity in his films, stating that “If Disney took hints from the often later citing an “actor” or “actress” of Jungle Emperor, our founder, the late his starring in his films. He treated his Osamu Tezuka, would be very pleased by cartoon characters as that of Hollywood it.”33 actors and actresses, keying into payments Thanks to the influence of Disney and personality types, even keeping resume- animation, Tezuka Osamu was able to learn like lists of his characters to show what they and observe at an early age how to develop had played in and their typical moral role character appeal and story lines that, though that they were suited for in possible other relatively generic now , were able to films. This can be seen with his actors such captivate and hold audiences’ attention. He as Ken’ichi from Mighty Atom and utilized Disney’s simplistic geometric base on the 38th Parallel and Holmes from system in which all of his hand drawn Detective Boy Rock Holmes and Buddha characters were established – rectangles, who both played parts in . circles, squares, ellipses. A famous debate in the cartoon world is He utilized his knowledge, historic and whether Disney Production Company, after artistic influences, the social and cultural the death of Disney, outright stole Tezuka Osamu’s idea of Kimba the Jungle Emperor 33 Associated Press. ”Is it Simba or Kimba?” The Globe and Mail (16 July 1994). The Phoenix Papers, Vol. 3, No. 1, August 2017 353 influences of war and the Occupation. Library Special Collections Blog. N.p., Tezuka managed to make his characters into 28 Oct. 2014. Web. 19 May 2016. his “star system,” of cartoon actors and Carroll, Andrew. “Two Letters Frame the actresses, and he created his eight rules of Moment Paradise Lost Its Innocence.” animation outside of Western influence by World War II July-Aug. 2007: 25-27. incorporating themes and ideas that were Crow, Jonathan. “Early Japanese taking place in Japan and during his lifetime. Animations: The Origins of Anime He took the best of both worlds and (1917-1931).” Open Culture. N.p., 4 developed an accessible art form that still June 2014. Web. 19 May 2016. spans social, economic, and cultural lines. It Ebrey, Patricia Buckley, Anne Walthall, and reflects his history and his wishes for the James B. Palais. Pre-modern East Asia: future. To 1800: A Cultural, Social, and Political History. Belmont, CA: Bibliography Wadsworth/Cengage Learning, 2009. Eisenman, Stephen, and Thomas E. Crow. “Is Simba Really Kimba in Disney Nineteenth Century Art: A Critical Clothing.” Associated Press [San History. London: Thames and Hudson, Francisco] 12 July 1994:n. pag. AP News 1994. Archive Beta. Associated Press. Web. 8 Gallo, Max. The Poster in History. New June 2016. York: American Heritage Pub.; Barnicoat, John. 1972. A concise history of Distributed by McGraw-Hill, 1974. posters. Thames and Hudson. Gravett, Paul. Manga: Sixty Years of Beasley, W. G. 1999. The Japanese Japanese Comics. London: Laurence Experience: A Short History of Japan. King, 2004. 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