Osamu Tezuka

The second book in the classic eight volume graphic novel series retelling the story of Buddha, from the godfather of the genre - an irreverent and humourous rendition of the life and times of Prince Siddhartha.

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

Black Jack is a mysterious and charismatic young genius surgeon who travels the world performing amazing and impossible medical feats. Though a trained physician, he refuses to accept a medical license due to his hatred and mistrust of the medical community's hypocrisy and corruption. This leads Black Jack to occasional run-ins with the authorities, as well as from gangsters and criminals who approach him for illegal operations. Black Jack charges exorbitant fees for his services, the proceeds from which he uses to fund environmental projects and to aid victims of crime and corrupt capitalists. But because Black Jack keeps his true motives secret, his ethics are perceived as questionable and he is considered a selfish, uncaring devil. The Black Jack series is told in short stories. Each volume will contain 16-20 stories, each running approximately 20-24 pages in length. Black Jack is recognized as Osamu Tezuka's third most famous series, after Astro Boy and Kimba, the White Lion.

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.

Recounts Siddhartha's spiritual journey on the path to enlightenment and becoming the Buddha.

In the sixth volume of manga visionary Osamu Tezuka's Buddha, the devil Mara possesses the bandit Ananda, half-brother of Devadatta, in an effort to eliminate the Buddha. A ruthless killer who is impervious to physical harm, Ananda will retain the devil's favor only if he spurns his love interest. When Ananda and his bandit buddy attack the Fire Shrine of the Brahmin brothers Kassapa, it is none other than the Awakened One who happens by. Buddha must confront his eternal enemy, Mara, before he can open the eyes of arrogant priests and hardened criminals.

In the fifth installment of manga-godfather Osamu Tezuka's Buddha, engagement with death imparts the lesson of life's sanctity. In a Machiavellian rise to power, Devadatta, a rogue aristocrat, incites war between two kingdoms that will leave thousands dead. King Bimisara of Magadha, fearing death his son's own hand, withdraws fatherly love. The true measure of the Buddha's divinity will turn out to be a test of diplomacy - the power of words.

The Eisner and Harvey Winner In this fourth volume of the award-winning graphic novel biography, Buddha slowly discovers that his destiny lies in a path not readily available to him. With fellow ascetics Dhepa who has complete faith in the purifying quality of painful physical ordeals, and Assaji, who can predict everyone's death to the hour, Buddha travels through the kingdom of Magadha into the Forest of Uruvela, where The Middle Path and Enlightenment wait beyond a series of death-defying trials. Awake under the Pippala tree...

The Eisner and Harvey Winner The third volume of this epic graphic novel send Siddhartha further into a world mired in pain and suffering. The journey to peace and enlightenment looms far but bright. Prince Siddhartha quickly learns that the monk's path is covered in thorns and self-abuses much more profound than shaving your head. His new companions Dhepa and Assaji accompany him to plague-ridden town, ruled by the ravishing Visakha. On a different path filled with as many vagaries is Devadatta, an orphan who learns only that bad almost always gets worse. To strange cities, and dire prophecies...

The seventh book in the classic eight volume graphic novel series retelling the story of Buddha, from the godfather of the genre. In book seven, in the kingdom of Magadha, young Prince Ajatasattu agonizes over the prophecy that claims he will one day murder his own father. Deciding that the prediction is false, he believes that the Buddha is to blame and must pay for the rift it has caused between father and son. Meanwhile, the Buddha's closest disciple, Devadatta, is seduced by the political opportunities offered by the discord in Magadha, and urges his master to take full advantage of them. Originated in the 1970s, ‘Buddha’ is Osamu Tezuka's unparalleled rendition of the life and times of Prince Siddhartha. Tezuka's storytelling genius and consummate skill at visual expression blossom fully as he contextualizes the Buddha's ideas; with an emphasis on, action, emotion, humour and conflict as 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 recognising the interconnectedness of life, having compassion for the suffering, and ordering one's life sensibly, his approach is slightly irreverent in that it incorporates something that Western commentators often eschew, namely, humour.

The eighth book in the classic eight volume graphic novel series retelling the story of Buddha, from the godfather of the genre.

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.

The sixth book in the classic eight volume graphic novel series retelling the story of Buddha, from the godfather of the genre.

The third book in the classic eight volume graphic novel series retelling the story of Buddha, from the godfather of the genre.

The fourth book in the classic eight volume graphic novel series retelling the story of Buddha, from the godfather of the genre.

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.

The first book in the classic eight volume graphic novel series from the godfather of the genre â?? an irreverent and humourous rendition of the life and times of Buddha.