Saturday, March 21, 2020

Tezuka Osamu - Biography of Anime and Manga Artist

Tezuka Osamu - Biography of Anime and Manga Artist Depending on where you look or whos talking, youll see Tezuka referred to as the God, Father, Godfather, Grandfather, Emperor and/or King of both manga and anime. (Manga and anime, then - remember those two types of art.) Whichever of these titles you wish to give the man, it is wholly deserved. He didnt merely change the future of manga and create anime as we know it, he worked ceaselessly. Over the course of his career, Tezuka created and wrote more than 700 manga series containing an estimated 170,000 pages of drawings, and another 200,000 pages of anime storyboards and scripts. Date and Place of Birth: November 3, 1928, Toyonaka, Osaka Prefecture, Japan Early Life: The eldest of three children, Osamu was born into a family of doctors, lawyers, and military men. His father was an engineer, but had drawn manga prior to marriage, kept a large library of manga and bought a movie projector that would introduce Osamu to two major artistic influences: the animators Walt Disney and Max Fleischer. According to family accounts, his parents were strict disciplinarians but also supportive and encouraging of their childrens interests. When young Osamu showed an affinity for drawing, they kept him supplied with sketchbooks. His parents were also forward-thinking and, as a result, Osamu attended a progressive school where classes were co-ed. He was a bright student who excelled in composition and won popularity with his classmates for his manga sketches and picture cards (which they circulated amongst themselves). When he was nine, Osamu used his drawing and newly-formed writing skills to produce his first multi-page manga. By age eleven, he was wearing his trademark black-rimmed glasses and had solidified a lifelong interest in insects. He also began using the pen name Osamushi, a play on words between his name and an insects. Dr. Tezuka: Despite many other activities (acting and playing the piano, for two examples) he pursued through school and beyond, Tezuka continued to draw. After nearly losing both arms to an infection as a teenager, though, he decided to also study medicine. Due to a severe shortage of doctors in occupied Japan, Tezuka, then 17, was admitted to the medical school of Osaka University in 1945. He was qualified to practice medicine by 1952 and successfully defended his doctoral thesis in 1961. These were noble goals and testify to his keen intelligence. Tezukas heart, however, was more given to visual art than it was to science. The Making of a Manga-ka: Shortly after entering medical school Tezuka sold his first comic strip, a four-panel serial called Diary of Ma-chan to an Osaka childrens newspaper. Though it appeared in limited circulation, the strip proved popular enough to generate publisher interest in the artist. In short order, he sold the manga The New Treasure Island, the first in a long line of his adaptations from Western literature. Treasure Island made Tezuka nationally famous and proved to be the tipping point in his career. Even while completing medical school, he published manga at a furious clip, graduating to larger newspapers and reader numbers. From 1950 until his death, Tezuka worked non-stop. It seemed natural to him to transition his manga characters into the animation he so loved, and thus a genre was born. Even he could not have foreseen that his Astro Boy would take anime global and offer Tezuka international fame. Ever the workaholic, he produced nearly 500 anime episodes and this while continuing to conceive, write and draw volumes of some 700 different manga titles. Tezukas enduring impact on Japanese popular culture - indeed, on world popular culture - is nearly impossible to overstate. He was truly an exceptionally influential artist. Best Known for Today: Introducing the big-eyed characters that are omnipresent in anime and manga (his influences: Bambi and Betty Boop).Incorporating cinematic action into manga, which had been a static art form prior to Tezukas handling.Popularizing manga in Post-war Japan.Creating anime. (Two short words that now represent a multi-billion dollar global industry. Yearly.)Influencing new generations of manga-ka and animators.Making becoming a manga-ka or animator as lofty a goal as, say, becoming a physician. Perhaps even more lofty as goals and, thanks to Tezuka, highly respected and financially rewarding ones. Important Works: Jungle Taitei (Jungle Emperor), 1950-54. Later released as the animated series Kimba the White Lion in the U.S.Tetsuwan ATOM (Astro Boy), 1952-68Ribon no Kishi (Princess Knight), 1953-56Hi no Tori (The Phoenix), 1956-89. Tezukas personal favorite and the series he worked on continuously from its inception until his death.Black Jack, 1973-83Buddha, 1974-84The Stories of Three Adolfs, 1983-85 See pictures of Tezuka Osamus work in the Special Exhibition Gallery Tezuka: The Marvel of Manga. Date and Place of Death: February 9, 1989, Tokyo, Japan; of stomach cancer. His posthumous Buddhist name is Hakugeiin Denkakuenju Shodaikoji. How to Pronounce Tezuka Osamu: tezz ·oo ·kah oss ·ah ·moo (Note: This is the Japanese styling, family name first and given name second. If youd prefer to say the artists name Western-style, simply switch the order of the two words.) Quotes From Tezuka Osamu: I felt [after the war] that existing comics were limiting. Most were drawn as if seated in an audience viewing from a stage, where the actors emerge from the wings and interact. This made it impossible to create dramatic or psychological effects, so I began to use cinematic techniques. French and German movies that I had seen as a schoolboy became my model. I experimented with close-ups and different angles, and instead of using only one frame for an action scene or the climax (as was customary), I made a point of depicting a movement or facial expression with many frames, even many pages. The result was a super-long comic that ran to 500, 600, even 1,000 pages. I also believed that comics were capable of more than just making people laugh. So in my themes, I incorporated tears, grief, anger, and hate, and I created stories where the ending was not always happy.Manga is virtual. Manga is sentiment. Manga is resistance. Manga is bizarre. Manga is pathos. Manga is destruction. Manga is arrogance. Manga is love. Manga is kitsch. Manga is a sense of wonder. Manga is †¦ there is no conclusion yet. Im begging you, let me work! - reported by both his wife of nearly thirty years, Etsuko and Takayuki Matsutani, president of Mushi Productions (Tezukas studio), to have been the artists last words. Sources and Further Reading Gravett, Paul. Manga: 60 Years of Japanese Comics.New York: Collins Design, 2004.Gresh, Lois; Robert Weinberg The Science of Anime: Mecha-Noids and AI-Super-Bots.New York: Thunders Mouth Press, 2005.Hornyak, Timothy N. Loving the Machine: The Art and Science of Japanese Robots.Tokyo: Kodansha International, 2006.Schodt, Frederik L. Astro Boy Essays: Osamu Tezuka, Mighty Atom, and the Manga/Anime Revolution.Berkeley: Stone Bridge Press, 2007.Schodt, Frederik L. Dreamland Japan: Writings on Modern Manga.Berkeley: Stone Bridge Press, 1996.

Wednesday, March 4, 2020

Hernan Cortes Conquistador Army

Hernan Cortes' Conquistador Army In 1519, Hernan Cortes embarked upon the bold conquest of the Aztec Empire. When he ordered his ships dismantled, signifying that he was committed to his expedition of conquest, he had only about 600 men and a handful of horses. With this band of conquistadors and subsequent reinforcements, Cortes would bring down the mightiest Empire the New World had ever known. Who were Cortes Conquistadors? Most of the conquistadors who fought in Cortes army were Spaniards from Extremadura, Castile and Andalusia. These lands proved fertile breeding grounds for the sort of desperate men needed in the conquest: there was a long history of conflict and much poverty there that ambitious men sought to escape. The conquistadors were often younger sons of minor nobility who would not inherit their family estates and thus had to make a name for themselves on their own. Many such men turned to the military, because there was a constant need for soldiers and captains in Spains many wars, and advancement could be fast and rewards, in some cases, could be rich. The wealthier among them could afford the tools of the trade: fine Toledo steel swords and armor and horses.   Why did the Conquistadors Fight? There was no sort of mandatory enlistment in Spain, so no one forced any of Cortes soldiers to fight. Why, then, would a sane man risk life and limb in the jungles and mountains of Mexico against murderous Aztec warriors? Many of them did it because it was considered a good job, in a sense: these soldiers would have looked upon work as a tradesman like a tanner or a shoemaker with scorn. Some of them did it out of ambition, hoping to be gain wealth and power along with a large estate. Others fought in Mexico out of religious fervor, believing that the natives needed to be cured of their evil ways and brought to Christianity, at the point of a sword if necessary. Some did it for adventure: many popular ballads and romances came out at the time: one such example was Amadis de Gaula, a rousing adventure which tells the story of the heros quest to find his roots and marry his true love. Still others were excited by the beginnings of the golden era through which Spain was about to pass an d wanted to help make Spain a world power. Conquistador Weapons and Armor During the early parts of the conquest, conquistadors preferred arms and armor which was useful and necessary on the battlefields of Europe such as heavy steel chestplates and helms (called morions), crossbows and harquebuses. These proved less useful in the Americas: heavy armor was not necessary, as most native weapons could be defended against with thick leather or padded armor called escuapil, and crossbows and harquebuses, while effective in taking out one enemy at a time, were slow to load and heavy. Most conquistadors preferred to wear escuapil and armed themselves with fine steel Toledo swords, which could hack easily through native defenses. Horsemen found that they were effective with similar armor, lances and the same fine swords. Cortes Captains Cortes was a great leader of men, but he could not be everywhere all the time. Cortes had several captains that he (mostly) trusted: these men helped him greatly. Gonzalo de Sandoval: Only in his early twenties and not yet tested in battle when he joined the expedition, Sandoval quickly became Cortes right-hand man. Sandoval was smart, brave and loyal, three important qualities for a conquistador. Unlike Cortes other captains, Sandoval was a skilled diplomat who did not solve all problems with his sword. Sandoval always drew the most challenging assignments from Cortes and he never let him down.   Cristobal de Olid: Strong, brave, brutish and not very bright, Olid was Cortes captain of choice when he needed blunt force more than diplomacy. When supervised, Olid could lead large groups of soldiers, but had little in the way of problem-solving skills. After the conquest, Cortes sent Olid south to  conquer Honduras, but Olid went rogue and Cortes had to send another expedition after him. Pedro de Alvarado: Pedro de Alvarado is the best-known today of Cortes captains. The hotheaded Alvarado was an able captain, but impulsive, as he showed when he ordered the temple massacre in Cortes absence. After the fall of Tenochtitlan, Alvarado conquered the Maya lands to the south and even took part in the conquest of Peru. Alonso de Avila: Cortes didnt like Alonso de Avila much personally, because Avila had an annoying habit of bluntly speaking his mind, but he respected Avila and thats what counted. Avila was good in a fight, but he was also honest and had a head for figures, so Cortes made him the expeditions treasurer and put him in charge of setting aside the Kings fifth. Reinforcements Many of Cortes original 600 men died, were wounded, returned to Spain or the Caribbean or otherwise did not remain with him until the end. Fortunately for him, he received reinforcements, which always seemed to arrive when he needed them the most. In May of 1520, he defeated a larger force of conquistadors under Panfilo de Narvaez, who had been sent to rein in Cortes. After the battle, Cortes added hundreds of Narvaez men to his own. Later, reinforcements would seemingly arrive at random: for example, during the siege of Tenochtitlan, some survivors of Juan Ponce de Leons disastrous expedition to Florida sailed into Veracruz and were sent swiftly inland to reinforce Cortes. In addition, once word of the conquest (and rumors of Aztec gold) began to spread through the Caribbean, men rushed to join Cortes while there was still loot, land and glory to be had. Sources: Diaz del Castillo, Bernal. . Trans., ed. J.M. Cohen. 1576. London, Penguin Books, 1963. Print.Levy, Buddy. Conquistador: Hernan Cortes, King Montezuma and the Last Stand of the Aztecs. New York: Bantam, 2008.Thomas, Hugh. Conquest: Montezuma, Cortes and the Fall of Old Mexico. New York: Touchstone, 1993.