Osamu Tezuka’s vaunted storytelling genius, consummate talent at visible expression, and heat humanity blossom totally in his eight-volume epic of Siddhartha’s life and occasions. Tezuka evidences his profound grasp of the topic by contextualizing the Buddha’s concepts; the emphasis is on motion, motion, emotion, and battle because the prince Siddhartha runs away from house, travels throughout India, and questions Hindu practices comparable to ascetic self-mutilation and caste oppression. Relatively than advocate resignation and impassivity, Tezuka’s Buddha predicates enlightenment upon recognizing the interconnectedness of life, having compassion for the struggling, and ordering one’s life sensibly. Philosophical segments are threaded into interpersonal conditions with ground-breaking visible dynamism by an artist who makes certain by no means to lose his readers’ consideration. Tezuka himself was a humanist relatively than a Buddhist, and his magnum opus isn’t an try at propaganda. Hermann Hesse’s novel or Bertolucci’s movie is comparable on this regard; in reality, Tezuka’s method is barely irreverent in that it incorporates one thing that Western commentators typically eschew, specifically, humor.
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