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This master’s thesis explores the construction and mutability of the Japanese race and ethnicity in the print comics of Dr. Tezuka Osamu (1928–1989), Japan’s “god of manga” and the creator of such beloved series as Astro Boy and Kimba the White Lion. By investigating three of Tezuka’s mature, lesser-known works from the 1970s and 80s, I will illustrate how Tezuka’s narratives have been shaped by his consciousness of racial issues and his desire to investigate the changing nature of Japanese identity in the postwar era. Chapter one analyzes Ode to Kirihito (1970–71, 2006 English), and introduces Julia Kristeva’s theory of abjection to show the ways in which Tezuka bestializes his ethnically Japanese protagonists and turns them into a distinct class of subaltern. Chapter two examines intersections between race and war narratives using Adolf (1983–85, 1995–96 English), Tezuka’s WWII epic about the Jewish Holocaust. The concept of hybridity is utilized and the case is made that Tezuka ultimately denies his racially mixed characters the benefits of their Japanese identity. Chapter three investigates the manifestation of Japanese masculinity in Gringo (1987–89), one of Tezuka’s final works. In this chapter, Japanese identity, masculinity, and sexual ability are linked to the national sport of sumo wrestling. A discussion of diasporic communities is included in order to discuss how the Japanese race is conceptualized as it moves through different geographical and cultural spaces.
The visual representations of non-iconic elements in comics of the world often take diverse and interesting forms, such as how characters in Japanese manga get bloody noses when lustful or have bubbles grow out their noses when they sleep. We argue that these graphic schemas belong to a larger ‘‘visual vocabulary’’ of a ‘‘Japanese Visual Language’’ used in the visual narratives from Japan. Our study first described and categorized 73 conventionalized graphic schemas in Japanese manga, and we then used our classification system to seek preliminary evidence for differences in visual morphology between the genres of shonen manga (boys’ comics) and shojo manga (girls’ comics) through a corpus analysis of 20 books. Our results find that most of these graphic schemas recur in both genres of manga, and thereby provide support for the idea that there is a larger Japanese Visual Language that pervades across genres. However, we found different proportions of usage for particular schemas within each genre, which implies that each genre constitutes their own ‘‘dialect’’ within this broader system
