THE FUGITIVE

First attempt at reviewing, here we go.

Buddha was an unusual choice for me at that time because it went against what I used to dislike when picking manga—an overly hyped series or mangaka and strong religious undertones. However, as I wanted to diversify my choices a bit more back then, this seemed like a fantastic option.

Being my first (and only at the time of this review) Osamu Tezuka manga, I tried to approach it with as little critical judgment as possible. In short, I absolutely loved this manga, but of course, no one reads a review just for the summary, so let's delve into the details.

We'll start with the artwork since it's usually the first thing most people notice. I must say that I think it's an excellent example of the manga art style from the era it was published. The art is serious when it needs to be and comical when the situation calls for it. A common issue in manga is that there's such a drastic shift between the art styles for comedy and drama parts that they can clash, but Buddha showcases an exceptional neutral style that accommodates both without conflict. The content of the art ranges from people, animals, and landscapes, each handled beautifully. Many fans might not know about establishing shots, which are primarily found in manga novels and less so in Western comics. These shots are skillfully drawn, allowing the imagery of the presented world to stick in the reader's mind, with the story following and becoming an integral part of that world.

The story is fantastic, following the life of Buddha and the challenges he faced, along with the people around him. It takes the reader to an India that feels both believable and fascinating, replicating the issues of the time with the unfolding narrative. The story gave me an appreciation for the historical caste system in India and how each caste had its own problems. The characters captivate you to such an extent that you genuinely connect with them, feeling sad when they die or struggle but equally joyful when they succeed. What struck me most upon finishing the books was the "wow" feeling I had, as I developed a genuine desire to learn more about the original Buddha and see which characters were real.

Overall, this is an excellent book, spread over 8 volumes with fantastic pacing. Osamu Tezuka is celebrated as a god for good reason, and I would eagerly read more of his work.

Thank you for reading, and expect more reviews from me in the future.

Buddha is the story of Siddhartha, a prince who would eventually become the famous Buddha that we all know and discuss to this day.  

What's great about the story of Buddha is that it covers a wide range of subjects and themes such as war, love, nature, human society and class structures, slavery, suffering, fate, and above all—life and death, and the connection between them. All of these are presented in the manga in a way that makes the philosophical ideas easy to understand, encouraging the reader to learn and reflect.  

But it's not just thought-provoking and deep; it's also very engaging. We aren't simply subjected to a 66-chapter lecture; instead, we witness the lives of many people—slaves and kings alike—as they struggle and learn about life through their hardships. Buddha encounters a lot of people, and their stories are interconnected in meaningful ways while remaining highly entertaining. For instance, one of the early stories is about Chapra, who rose from being a slave to becoming a great fighter. The only aspect I didn't particularly enjoy was the vague sense of time—sometimes years passed in the blink of an eye, which was somewhat confusing.  

The characters are all interesting and relatable. They suffer, they fear death. Sometimes, they try to fight their fate, and other times they accept it. You won't always agree with a character's actions, but they all have reasons for what they do, even if we don't always understand them due to differences in time and societal norms. Many of them encounter Siddhartha. Some find his teachings meaningful and attempt to change their ways, though they aren't always successful because, as I mentioned, they are human and can't always resist their desires. Others oppose him and try to resist his teachings.  

Siddhartha himself is a fascinating individual. Born a prince, he sought to understand why humans suffer, why there are slaves, and how they differ from himself. Until the very end, Siddhartha never stops learning—whether from the people around him or from nature and the animals.  

The art in the story is typical of Osamu Tezuka's style. I think it's quite good, though I'm not a huge fan of his character designs, which tend to be rounded (although I did like the design of adult Tatta). I don't have any major complaints, but I can see why it might not appeal to everyone.  

In conclusion, Buddha is a fantastic manga, one of the best I've read. It explores great themes and philosophical ideas without being overly complex. It does an excellent job of portraying human nature and teaching us about it. Honestly, I didn't expect to enjoy it as much as I did, and I would highly recommend it to anyone looking for a great manga.

Summarizing Osamu Tezuka’s Buddha, it is a historical epic that blends biographical and supernatural elements tied to Vedic religions and mythology, focusing on Siddhartha Gautama's life journey. It is not strictly a biography, as some characters are fictional, the story begins before Siddhartha’s birth, and Tezuka takes certain artistic liberties.

However, the manga consistently adheres to Buddhist teachings. Tezuka’s storytelling is straightforward and accessible, despite its philosophical, societal, and religious themes, maintaining a fine balance between narration, dialogue-based storytelling, and visual storytelling where necessary.

[1. Beginning with the story…]

The first chapter introduces the Indo-Aryans of the Vedic period, who established an exploitative and oppressive social hierarchy with four classes: brahmin (priest class), rajanya/kshatriya (ruler class), vaishya (merchant class), and shudra (laborer class). This sets the stage for understanding the social injustices and hardships of ancient India, which drove many to seek spiritual enlightenment.

Immediately following this introduction, the story shifts to a powerful example of visual storytelling: an old monk collapses on a snowy mountain, and a bear, a fox, and a rabbit search for food for him. When the rabbit fails to find any, it jumps into the old man’s campfire, offering itself as sustenance.

After this iconic scene, the narrative transitions to the tale of a shudra boy raised and trained as a kshatriya. This subplot highlights the plight of "untouchables" outside the varna system and underscores the social injustices that fuel much of the story's conflict. The rest of the narrative follows Siddhartha from his birth through his enlightenment and eventual Mahaparinirvana.

As the story unfolds, more characters are introduced and existing ones develop in ways integral to the narrative. For more details on character development, see [2.], the character section. A final note: Tezuka’s artistic license was closely tied to visual storytelling, incorporating comedic, metafictional, and intertextual elements characteristic of his style. These elements contrast sharply with the mature and often dark story, potentially making or breaking the reader's experience. For more on this aspect, refer to [3.], the artwork section.

[2. Continuing with the characters…]

Although Siddhartha is born a kshatriya according to the varna system, he struggles to comprehend why humans must suffer and questions the basis for social classes and untouchables. After rejecting his varna, homeland, and family, he embarks on a journey as a traveling monk. Throughout his journey until his Mahaparinirvana, Siddhartha remains a dynamic character, observing nature and humanity while introspecting. He experiences suffering alongside witnessing it in others, resists temptation, and gradually gains deeper insights into life and nature, culminating in his enlightenment. Yet his struggle does not end; he dedicates the remainder of his life to teaching.

Returning to the theme of social injustice as the root of MANY evils tied to material hardship, there is another side connected to spiritual hardship. In Buddhism, suffering (dukkha) stems from dissatisfaction caused by desire/greed, distress due to the pains of living (e.g., aging and dying), and distress resulting from impermanence. Siddhartha teaches ending dukkha by renouncing desire and embracing the truths of the world and ourselves as interconnected threads within a grand tapestry.

Siddhartha attracts followers from all walks of life, including "untouchable" bandits, desperate shudras seeking spiritual guidance, antagonistic brahmins, and kshatriyas fearing death. Some embrace his teachings and strive to change their lifestyles and mindsets, while others reject or oppose him, leading to tragic outcomes. While not all characters are complex (some are rather flat), their struggles are largely tied to value dissonance and the hardships they endure. Their interactions with the Buddha and each other harmoniously drive the narrative forward.

[3. And concluding with the artwork…]

From a historical perspective, Buddha is considered part of the gekiga movement. Unlike Astro Boy, which catered to children in the 50s and 60s, Buddha targets older teenagers and adults, including those who grew up reading early manga.

First, it is important to note how Buddha remains distinctly "Tezukan." Character designs retain a cartoony style heavily influenced by Disney, similar to works like Astro Boy and Dororo, contrasting sharply with the mature storyline.

Second, revisiting the end of section [1.], one aspect of visual storytelling can be divisive. Some designs are caricatural, and there are visual anachronisms (e.g., cigarettes flying), direct references to media/producers/works (e.g., ET the Extra-Terrestrial), and fourth-wall breaks (e.g., a self-deprecating avatar of Tezuka or panel-related humor). Personally, I found this aspect occasionally jarring due to mood dissonance and excessive contrasts with the mature tone. Nevertheless, the narrative remains unaffected, and readers who overlook or embrace these elements may appreciate Tezuka’s creative flair.

Returning to gekiga, the visual storytelling aligns with the movement's cinematic and more "adult" qualities. Paneling serves both meta jokes and seamless scene transitions, ensuring the narrative's interconnectedness is always clear. Panels vary in size and pattern, emphasizing key moments against the broader context. Close-ups and striking visual shots, such as Siddhartha’s birth, occur at perfect moments, creating memorable scenes.

Lastly, be aware: the series contains graphic content (e.g., burnt corpses or depictions of smallpox), frequent female nudity reflecting different modesty standards, and visceral portrayals of nature's and life's cruel aspects, such as drought and starvation. Despite occasional levity, Tezuka does not shy away from depicting harsh realities.

Hope you enjoyed my review!

Buddha is an epic. Here, "epic" doesn't refer to something that appeals purely to fans of jaw-dropping battles or superheroes with steel minds. Instead, it denotes a lengthy narrative that follows heroic quests on a grand scale. Surprisingly, Buddha fits this description perfectly, offering a sublime story that weaves history, religion, politics, and mythology together.

This manga, penned by the legendary Osamu Tezuka, is considered one of his epic works. As the title suggests, it centers on Siddhartha Gautama Buddha and his ascetic trials leading to his spiritual journey towards Enlightenment. Although the manga spans his entire life, it's not solely about Siddhartha. In fact, he isn't introduced until late in the first volume. Along his path, he encounters various characters—kings who despise him and slaves seeking his aid. Through their suffering, Siddhartha uncovers life's truths, contributing to an engaging experience.

Character development is central to Buddha’s storytelling. What makes it an epic is its scope, involving multiple protagonists rather than focusing solely on Siddhartha. The introduction of numerous characters might seem overwhelming at first glance, but the narrative remains clear despite the large cast across multiple plot lines. These characters are given surprising depth, making their motives understandable and evoking sympathy. When these developed characters interact, the plot lines intertwine smoothly, resulting in a brilliant narrative.

Of course, Siddhartha connects all the characters. Creating a manga based on such a significant religious and historical figure may raise questions for some regarding historical accuracy or supernatural elements. However, Tezuka has thoroughly researched the subject, clearly valuing Buddha's teachings. This work should not be seen as a religious doctrine or biography but as Tezuka's unique interpretation of Buddhist teachings. He constructs a mythos based on key moments in Siddhartha’s life, presenting a heroic journey. Themes like social injustice, explored through ancient India's caste system, offer insights into the human condition.

Buddha is highly philosophical, though not overly complex. It focuses on central Buddhist ideas, especially the sanctity and equality of life. This is often expressed explicitly through dialogue or subtly through scenes, like the opening where a starving traveler is aided by animals, culminating in a rabbit's self-sacrifice.

The philosophy remains thematically consistent, avoiding deviation and obscure symbolism. Despite its serious themes, Buddha includes humor typical of Tezuka's style—anachronisms, slapstick, references to other works, and fourth-wall breaks. Some may find this jarring, while others will appreciate its entertainment value. This humor contrasts with the story's seriousness without disrupting its coherence.

The art style, with cartoony characters against detailed landscapes, may appeal differently to various audiences. Despite this, the realism depicted reflects the suffering Siddhartha witnesses, including graphic violence and nudity, appropriate within the context of social injustice.

Regardless of stylistic preferences, the composition remains excellent. Panel techniques effectively present scenes dynamically, with two-page spreads emphasizing significant events, like Siddhartha's birth. The visual narrative, crucial to manga, shines here, especially in dialogue-free sequences.

Tezuka's influence on anime and manga is undeniable. As some consider Buddha his magnum opus, it's hard not to recommend it. If you haven't read Tezuka's work before, starting with this well-crafted story and visuals is a great choice. Its religious narrative offers a unique journey.

Ultimately, Buddha provides an enlightening experience, perhaps transcending expectations.

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Such wonderful stories!

Please update :)

Such a beautiful story! I just love it

&quot;I'm hooked already ...️. I recommend this book to y'all!&quot;