"Adolf" is indeed a remarkable work by Osamu Tezuka, often referred to as the "God of manga." This piece can truly be considered a hidden gem.
Story: The manga weaves the tale of three men named Adolf. It follows their lives, showcasing how they evolve as individuals over time—both psychologically and physically. While the story might not initially seem groundbreaking or original, once you begin reading, it's almost impossible to put down until you understand its unfolding events. Set before and during Hitler's reign in Germany, the narrative revolves around his character, which influences the main characters' lives merely through his existence. Each character is impacted differently, as becomes evident later in the manga. Although the pacing may feel slow at times, you'll soon grasp why the mangaka chose to slow it down.
Art: The art reflects its age, but considering the series' release year, one cannot expect much more. The visuals won't detract from your experience; although occasionally imperfect, they fade into the background as you immerse yourself in the story. If art is your primary focus, this might not be for you, but that's entirely up to you.
Characters: This is arguably the manga's strongest aspect. Both major and minor characters develop throughout the story. We witness people with vastly differing opinions altering their thoughts and actions under the influence of others and their environment. Some become cruel, others steadfastly pursue their dreams, and still others display bravery even in the face of death. You're unlikely to be disappointed by this element of the manga.
Enjoyment: I thoroughly enjoyed this manga and hope you will too. However, if your views on Hitler and World War II differ significantly from the mangaka's, you might not appreciate it as much. Tezuka expresses his perspective on Hitler's character, which could potentially offend some readers.
Overall, the manga is genuinely engaging, and you won't regret reading it. It ranks among Tezuka's better works. I highly recommend it; I found it immensely enjoyable and felt my time was well spent.
TLDR
Story – 10/10 – 10 x 0.275 = 2.75
Art – 8/10 – 8 x 0.2 = 1.6
Characters – 10/10 – 10 x 0.225 = 2.25
Enjoyment – 8/10 – 8 x 0.3 = 2.4
Total: 9 -> 9
Braving oceans, I shall be a corpse, waterlogged. Braving mountains, I shall be a corpse, grass to feed.
- Message to Adolf
Story – 10/10
Message to Adolf is a profoundly heavy story in every sense—it delves into death, sexual abuse, torture, and the Holocaust itself. Its execution is exceptional, though dense. Little can fully encapsulate its brilliance. This manga is likely Osamu Tezuka's most intense work, as it follows the intertwined lives of three Adolfs: Adolf Kaufmann, a German-Japanese; Adolf Kamil, a Jew; and Adolf Hitler, the Führer himself.
The narrative begins during the 1936 Olympic Games through the eyes of Toge, a journalist, gradually introducing other characters. It concludes in the 1980s in Palestine/Israel, once again with Toge. Geographically, the story primarily unfolds between Germany and Japan before shifting to Palestine/Israel in its final stages.
As the plot progresses, more characters are seamlessly introduced, each contributing logically to the overarching narrative. There are no leaps in logic, and the story remains highly coherent. Despite being densely packed with dialogue, the readability remains unaffected, as the conversations make perfect sense within their context.
References to World War II abound, naturally, as we witness the unfolding of the conflict across both European and Pacific theaters. The rise and fall of Nazism and nationalism in Germany and Japan serve as the backdrop, deeply influencing the fates of the characters. Race, nationality, friendship, ideology, and war become intricately interwoven, making some characters mere pawns in a larger geopolitical game.
This character-driven tale focuses on the lives of the three Adolfs and Toge, delivering an intense, sorrowful, and even heart-wrenching experience. The impact of the war is vividly portrayed, capturing its darkest aspects on both macro and micro levels. In essence, Message to Adolf is a beautifully complex yet linear story about the war's effects on ordinary individuals from diverse backgrounds, where hate, division, and indoctrination shape destinies.
Art – 8/10
The artistic style of Message to Adolf aligns with Tezuka's typical approach—cartoonish yet highly functional. The pacing of panels is masterfully crafted, ensuring that despite the density of the story, it remains easy to follow. Character designs are well-executed, making them easily distinguishable. Backgrounds maintain a cartoonish aesthetic, though depictions of war and torture carry graphic undertones.
Characters – 10/10
The narrative centers on three Adolfs, forming the foundation of Tezuka's story, though every character holds significance. As a character-driven piece, it excels, blending an outstanding story with remarkable characters. While the Adolfs personify specific themes—indoctrination (Kaufmann), innocence (Kamil), and pure evil (Hitler)—they evolve significantly throughout their arcs, adding layers of complexity. For instance, Kaufmann doesn't instantly embrace Nazism; his journey is fraught with contradictions, making him the most intricate of the trio, surpassing simplistic categorizations.
Supporting characters in Message to Adolf aren't mere placeholders—they actively contribute to the main storyline and minor subplots. Each character is richly developed, possessing distinct personalities.
Enjoyment – 8/10
Message to Adolf stands as an extraordinary manga and arguably one of Tezuka's finest works. Its story and characters are superb, offering a rewarding reading experience. The art serves its purpose admirably. Though only four volumes long, the density and abundance of dialogue make it feel much longer. Nonetheless, it is a classic for good reason and a true masterpiece in many respects, crafted by the Godfather of Manga himself. It deserves an enthusiastic recommendation.
So, this is the first work of Osamu Tezuka that I've read, and it was fantastic. I wasn't entirely unfamiliar with Tezuka's storytelling, having watched the Dororo anime, which I thought was incredible, if you ask me.
The story and its characters are undoubtedly the strongest aspects of this manga. It begins in Japan, a few years before the start of World War II. The protagonist is a Japanese reporter named Toge Sohei, who stumbles upon documents proving that Hitler was Jewish. The entire narrative revolves around the pursuit of these documents by various parties, while Toge strives to protect them. Later, another character takes center stage: Adolf Kaufmann, who is half-Japanese and half-German. Following a series of events, he is sent to Germany to become a Nazi, and his character undergoes a complete transformation over time. There were numerous memorable individuals in this story, each irreplaceable and crucial to the plot.
One issue I had with the manga was its somewhat outdated art style. It's not that I found it bad or anything—it was just the element I enjoyed the least, and occasionally made me think, "Eh, I'm not really in the mood to read Adolf today."
Overall, the manga is incredibly great, boasting amazing storytelling and a compelling plot. If you can overlook the dated art style, I would definitely recommend it. Additionally, I must say that I would love to see a modern anime adaptation of it, similar to what Dororo received. Not only would it introduce more people to the Godfather of manga, but it would also make for an excellent viewing experience—a modern take on Adolf ni Tsugu.
This is the tale of three men named Adolf. It unfolds with the sweeping grandeur of myth, emerging as if from the collective unconscious, narrated through the eyes of a Japanese observer. In the early 1930s, when this story begins, "Adolf" was a common given name. Two Adolfs resided in Kobe, part of the German expatriate community: one was the son of a Jewish baker, and the other the son of a Nazi diplomat. The coincidences interweaving their lives are so profound they might seem contrived, yet they unfold naturally in the rhythm of tragedy.
Revisiting this story—be it the second, third, or subsequent time—is more poignant. The suspense remains, but it's tinged with the tragic inevitability of fate. This, I believe, is a hallmark of truly great storytelling. It captivates regardless of how many times you read it, revealing new insights with each encounter. The dramatic irony that arises from the reader's knowledge of history is masterfully rendered. This is a literary masterpiece, meticulously plotted, propelled by an underlying sense of futility. Each time, I am struck by Tezuka's clarity of perspective. It is a powerfully anti-war work, sharply critical of both the Japanese military state and the Nazi regime, exposing the atrocities committed by all parties involved. They are all culpable for unimaginable acts of violence. The Manchurian campaign is still glossed over in Japanese textbooks (America is no less guilty of censoring its own history), yet it is openly addressed in the narrative. The American firebombing of Kobe, where most structures were wooden, was as merciless as the Blitz and the atomic bombings. The ships at Pearl Harbor were essentially used as bait, leaving sailors to perish. The Russian army ravaged Berlin with impunity, exacting revenge on those who had no control over the situation, many of whom were simply trying to survive. The Jews faced relentless persecution under the Nazis, only to later persecute the Palestinians with equal severity, prompting equally heartless retaliation against Israeli citizens.
I am deeply moved by Tezuka's honest portrayal of a person's awareness of their own susceptibility to change, foreshadowed by young Adolf Kaufmann's reluctance to attend a Hitler Youth school, knowing it would brainwash him into hating Jews—even though his best friend is Jewish. Despite this awareness, he does become a fervent Nazi ideologue. This is one of the most striking aspects of the story, rarely explored with such honesty in literature today. Often, we assume that recognizing the impact of ideology on ourselves is enough to prevent its influence, but this is frequently not the case.
Setting aside issues of sexism and racism (which are present in his works), Tezuka was far ahead of his time and place. I urge readers to keep this in mind when engaging with any of his creations, and I am grateful that his works have been reproduced faithfully. If we edit out the casual prejudices of brilliant writers in hindsight to make their works more palatable to modern audiences, we erase evidence of how deeply entrenched these biases once were, even among those who genuinely believed in equality. Even in the 1980s, it took courage to write such material. As recently as this year, Hayao Miyazaki faced criticism for anti-imperialist themes in his latest film, set during the war. That's 2013.
I find it intriguing that Tezuka portrays Hitler as a man who abstained from all forms of stimulants, as depicted in a brief dinner scene. The popular version I've encountered in the U.S. is that he was a vegetarian but addicted to methamphetamine in his later years. I'm unsure if this was the perception of Hitler prevalent in Japan during the 1980s. Perhaps Tezuka was highlighting his hypocrisy.
Overall, I highly recommend "Message to Adolf," even if you don't typically read manga or comics. It's simply an excellent story, demonstrating the potential of graphic novels to convey narratives with the same depth and power as prose.
I've always been a fan of historical fiction, and this manga offers a compelling depiction of the challenges faced by Germans, Jews, and Japanese during World War II. The concepts of right and wrong are intertwined, people are targeted based on religion and race, and everyone lives in fear of offending the wrong individuals and risking their lives. Historical drama is undeniably thrilling, yet the somber theme of the Holocaust serves as a stark reminder of how perilously close the world came to eradicating an entire race.
Adolf ni Tsugu boasts a robust and captivating plot. The narrative revolves around three primary characters, focusing on each one individually until their paths eventually intersect. Each character grapples with unique circumstances, ensuring that even if you dislike one, their storyline won't persist indefinitely.
While I'm uncertain about the historical accuracy of this manga, from my limited knowledge, there's a significant alteration of historical events near its conclusion, which I'll refrain from revealing. Nevertheless, I believe the mangaka excelled in portraying Japan and Germany during wartime. He paid meticulous attention to cultural customs and gender roles, delivering an exceptional performance.
One flaw worth noting is the romantic development within the manga. Although it lacks a romance tag, any semblance of love predominantly manifests as love at first sight.
The array of characters, both recurring and not, is extensive, and I find them all remarkable. They possess distinct personalities and features, none of them dull. They harbor ideas, unique thoughts, and behave like real people. No one is perfect, which only enhances their authenticity.
I also admire how Hitler is depicted. Known for his exaggerated gestures and vocal intensity during impassioned speeches, even though I can't hear him through the manga, he appears ready to leap out of the panels. His mouth stretches wide, and he occasionally spits. This portrayal aligns with my perception of Hitler.
Being an older manga, the panels are rectangular, and the characters have a cartoonish appearance. In the mangaka's era, this was commendable, so I harbor no complaints. Personally, I think he does an excellent job illustrating buildings. The manga contains bloodshed and violence due to war injuries and fistfights; to me, it resembles uncensored cartoon violence. Otherwise, uniforms are intricately detailed, and facial features are smooth. There's little to criticize here.
Beyond the Pearl Harbor event, this manga has broadened my understanding of the struggles the Japanese faced in choosing allies. While other countries were involved in the war, I had never considered the challenges mixed-race families, who were both Japanese and German, endured.
For those who appreciate a blend of politics and a deep dive into history (especially the Holocaust), Adolf ni Tsugu is an excellent choice. Despite being from many years ago, it provides a good representation (though not entirely accurate) of history from the perspective of those who witnessed it. You genuinely care about the characters' safety and hope for the best, despite knowing the grim outcome of World War II. Consequently, this manga merits an 8/10 from me.
Popular Reviews
Story: The manga weaves the tale of three men named Adolf. It follows their lives, showcasing how they evolve as individuals over time—both psychologically and physically. While the story might not initially seem groundbreaking or original, once you begin reading, it's almost impossible to put down until you understand its unfolding events. Set before and during Hitler's reign in Germany, the narrative revolves around his character, which influences the main characters' lives merely through his existence. Each character is impacted differently, as becomes evident later in the manga. Although the pacing may feel slow at times, you'll soon grasp why the mangaka chose to slow it down.
Art: The art reflects its age, but considering the series' release year, one cannot expect much more. The visuals won't detract from your experience; although occasionally imperfect, they fade into the background as you immerse yourself in the story. If art is your primary focus, this might not be for you, but that's entirely up to you.
Characters: This is arguably the manga's strongest aspect. Both major and minor characters develop throughout the story. We witness people with vastly differing opinions altering their thoughts and actions under the influence of others and their environment. Some become cruel, others steadfastly pursue their dreams, and still others display bravery even in the face of death. You're unlikely to be disappointed by this element of the manga.
Enjoyment: I thoroughly enjoyed this manga and hope you will too. However, if your views on Hitler and World War II differ significantly from the mangaka's, you might not appreciate it as much. Tezuka expresses his perspective on Hitler's character, which could potentially offend some readers.
Overall, the manga is genuinely engaging, and you won't regret reading it. It ranks among Tezuka's better works. I highly recommend it; I found it immensely enjoyable and felt my time was well spent.
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TLDR
Story – 10/10 – 10 x 0.275 = 2.75
Art – 8/10 – 8 x 0.2 = 1.6
Characters – 10/10 – 10 x 0.225 = 2.25
Enjoyment – 8/10 – 8 x 0.3 = 2.4
Total: 9 -> 9
Braving oceans, I shall be a corpse, waterlogged. Braving mountains, I shall be a corpse, grass to feed.
- Message to Adolf
Story – 10/10
Message to Adolf is a profoundly heavy story in every sense—it delves into death, sexual abuse, torture, and the Holocaust itself. Its execution is exceptional, though dense. Little can fully encapsulate its brilliance. This manga is likely Osamu Tezuka's most intense work, as it follows the intertwined lives of three Adolfs: Adolf Kaufmann, a German-Japanese; Adolf Kamil, a Jew; and Adolf Hitler, the Führer himself.
The narrative begins during the 1936 Olympic Games through the eyes of Toge, a journalist, gradually introducing other characters. It concludes in the 1980s in Palestine/Israel, once again with Toge. Geographically, the story primarily unfolds between Germany and Japan before shifting to Palestine/Israel in its final stages.
As the plot progresses, more characters are seamlessly introduced, each contributing logically to the overarching narrative. There are no leaps in logic, and the story remains highly coherent. Despite being densely packed with dialogue, the readability remains unaffected, as the conversations make perfect sense within their context.
References to World War II abound, naturally, as we witness the unfolding of the conflict across both European and Pacific theaters. The rise and fall of Nazism and nationalism in Germany and Japan serve as the backdrop, deeply influencing the fates of the characters. Race, nationality, friendship, ideology, and war become intricately interwoven, making some characters mere pawns in a larger geopolitical game.
This character-driven tale focuses on the lives of the three Adolfs and Toge, delivering an intense, sorrowful, and even heart-wrenching experience. The impact of the war is vividly portrayed, capturing its darkest aspects on both macro and micro levels. In essence, Message to Adolf is a beautifully complex yet linear story about the war's effects on ordinary individuals from diverse backgrounds, where hate, division, and indoctrination shape destinies.
Art – 8/10
The artistic style of Message to Adolf aligns with Tezuka's typical approach—cartoonish yet highly functional. The pacing of panels is masterfully crafted, ensuring that despite the density of the story, it remains easy to follow. Character designs are well-executed, making them easily distinguishable. Backgrounds maintain a cartoonish aesthetic, though depictions of war and torture carry graphic undertones.
Characters – 10/10
The narrative centers on three Adolfs, forming the foundation of Tezuka's story, though every character holds significance. As a character-driven piece, it excels, blending an outstanding story with remarkable characters. While the Adolfs personify specific themes—indoctrination (Kaufmann), innocence (Kamil), and pure evil (Hitler)—they evolve significantly throughout their arcs, adding layers of complexity. For instance, Kaufmann doesn't instantly embrace Nazism; his journey is fraught with contradictions, making him the most intricate of the trio, surpassing simplistic categorizations.
Supporting characters in Message to Adolf aren't mere placeholders—they actively contribute to the main storyline and minor subplots. Each character is richly developed, possessing distinct personalities.
Enjoyment – 8/10
Message to Adolf stands as an extraordinary manga and arguably one of Tezuka's finest works. Its story and characters are superb, offering a rewarding reading experience. The art serves its purpose admirably. Though only four volumes long, the density and abundance of dialogue make it feel much longer. Nonetheless, it is a classic for good reason and a true masterpiece in many respects, crafted by the Godfather of Manga himself. It deserves an enthusiastic recommendation.
The story and its characters are undoubtedly the strongest aspects of this manga. It begins in Japan, a few years before the start of World War II. The protagonist is a Japanese reporter named Toge Sohei, who stumbles upon documents proving that Hitler was Jewish. The entire narrative revolves around the pursuit of these documents by various parties, while Toge strives to protect them. Later, another character takes center stage: Adolf Kaufmann, who is half-Japanese and half-German. Following a series of events, he is sent to Germany to become a Nazi, and his character undergoes a complete transformation over time. There were numerous memorable individuals in this story, each irreplaceable and crucial to the plot.
One issue I had with the manga was its somewhat outdated art style. It's not that I found it bad or anything—it was just the element I enjoyed the least, and occasionally made me think, "Eh, I'm not really in the mood to read Adolf today."
Overall, the manga is incredibly great, boasting amazing storytelling and a compelling plot. If you can overlook the dated art style, I would definitely recommend it. Additionally, I must say that I would love to see a modern anime adaptation of it, similar to what Dororo received. Not only would it introduce more people to the Godfather of manga, but it would also make for an excellent viewing experience—a modern take on Adolf ni Tsugu.
Revisiting this story—be it the second, third, or subsequent time—is more poignant. The suspense remains, but it's tinged with the tragic inevitability of fate. This, I believe, is a hallmark of truly great storytelling. It captivates regardless of how many times you read it, revealing new insights with each encounter. The dramatic irony that arises from the reader's knowledge of history is masterfully rendered. This is a literary masterpiece, meticulously plotted, propelled by an underlying sense of futility. Each time, I am struck by Tezuka's clarity of perspective. It is a powerfully anti-war work, sharply critical of both the Japanese military state and the Nazi regime, exposing the atrocities committed by all parties involved. They are all culpable for unimaginable acts of violence. The Manchurian campaign is still glossed over in Japanese textbooks (America is no less guilty of censoring its own history), yet it is openly addressed in the narrative. The American firebombing of Kobe, where most structures were wooden, was as merciless as the Blitz and the atomic bombings. The ships at Pearl Harbor were essentially used as bait, leaving sailors to perish. The Russian army ravaged Berlin with impunity, exacting revenge on those who had no control over the situation, many of whom were simply trying to survive. The Jews faced relentless persecution under the Nazis, only to later persecute the Palestinians with equal severity, prompting equally heartless retaliation against Israeli citizens.
I am deeply moved by Tezuka's honest portrayal of a person's awareness of their own susceptibility to change, foreshadowed by young Adolf Kaufmann's reluctance to attend a Hitler Youth school, knowing it would brainwash him into hating Jews—even though his best friend is Jewish. Despite this awareness, he does become a fervent Nazi ideologue. This is one of the most striking aspects of the story, rarely explored with such honesty in literature today. Often, we assume that recognizing the impact of ideology on ourselves is enough to prevent its influence, but this is frequently not the case.
Setting aside issues of sexism and racism (which are present in his works), Tezuka was far ahead of his time and place. I urge readers to keep this in mind when engaging with any of his creations, and I am grateful that his works have been reproduced faithfully. If we edit out the casual prejudices of brilliant writers in hindsight to make their works more palatable to modern audiences, we erase evidence of how deeply entrenched these biases once were, even among those who genuinely believed in equality. Even in the 1980s, it took courage to write such material. As recently as this year, Hayao Miyazaki faced criticism for anti-imperialist themes in his latest film, set during the war. That's 2013.
I find it intriguing that Tezuka portrays Hitler as a man who abstained from all forms of stimulants, as depicted in a brief dinner scene. The popular version I've encountered in the U.S. is that he was a vegetarian but addicted to methamphetamine in his later years. I'm unsure if this was the perception of Hitler prevalent in Japan during the 1980s. Perhaps Tezuka was highlighting his hypocrisy.
Overall, I highly recommend "Message to Adolf," even if you don't typically read manga or comics. It's simply an excellent story, demonstrating the potential of graphic novels to convey narratives with the same depth and power as prose.
Adolf ni Tsugu boasts a robust and captivating plot. The narrative revolves around three primary characters, focusing on each one individually until their paths eventually intersect. Each character grapples with unique circumstances, ensuring that even if you dislike one, their storyline won't persist indefinitely.
While I'm uncertain about the historical accuracy of this manga, from my limited knowledge, there's a significant alteration of historical events near its conclusion, which I'll refrain from revealing. Nevertheless, I believe the mangaka excelled in portraying Japan and Germany during wartime. He paid meticulous attention to cultural customs and gender roles, delivering an exceptional performance.
One flaw worth noting is the romantic development within the manga. Although it lacks a romance tag, any semblance of love predominantly manifests as love at first sight.
The array of characters, both recurring and not, is extensive, and I find them all remarkable. They possess distinct personalities and features, none of them dull. They harbor ideas, unique thoughts, and behave like real people. No one is perfect, which only enhances their authenticity.
I also admire how Hitler is depicted. Known for his exaggerated gestures and vocal intensity during impassioned speeches, even though I can't hear him through the manga, he appears ready to leap out of the panels. His mouth stretches wide, and he occasionally spits. This portrayal aligns with my perception of Hitler.
Being an older manga, the panels are rectangular, and the characters have a cartoonish appearance. In the mangaka's era, this was commendable, so I harbor no complaints. Personally, I think he does an excellent job illustrating buildings. The manga contains bloodshed and violence due to war injuries and fistfights; to me, it resembles uncensored cartoon violence. Otherwise, uniforms are intricately detailed, and facial features are smooth. There's little to criticize here.
Beyond the Pearl Harbor event, this manga has broadened my understanding of the struggles the Japanese faced in choosing allies. While other countries were involved in the war, I had never considered the challenges mixed-race families, who were both Japanese and German, endured.
For those who appreciate a blend of politics and a deep dive into history (especially the Holocaust), Adolf ni Tsugu is an excellent choice. Despite being from many years ago, it provides a good representation (though not entirely accurate) of history from the perspective of those who witnessed it. You genuinely care about the characters' safety and hope for the best, despite knowing the grim outcome of World War II. Consequently, this manga merits an 8/10 from me.
<p>