The Human Princess and The Werewolf King

This is undoubtedly the most captivating Tezuka work I've encountered so far. With an impressive lineup that includes Nextworld, Metropolis, Astro Boy, Kimba, Phoenix, and numerous other exceptional pieces, this one stands out as the most compelling.  

It delves deeply into the somber and darker aspects of World War II while infusing heartfelt drama into both sides of the conflict. Tezuka took a bold step with this creation, exploring themes many would hesitate to touch upon. Despite venturing into more serious territory and pushing boundaries, he skillfully retained elements of humor, making it an enjoyable read. It genuinely keeps readers on the edge of their seats until the very last page.  

As with any Tezuka masterpiece, don't let the art style mislead you. Once you dive into this story, you won't want to leave, and by the time it ends, you'll be craving for more.

Adolf is one of Osamu Tezuka's later works and is acclaimed as one of his best. Given its focus on Jews and Nazis, comparisons to the masterpiece Maus, which was published around the same time, are inevitable. However, these works are incomparable because they address different aspects of the Holocaust. Adolf, unlike Maus, centers more on the mental state of a particular SS officer rather than the experiences of the Jews themselves.

Simply put, it is a very well-crafted WWII spy story. Unlike most spy stories, it is fairly realistic in terms of the story's timeframe, spanning 9 years (excluding the very end), starting with the 1936 Berlin Olympics and mostly concluding at the war's end. The pacing is skillfully done, alternating between faster and slower parts. The slower sections serve two purposes: setting up for future events and developing characters. Even between major events, years sometimes pass, and some instances include rare narration in manga to explain how the war unfolds. Although this indirectly affects the characters, it is still helpful to show how the world evolves around them.

Though the story begins with the plot revolving around the missing documents of Hitler's origin, this is not the main focus. Essentially, it is a tragedy exploring the irreversible effects of brainwashing and blind devotion on a person's psyche and their relationships. While the overarching theme revolves around Adolf Kaufmann's mental state, other characters also have problems, both large and small, making them feel real. However, the story does not delve deeply into their psyches since the focus isn't on them. There is, of course, the ever-present theme of racism, which is quite self-explanatory.

I have only completed two of Tezuka's works: this and Metropolis. Since these two represent opposite ends of his career, I can say that he has improved immensely as an artist, with a profound influence from Gekiga. I have quite a bit of Gekiga, and I can say that the art in Adolf is even superior to the majority of Yoshiro Tatsumi's works (judging him by what has been published by Drawn & Quarterly) but falls short of Lone Wolf and Cub, Screw-Style, and Red Color Elegy (of what I've seen). The most impressive scenes are the narrative ones. These scenes are visually stunning and vividly haunting (though they don't contain the alienating feel of Tsuge's works) and comparable to the austere beauty of the Himalayas in Buddha (though they do have a different feel). What impresses me most is the character designs. Tezuka easily has one of the most varied character designs I've seen. Unlike many designs, the uniqueness isn't dependent on hair or clothes but rather on the face of the person. Due to the older art style, some may be turned away, especially those relatively new to anime and manga.

Overall: It meets its potential. My only complaint is the lack of extensive usage of symbolism and literary techniques to add depth, nor is it highly experimental. It is what I would define as a "progressive" comic. It separates the medium from others (animation, in particular), but in a more conservative way rather than the groundbreaking and experimental works of many underground and art comics (see Maus for that). A hugely enjoyable work that doesn't require much intense thought. Lastly, there are mature themes (such as rape) presented, so this is definitely not suitable for children.

Availability: Despite being only 5 volumes, it is quite a scarce manga to find, with volume 1 going for even more than volume 4 of Phoenix. Since it was Tezuka's first work published entirely in English, it has been out of print for quite a while (starting in 1995 and continuing for only a few years). However, all other volumes have been relatively easy to find. With the exception of the first volume, I haven't been able to locate many scans. Since we're talking about Tezuka, there must be scans available, but I am at a loss to explain why they are so hard to find. In the past few years, there has been a significant surge in interest in his works with the publication of Black Jack, Buddha, Phoenix, and MW (to name a few). So, it is only a matter of time before it is republished in the US. But when is still uncertain.

EDIT: It is currently being scanned; check for a comment by Curropt ID in The Tokusyu Manga Club.

-Pierre Bezukhov
P.S.: Feedback is most welcome.

This began incredibly but eventually descended into a chaotic mess.  

It started as a gripping suspenseful thriller, but midway, it introduced side characters, arcs, and subplots that were uninteresting, unnecessary, and ultimately disrupted the pacing, causing the suspense and tension to dissipate.  

Moreover, the poorly executed comedy occasionally undermines the pathos, and Kauffman's descent into madness near the end feels hurried and inconsistent.  

That said, this is an ambitious manga. Tezuka's paneling is unparalleled, as is his skill in rendering drawings in various styles. The setting is cleverly utilized by situating events in specific eras of WWII to enhance the mood. Toge is undoubtedly the standout, and the chapter set in Palestine is a flawless 10/10—dark and tense, as the entire story should have been.  

I wouldn't recommend it as a complete work, though it does have its shining moments. Overall, it feels like a slog, but it's evident that Tezuka poured passion and talent into it despite the final outcome.  

Don't bother with this one; instead, seek out other works by Tezuka.  

Bye for now.  

Thanks for reading.  

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Adolf is a meticulously crafted thriller that revolves around the lives of four characters: Sohei Toge, who serves as both narrator and writer of the story, and three men all named Adolf.  

If you're familiar with Urasawa's works, the formula here might feel recognizable. The story begins when Toge travels to Germany to cover the Olympics, only to have his brother request an urgent meeting at his hotel. Upon arrival, Toge discovers a ransacked room and his brother's body hanging outside the window. Who did this? Why? What will Sohei do, and where will it lead him? In no time, Tezuka sets up an intriguing mystery that seamlessly transitions both the reader and the main characters into a complex web that spirals throughout the entire narrative.  

It's challenging to describe what follows without spoilers, though individual reveals likely won't detract from your enjoyment. "Adolf" thrives on the excitement of following the characters' journeys and discovering their fates. Tezuka doesn't shy away from high stakes; even if the main characters' survival seems assured, the relentless pressure they face—both mentally and physically—is palpable and believable.  

Toge constantly grapples with government surveillance, feeling the oppressive weight of an omnipresent authority watching his every move, ensuring nothing goes his way. This mental and physical torment aims to break his will and extract the information they seek. Kamil's perspective remains somewhat milder until the concluding chapters, but as a Jew living in Japan, his storyline introduces key Jewish characters and establishes critical elements. Meanwhile, Kaufmann's point of view may be the most harrowing, as we witness a harmless child gradually transform into an irredeemable monster after being forced into Hitler's Youth by his father. The acts he commits are distressing, but watching him succumb to ideological brainwashing is heart-wrenching, showcasing the devastating consequences of such indoctrination.  

The manga can initially feel unfocused, as I originally thought. While it's established early that this is the story of three Adolfs, a significant portion focuses on our narrator, Toge. Though engaging and connected to pivotal characters, the shift to young Kaufmann and Kamil feels jarring, moving from intense chases and escapes to scenes of children listening to their parents or receiving historical exposition about Nazis, Jews, and related topics. However, everything aligns beautifully in the final chapters, making it hard to label any part of "Adolf" as unnecessary or scattered. If anything, more chapters exploring Kamil could have been beneficial, as while he's crucial to the story, he receives the least development.  

It's worth noting that although characters are central to the manga, their development isn't its primary selling point. They aren't deeply layered, but their realistic reactions to extreme situations make them compelling. It's rare to see individuals endure such trials and have their responses authentically portrayed, which fosters curiosity and intrigue.  

Despite thrillers often prioritizing emotional engagement over substance, "Adolf" succeeds in both. Amidst the gripping adventure, an overarching message emerges about justice and how ideology can be manipulated for personal gain, leading to tragic outcomes. Tezuka subtly conveys this, leaving room for interpretation without rendering the theme ambiguous. The impartial tone of the narrative mirrors a history book, presenting people and atrocities without dictating emotions. Real events supplement the fictional story respectfully, enhancing its authenticity.  

The art is a mixed bag for me. Recalling Astro Boy, I was unsettled by a chapter depicting the bombing of an Asian village, where Tezuka's cartoony style clashed with the grim subject matter. While "Adolf" retains some cartoonish moments, none felt inappropriate or out of place. Tezuka's paneling remains exceptional, using standard layouts for normal scenes but skillfully arranging panels to evoke emotion when needed.  

In conclusion, "Adolf" is an outstanding manga. Spanning 36 chapters, it's difficult not to recommend it to anyone seeking a great read. However, those sensitive to darker themes might find certain parts unsettling. <p>

Serviceable, fair, decent — a truly lukewarm affair. "Message to Adolf" aims to be an epic comic, and while it achieves this to some extent, it ultimately feels underwhelming.  

Much of this stems from the fact that the core premise, the reason we're supposed to be invested in this story, what's meant to captivate us, is incredibly uninteresting. It evokes zero emotion. Pair that with a somewhat dull cast and a sequence of events that leave no lasting impression, and you have this comic.  

Of the three Adolfs, only one is remotely interesting in any way, and it's frustrating to see him make some very illogical decisions. The rest of the cast is similarly flawed, but their greatest flaw is becoming irrelevant. As you read on, due to the limited time spent with them, you genuinely couldn't care less about the majority of them.  

The same can be said for the story. As I've already mentioned, the initial premise is boring, and while it is developed decently (though I have issues with the execution), there's never a compelling reason to care. After the first few chapters, it really does become a chore to continue reading. Things happen, but they have little impact on the reader.  

That said, this isn't a bad comic and might even become someone's next favorite. However, I don't believe it succeeds in achieving the goals it sets for itself and find it rather underwhelming and disappointing in that regard.  

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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.

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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.

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.