Author: Wang Xinxi/Anitama Cover Source: Osamu Tezuka, a working youth
After World War II, the Japanese manga market rose in ruins, grew rapidly, and surging sales stimulated various publishing houses to set up manga magazines. The monthly comics have grown exponentially, in large numbers, occupying more and more space in newsstands. Although most monthly magazines went out of business after a few years of support, the prosperity of the market can be seen in this.
With so many comic magazines rushing to eat, the demand for cartoonists and comic works has naturally soared. At this time, the founder of the new Japanese manga, Osamu Tezuka, had just gained fame and fortune for publishing Astro Boy, and he made up his mind to become a manga artist for a lifetime. To this end, he completely moved his position from Osaka to Tokyo in order to be closer to the publishing houses. At that time, Tokyo was undergoing a large-scale reconstruction, the real estate industry was not as crazy as it was later, and although Tezuka had a good salary in his pocket, he could not buy a suitable mansion for a while. At first, he rented a stairwell in a hotel renovation room in Yotsuya, Shinjuku Ward, but it was very noisy and not conducive to creation. When the editorial department of "Comic Boy" under the Schoolchildren's Club learned of his plight, they helped find a secluded place to live and rented him a manga studio. Located at 2253, Gochome, Shikina-cho, Toshima-ku, Tokyo, this residence is a two-story wooden apartment called Tokiwaso (トキワ荘). "トキワ" means eternal and unchanging like a big rock, and also has the meaning of evergreen, evergreen, and eternal earth. The most talked about legend in the Japanese manga industry so far has slowly begun.
First, the leading big brother - Osamu Tezuka and Hiroo Terada
In early 1953, at the age of 25, Tezuka moved into Tokiwaso, settled down temporarily, and began working on manga in Tokyo. Tokiwaso was one of the most common public collective residences of the time, typical of rapid redevelopment programs, which were commonly used for rent and had very limited living conditions. Tezuka lives in Room 14 and shares a kitchen and toilet with neighbors. The area of room 14 is four and a half stacks (a stack is a tatami, Tokyo's tatami is smaller, the size is 880mm×1760mm), about seven square meters, such a small space, can only put a desk, bookshelves and futons, other furniture are hands-free. Still, Tezuka didn't care. Most people who are in the period of struggle will not care about eating and living, as long as they can engage in the desired cause, they will be satisfied. Even if you are in the dark room, you can also enjoy yourself.
Describe the arrival of Tezuka in the first person of Tokiwaso. From: Osamu Tezuka semi-autobiographical work "The God of Manga" short story "Tokiwaso" (Hong Kong Cultural Communication Chinese edition)
Osamu Tezuka created manga such as Ribbon Rider, Crime and Punishment, and Benkei in Tokiwaso. Due to the cramped room, he could only draw with his back hunched over. Sometimes the painting tools occupy the tabletop, and Tezuka has to put his head under the desk to paint, but when he looks up, he does not pay attention, and hits a sky full of stars, which has the potential of "not daring to turn over and have met".
Unlike the previous Akamoto manga, the magazine's serial manga has its own characteristics and creative rules. Akamoto manga is not subject to the intervention of editors and reader questionnaires, and often gives one manuscript and the other hand money, and the publisher can take it and print it directly. However, serial comics have strict deadlines, creating climax and suspense in a limited return, enduring the critical review of editors, and readers who are not satisfied with the work will be cut off. Tezuka's enthusiasm for manga led to him not having a reasonable work plan at all, and as long as there was an editorial appointment, he would accept it. As a result, the manga series became the source of Tezuka's pain and happiness.
Tezuka complained about his original state. Source: Taiwan's Eastern Edition of "Osamu Tezuka's Manga Journey" Second "My Manga Chronicle"
During the Tokiwaso period, the diligent Tezuka serialized several manga at the same time and ran all the way. At its peak, he unleashed his full power, reaching an astonishing nine comics in tandem. Each manga has a workload of 8 to 16 pages, and Tezuka works day and night, almost sleeplessly rushing to the manuscript. It should be noted that at that time, he did not have seven or eight assistants like in the later period, and all his works were drawn by himself. The amount of work is so great that it has reached the limit of human physical strength. When Tezuka was a child, he was physically weak, and no one expected that for the sake of manga, he would become a "superman"—both physically and mentally.
What is valuable is that Tezuka's manga does not degrade the quality due to mass production, each one has maintained a certain standard, and there are gods in every period. Maybe that's the difference between a master and a painter.
The editors who came to collect the manuscript often went in and out of Tokiwaso, and they came and went, and they were familiar with each other. They often quarrel over whose manuscript Tezuka would draw first, and if a grumpy editor happens to be present, they often yell, "There's a kind of going out and going head-to-head!" "So the two sides of the quarrel will really roll up the sleeves and go outside to fight." What was laughable was that Tezuka, who was also deeply troubled by the question of "who should I draw first?", not only did not persuade him, but instead followed him outside the house and said slowly and logically: "I am watching from the side, you fight." Whoever wins draws first..."
After several fights, the editors felt that something was wrong. Everyone is a cultural person, and we can't always use violence to solve problems. So they decided to hold a "drawing order meeting" to coexist peacefully and develop a win-win situation. On the first day of each month, all the responsible editors of Osamu Tezuka gather at a café or yakitori to discuss the order in which they will be drawn for the month. At this time, Tezuka was "ordered" to sit aside, and was only allowed to listen, not to speak.
The meeting was presided over by a credible editor unanimously elected by everyone, and the editors decided the order of the drawings according to the order of publication of the magazine. Usually, children's magazines are published first every month, followed by juvenile and girls' magazines. These three types of magazines are used to schedule a general time period, and then other magazines are inserted according to the specific publication time. If you encounter the same publication date, it depends on which printing is more time-consuming, such as multi-color printing is more time-consuming than monochrome printing, and multi-color magazines are preferred. After the discussion, the resolution is made into a table, and it is clear that from a certain day to a certain day, it is a contribution to a magazine.
"Drawings" by 编辑们们 顺议" Deki: 1992 Asahi Shimbun, Toshio Ban + Tezuka Productions, Tale of Osamu Tezuka
In this way, the problem of drawing order was finally solved reluctantly, but a new problem emerged, which later plagued the Japanese manga industry for a long time, that is, the problem of dragging the manuscript by famous artists. Due to the large number of serialized works, it has become common for Tezuka to drag manuscripts and hide from editors. There are many reasons for his delay, including not conceiving a plot, going to the movies, physically ill, visiting friends... In short, the reason is that there is always a new one, that is, the manuscript cannot be available on demand. The editors hate this to the teeth, but Tezuka is the top celebrity, and the manga magazine does not have his manga, can it still be called a manga magazine? So there is no way but to endure!
In order to effectively "chase and block" Tezuka, the editors of various magazines discussed a method: first make up the schedule, so-and-so editor is responsible for a certain period of time, and then everyone takes turns to "guard" Tezuka, whether he goes out or eats, or even goes to the toilet, there are people staring. The editors also took care of all the housework, washing and cooking, pouring tea and water, calling for takeaway quilts, answering the phone and taking out the garbage, all doing a good job like a nanny, just hoping that Tezuka could concentrate all his energy on drawing. Some editors simply live on the porch of Tezuka's room, eating and sleeping together, hoping to get the manuscript as soon as possible. Everyone joked with each other, saying that if Tezuka was an editor, if he lost his job in the future, he could still become a male servant...
Despite this, with such a heavy workload, Tezuka still couldn't finish it on time. Once the time has come to paint for a magazine, but the work has not yet been completed, the editor of the magazine either honestly gives the tsuka to the lower editor, or he uses his "crooked brain" to take the tsuka away from Tokiwaso and "escort" to a secret place that other editors can't find to continue drawing. Sometimes, Tezuka himself will also move "crooked brain", excuse to "change the brain", go out for a stroll, the editor will naturally stare closely, but in the blink of an eye, Tezuka disappeared. "Ah, can Tezuka Sensei be incognito?" Even if the editor who followed scratched his head, he couldn't guess how Uzuka escaped. So Tezuka got a nickname: Sasuke Sasuke. This Sasuke was a famous ninja in Japan's Sengoku period, who excelled at climbing and leaping, coming and going without a trace.
Tezuka is a well-known fan of movies, and many of his works have been inspired by movies. When he comes across a favorite movie, he will watch it over and over again, such as "Bambi" 130 times. Therefore, if he is not in Tokiwaso, it is likely that he will be in the movie theater. It is also common for editors to go to the theater to arrest him. Once, Tezuka slipped out again, and an editor couldn't find it, and suddenly remembered that "Roman Holiday" was being screened, and Tezuka was in the theater, so he looked for it. Sure enough, Tezuka watched with relish as Hepburn and Gregory made love. He saw the editor chasing after him, "whimpered", got under the seat, hid, and thought that the editor did not see himself. The editor was angry and funny, and did not expose it, turned around and crouched down at the door of the theater, waiting until the movie was over, and Tezuka came out satisfied, before grabbing him and continuing to go back to catch the draft.
In order to avoid the editor's urging, Tezuka has also reached the point of "unscrupulous means", and the most commonly used trick is "cunning rabbit three caves". He would book rooms in several hotels, and when the editor made a loud claim that he had reached the deadline, he immediately hid in the hotel. Metro Inn, Hongo Pavilion, etc., are his frequent "difficulties". Editors who "hunt down" along the way have to impersonate guests (or even policemen) and search every room in every hotel, even if they disturb other guests, in order to catch the debt-ridden Tsuka. Sometimes Tezuka was forced to be anxious, so he simply returned to his hometown and called the editor to inform him that the manuscript was sent by airmail. At such a time, no matter how sincerely Tezuka apologized and how kindly he laughed, in the eyes of the editors, he was as hateful as a demon.
The editors knocked on the hotel door in order to find Tezuka. Source: Taiwan's Eastern Edition of "Osamu Tezuka's Manga Journey" Second "My Manga Chronicle"
Not every editor can win in such a "battle of wits" and let the evaporated Tezuka reappear. So once the manuscript is delayed, the weak editor will cry out. The editor with a tough personality, when he can't stand it, will pull out his fist and beat Tsuka down, and then angrily ride on him and swing his fist like a rain. Of course, this is rare. As soon as Tezuka rolled over and got up, he immediately called the editor's boss and asked to replace the savage guy. The editor-in-chief knew in his heart that the editor was also forced to be anxious, so he said that if he wanted to replace the responsible editor, he could only suspend the serialization of the work. How could Tezuka, who regarded manga as his life, not have "life"? I had to pretend to be indifferent, pat the dust, and go back to my seat to continue to work hard. An unwritten rule was formed that if an editor was mistaken by Tezuka (or postponed publication, or an embarrassing notice of the suspension of this issue), then starting next month, the editor would be given "priority drawing rights" and the first to take the manuscript.
Tezuka dragged the manuscript "persistently" all his life, and the magazine editors in various periods have repeatedly contested with him to drag, urge, and follow up. Hence the "laurels" of multiple nicknames: slow bug, sloth bug, lying bug, procrastinator bug. In Tezuka's own autobiographical works, he complains about this.
Tezuka laughed at the nickname his editors had given him. Source: Taiwan's Eastern Edition of "Osamu Tezuka's Manga Journey" Second "My Manga Chronicle"
After all, the work must be completed, otherwise the magazine will open the skylight. As soon as Tezuka picks up the pen, he will go all out and fight to the best. Because of his love for manga, he worked like chicken blood, only resting for two or three hours a day, and none of the young and strong editors could outperform Tezuka. In the early hours of the morning, it is often the editor who has fallen asleep, and Tezuka is still desperately drawing. When the editor woke up and looked at the drawing table, the original manuscript had been drawn, and Tezuka-sensei slept next to the manuscript. The happy editor will then bow several times to Tezuka's exhausted sleeping position.
In this small apartment, in the day-to-day "Tezuka Scramble", Tezuka became the number one manga artist in Tokyo. In 1953, he paid 2.17 million yen in taxes, the highest in the Kansai literary and art world. Some cadres in the tax office were asking colleagues: "Hey, what is this called Tezuka, what is it for?" Big stars? How to make so much money? The cadre guessed the right part. Indeed, in the hearts of the children, Osamu Tezuka is a superstar!
The unparalleled aura emanating from Tezuka's works gives Tokiwaso a magnet-like appeal. Newcomers who have come to prominence by submitting articles to Manga Shonen, like Tezuka, have the same dream of going to Kyoto, and with simple luggage, they come to Tokyo one after another to join the "holy land" where their idols are located. Tokiwaso only completed the ceremony at the end of 1952, so there were few tenants, many vacant houses, and cheaper rents, which was suitable for these young people who were not yet known to rent. As a result, Tokiwaso became a collective dormitory for the manga artists of the Schoolchildren's Club.
In December 1953, Hiroo Terada (Terada ヒロオ), who had just made his debut as a police officer, moved into Tokiwaso. He is the only manga artist who has lived with Osamu Tezuka and is an important figure in Tokiwaso. In the "New Comics Party" spontaneously established by cartoonists, he became the president, and his leadership ability was unanimously affirmed by everyone.
"Manga Noji", Chu-Terada. Deki: Fujiko Fujio (A) Mangado (Chuo Kokosha)
Hiroo Terada's major work during the Tokiwaso period was The Tale of White and Black, serialized in the April-October 1955 issue of Manga Shonen.
In Tokiwaso, the eldest, Hiroo Terada, like an elder brother, takes on the burden of caring for the lives of his "younger siblings." He cooked, cleaned, did housework, and instructed people to improve their painting skills, and took care of the small characters. Fujiko Fujio, Suzuki Shinichi and others were happy to confide in him about any troubles in their hearts. The New Comics Party's external draft negotiations, reading and editing friendships, etc., were also presented by him. He is the de facto leader of Tokiwaso, a being like the Autobot leader Optimus Prime. However, probably because of the distraction caused by these chores, his manga career has not reached the first-class level.
Hiroo Terada's masterpiece Kintaro, an athlete, is a three-volume version of the worm manga published when serialized in Elementary School 4, 5, and 6 Years.
After the suspension of "Manga Boy", the people of Tokiwaso were faced with an embarrassing period of nowhere to submit articles. Terada's brother came to Tokyo to visit his younger brother, and when he saw that he was nearly ruined, he persuaded him to give up being a manga artist and go to the company to find a job as a clerk, no matter what, food and clothing would always be guaranteed. Of course, this kind of persuasion does not play the slightest role in those who are bent on pursuing dreams. Terada knows that as the "spiritual leader" of Tokiwaso, if he easily abandons his dreams, then the "New Manga Party" is likely to disintegrate. He and his friends, who are also in trouble, cheer each other up, supported by their meager savings, and work hard. Fortunately, new manga magazines appeared one after another, and with Tezuka's recommendation, Tokiwa-sho's overall situation improved day by day.
Hiroo Terada is painting "Athlete Kintaro", next to his son.
Although Terada moved away from Tokiwaso on June 20, 1957, his shadow influence has always existed as a soul figure who plays a role in cohesion and unity in the apartment, and his latecomers have consciously followed the example of this predecessor and carried forward the spirit of friendship and mutual assistance in Tokiwaso. On September 24, 1992, Hiroo Terada died of illness. Although his manga achievements cannot be compared with the people who wrote until death, such as Osamu Tezuka, Hiroshi Fujimoto, and Shotaro Ishimori, his calloused work of gathering talents and nurturing Haruna for the Japanese manga industry is also unmatched. In later memoirs and biographical cartoons related to Tokiwaso, he has been left with a tall figure and a gentle smile for people to remember deeply.
In the next issue, we introduce the duo of Fujiko Fujiko, a new resident of Tokiwaso.
This article is for publication by Anitama only, and no unit or individual may publish part or all of this article in any form.
Official website: http://www.anitama.cn
Official Weibo: @AnimeTamashii
WeChat public number: Anitama0815
Cooperation email: [email protected]
Original: m.anitama.cn/article/2f73c6a8004ecbf0?utm_source=toutiao