"Indeed I am. Thanks for essertene noticed."
I recently had occasion to read MW by Osamu Tezuka.
Indicatomi by my venerable sensei as a Yaoi tezukesco and a must-read, I decided to give it a chance even though the plot does not attract me particularly.
E. .. WOW.
Who knows Tezuka for his childish and suddenly the stories will be very fruitful constructive messages caught in dealing with MW, not only for the relatively realisticizzanti drawings, but especially for the caustic tone of the narrative, and tormented even cold characterization of his characters.
Tezuka seems that at this time are doing pretty bad, publishers rejected the work, private life sucked, and gekiga is going to impose as a kind of "class", for the manga to brats and disillusioned. In this work
Tezuka's narrative style is purely gekiga at its most caustic and irreverent, as if to vent all his frustration and contempt for the human race, using a genre that was essentially for the prerogatives against elitist. What
MW be interpreted as a parenthesis in its own right is not simply given more adult style and the use of violence end in itself, but also, as noted wisely authors Tezuka in Inglese from fact that the protagonists of MW not appear in other publications of the author, contrary to what we usually expect from his "Star System" (the tendency of Tezuka, then taken up by other authors to propose recurring characters or cameos series of other unrelated series - may therefore happen that Rokuro is the protagonist of Vampires, but also the childhood friend of Jack Black Kuro in ), implying that MW is nothing but a closed circle in its own right.
series (published in Italy by Edizioni Hazard in three volumes at a relatively reasonable price) is basically a toned noir thriller, whose centerpiece is an incident that occurred on a small island the Japanese population Lacu human-and animal- was destroyed by a deadly biological weapon, the MW in fact, used by the Americans during the war in Vietnam, and kept on the island.
only witnesses to life of what are the tormented father Garai, then a drifter in search of just easy, and the handsome Yuki, a child abducted by criminals Garai and his friends with the intention to apply for a juicy ransom as the younger brother of the famous Tamanojo kabuki actor. The two were saved by the toxic fumes because a shelter in a cave, where Yuki and Garai was held hostage to watch over him.
Unfortunately, down the valley to comprehend the incident, shows, however, Yuki is sensitive to the substance is intoxicated, will not die, but the MW erode his brain cells, transforming it from a kid in a sweet and docile to be unscrupulous and moral .
Traumatized from happening, Garai cristianmesimo to be converted and will be a priest, and Yuki will be used in a bank, continuing its double life fascinating and acute use, and ruthless.
The two over the years have established a perverse emotional bond, not without affectionate sexual encounters: Race is devastated by the morbid relationship with Yuki, but that deep, and while on one side hates the horrific actions of the boy can not do without to deal with him, showing genuine concern for the salvation of his soul, in spite of often working in his crimes, mostly to make sure that the boy did not "exaggerate".
Unfortunately, however, can not Garai keep an eye on the actions of Yuki, and soon confronted with the utter madness of the boy who aspires to seize MW to destroy the entire human race, will decide to andargli hand, reveal the truth behind the deadly MW especially avoid Yuki affect far more than they already did.
Garai I noticed that despite a role for "positive" in history, trying to redeem Yuki, feeling responsible for his immoral conduct and genuinely fond of his having, on his characterization Tezuka gives a hint of the grotesque and "pathetic."
And 'in fact initially to seduce Garai Yuki when he is little more than a child, and persists despite ratings effusions and to accept sex in spite of the hypocritical protests; Sumiko admits to love only when it is now in the clutches of Yuki; persists in assuming for the fire and eternal punishment, and Yuki describe as "demon possessed" as if to make up with metaphors fideistic to a fundamental lack of responsibility, time and again threatened to abandon the votes to kill Yuki or disclose its misdeeds, but that never happens, not only because it basically does not want to harm the boy, but because in her welcomes role of "martyr," contributing to the pressure of events. In the final
where Garai choose death by jumping from a helicopter with the MW, the man screams an ominous "Here Yuki, now I saved your soul! ", Assuming that block Yuki in a simple contingency of the moment corresponds immobilization for eternity in a state of salvation ... But not for the seriousness of his plans thwarted, but mostly because Garai himself dies to ensure that they are implemented: dying is as if the evil of Yuki died with him, and if this is a purely self-referential thinking, and then twisted the other hand also shows how Garai feels responsible for the Yuki's cruel fate.
Yuki, of altrocanto, is a wonderful character. course not for our actions (infanticide, fraud, murder, rape, sexual brutality and psychological upset even De Sade, terrorism and an attempt at genocide), but as it is built and managed one true star of MW. Yuki Tezuka
characterized as an extremely empty, narcissistic and sadistic, inherently nihilistic and irresponsible.
We can say that its beauty and attractiveness is directly proportional to its evil, a fascination which NOBODY escapes from the rough Sumiko fearing American General.
prime example is the scene where he prepares for his marriage of kabuki singing a verse of a work, and stating that her brother actor is aging beautifully, how rejoiced to see her firm flesh smooth and surrender to rot. Tezuka
Here is something fascinating thriller mixes with the "curses" of shojo , but as a man, a bastard, and now, Yuki does not punish the beauty of death, but rather, makes his beauty of his salvation, going against all the classic and even against his own habits, sincerely terrorizing his longtime fans.
Paradoxically, however, compared to the plethora of characters "small small" universe MW, with their pettiness and weaknesses, Yuki is a character fundamentally honest and pure in its nihilism. Yuki is the part in every human being living with lightness and contentment every little fact of his life because basically devoid of what might be considered limitations, but in fact characterize our human identity: religious choices, political belief, sexual identity, morality.
Destined to death anyway because MW, well thought of putting an end to all humanity with him: how Garai thought his life was enough to save him, so assumed that Yuki losing his life is an event so important that it must involve the fate of the entire planet. If Tezuka
crush his hand in a rather obvious in characterizing Yuki as a super-villain at the same time gave him no small extenuating circumstances.
First of all, the fact that Yuki is not evil by choice, but because of the other: as expected the "curse" of bishounen, corruption of a pure spirit always comes from outside, from the adult world, and is not innate.
Yuki does so because the MW is slowly and inexorably destroying "his brain and his heart" to put it to tender, his "soul": its behavior is not entirely voluntary, and can be compared to a permanent state of "failure of discernment" or that of a mentally ill person, a situation referred to Yuki is fully aware and of which, though never admit it with a race-probably because these already know-not never late to damn with the crime responsible, showing a genuine anger at the fate that was imposed altruism lightness.
addition to this factor of "involuntary," which certainly does not justify the horrific actions of Yuki but it certainly helps to see the character in a different perspective, be sure to dress Yuki Tezuka with a deep love and sweet Garai, a Full and honest sentiment that contrasts completely with the way the other guy is his many lovers, both women and men. At first glance, in fact, it would tend to classify Yuki's feelings for another canard to Garai as a psychopath, or a sick relationship between victim and tormentor.
But a closer reading it is obvious that Yuki's feelings are vivid and real as those of a race, albeit in a distorted perspective of exclusivity and jealousy: Yuki has the foresight to destroy the emotional bond that can entice interest Garai against him, is worried by the possibility that race can break their bond, but at the same time it is also true of human feelings towards him, then take his threats seriously with very little ... Yuki when he speaks of his "first time" with Garai uses terminology that is very sensitive and "human", representing his feelings with palpable sincerity and realism ... When caught by the first serious illness is the name of the race in delirium, Garai and when he dies jumping from a helicopter, Yuki cries for the first time in all the manga, sobbing as the beloved.
In an endnote, it is also interesting to note that Tezuka opposed to the social critique "busy" time of reply so, too critical, but basically nihilistic (only in this work, of course).
Tezuka's humanity does not deserve any social redemption, as evidenced by the cruelty of the atomic bomb, the sopprusi regional allies, the ineptitude of the ruling class and the very emptiness of capopopolo revolutionaries, humanity is unwitting victim of the same rot that compose it.
Which hero deserves, then, if not in the service of a psychopathic nihilist fatalism most vulgar ..? After
Yuki is beautiful: we can forgive him everything, right?
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