Kazuo Umezu (real name Kazuo Umezu), a manga artist known for his horror-themed works such as “Drifting Classroom” and “Watashi wa Shingo” and also active as a television personality, died on October 28 September did . 88 years old. Mr. Umezu was born in Wakayama Prefecture and is from Nara Prefecture. The funeral was held only by those who were involved. He was suffering from stomach cancer and was being treated at a facility.
Manga artist Kazuo Umezu answering an interview (photo in 2018)
In 1955, at the age of 18, he made his debut (under the name Kazuo Yamaji) with the book “The Brothers and Sisters of the Forest,” an adaptation of the Grimm fairy tale “Hansel and Gretel.” He called himself a “horror manga” that emphasized psychological displays rather than grotesque appearances, and came to the fore with works such as “Snake Girl.”
“The Drifting Classroom” (1972-74), which travels back in time to a future where an entire primary school has been destroyed, has science fiction developments such as confrontations with people from the future, as well as human psychology such as power struggles among children and judging a religion like a cult It also shows the horror
![[Caoineadh]Kazuo Umezu’s unforgettable 15 minutes of the first meeting.](https://static.tokyo-np.co.jp/image/article/size1/e/e/5/6/ee5657826e2b6cfcd6e82c9b5a8befac_3.jpg "[Caoineadh]Kazuo Umezu’s unforgettable 15 minutes of the first meeting.")
Kazuo Umezu’s masterpieces “Drifting Classroom” (left) and “Makoto-chan” (both provided by Shogakukan)
“Watashi wa Shingo” (1982-1986) is a story about industrial robots acquiring a sense of self and surpassing humanity. In 2018, he became the third Japanese to win the Heritage Award at the Angoulême International Comics Festival in France for his amazing work, which predicted the development of current artificial intelligence (AI) and the Internet.
After completing “14 Years Old” in 1995, he went on hiatus, but from 2022, an exhibition focusing on the art of Umezu’s works, the “Umezu Kazuo Grand Art Exhibition,” will be held and toured throughout Japan. . At the same exhibition, he announced his first new work in 27 years, a sequel to “Watashi wa Shingo.”
In addition, he appeared on various television shows wearing a red and white horizontal striped shirt. He was active in various fields, including film director, actor, and lyricist.
◆“Children have many resources to become someone.”
When I met Kazuo Umezu at his workplace in Kichijoji, Tokyo in November 2018, he was very enthusiastic from the moment we greeted him.
Handing him my business card, I casually asked him about his last name, “Umezu,” and he proceeded to talk about everything from his family history to the arrival of people from Africa. He held my business card in both hands and stood there for more than 15 minutes.
Through subsequent interviews, I learned that this was not just strange behavior, but a curiosity and spirit of service that surpassed the average person. Umezu uses all his knowledge to answer this question. For example, when I asked him about robots, he replied, “So what do you think is the difference between a machine and a living thing?”
Kazuo Umezu answering an interview in Musashino City, Tokyo (2018 photo)
It was an interview about the French Manga Award he won the same year. “Manga is said to be the 9th art in France, but in Japan it has a low status. If it is not considered correctly, the artist will not know his target and will only focus on the best sellers, and on the Japanese level. the manga will not rise.”I was worried.
Many of his representative works have children as main characters, such as “Drifting Classroom”, “Makoto-chan”, “Watashi wa Shingo”, and “14 Years Old”.
“In the ancient era, it was probably an adult who could defeat a mammoth, but the weak are their own strengths. Children can ask clear questions such as, “Why?” and there are many resources to be a weak life person with only the body strength of adults.
Mr. Umezu’s words of confidence for children’s freedom touched his own personality, and that left a lasting impression on me. (Seishi Tanioka)
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Time.news Editor: Good morning, and thank you for joining us today. As we reflect on the incredible legacy of Kazuo Umezu, I’m thrilled to have Dr. Yuki Tanaka, a leading expert in manga and Japanese pop culture, with us. Dr. Tanaka, can you share your thoughts on Umezu’s impact on the horror genre in manga?
Dr. Yuki Tanaka: Thank you for having me. Kazuo Umezu was a pioneering figure in the horror manga genre. His ability to weave psychological themes into narratives that often featured grotesque elements set a precedent for many artists who followed. Works like “Drifting Classroom” and “Watashi wa Shingo” delved not only into horror but also into deeper societal issues, making them multifaceted and impactful.
Time.news Editor: Absolutely. “Drifting Classroom” is particularly notable for its blend of science fiction and psychological horror. How do you think his storytelling captured the anxieties of his era?
Dr. Yuki Tanaka: Umezu’s “Drifting Classroom” reflects a deep-seated fear of societal collapse and the loss of innocence. Published during a period of rapid change in Japan, it tackles themes such as power struggles among children and even critiques cult-like religions. Umezu’s ability to present children in such dire situations resonates on multiple levels, engaging readers with a blend of fear and empathy.
Time.news Editor: That’s a fascinating perspective. His work in ”Watashi wa Shingo” also stands out, particularly with its foresight into artificial intelligence. How did Umezu approach themes like technology and humanity in this work?
Dr. Yuki Tanaka: “Watashi wa Shingo” is remarkable in its exploration of robots gaining self-awareness—very prescient considering current discussions about AI. Umezu didn’t just create a narrative about machines; he questioned what it means to be human. The philosophical inquiries he posed, such as the distinction between a living being and a machine, open up discussions that are more relevant than ever in today’s tech-driven world.
Time.news Editor: Umezu also had a unique presence outside of his work as a manga artist, becoming a television personality and multi-talented artist. How did this multifaceted career influence his manga and its reception?
Dr. Yuki Tanaka: His personality and public persona were inseparable from his work. Umezu embraced a playful yet eerie aesthetic, often seen in his signature red and white striped shirt. This became part of his brand, allowing his audiences to connect with him beyond the pages of his manga. His appearances in media contributed to a richer understanding of his narratives, as fans could see the man behind the art—his curiosity and vibrant personality shone through.
Time.news Editor: It’s clear that Umezu’s legacy is profound and extends beyond horror. Speaking of legacy, what do you think his passing means for the future of horror manga?
Dr. Yuki Tanaka: Umezu’s death is a tremendous loss, not just for the manga community but for storytelling as a whole. However, his influence will undoubtedly continue. Young creators inspired by Umezu are already emerging, eager to explore new horror themes and narratives. His work encourages future generations to push boundaries and keep innovating, ensuring his spirit lives on in the genre.
Time.news Editor: Thank you, Dr. Tanaka, for sharing your insights on Kazuo Umezu. His contributions to manga and storytelling will be cherished, and it’s inspiring to consider how his work will influence future generations of creators.
Dr. Yuki Tanaka: It was a pleasure. Umezu’s creativity knows no bounds, and we should celebrate his life and the many stories he has left behind.