Kazuo Umezu, a manga artist known for the “Makoto-chan” manga and other works, has died. Here is an interview with Mr. Umezu after he won the Heritage Award at Europe’s biggest manga festival. I pray for the repose of Umezu’s soul. (First published in the evening edition of Tokyo Shimbun on November 10, 2018. Age etc. at the time)
Manga artist Kazuo Umezu posing as “Makoto-chan” in 2018 (photo by Fumito Igarashi)
◆“A legacy that should be left forever” at the Manga Festival
One of the news this year in the world of Japanese manga is that Kazuo Umezu (82) won the Heritage Award at the 45th Angoulême International Manga Festival in France, the biggest manga festival in Europe. How was born the winning work “I Am Shingo,” which was recognized as a “legacy that should be left forever”?
A workplace located in an apartment above the city of Kichijoji, Tokyo. “I was very happy. To receive an award in France, where manga is called the ninth art,” he said. Mr Umezu, wearing a red and white bordered shirt, showed up to receive the award in January.
He is the third Japanese recipient of the Heritage Award, after Shigeru Mizuki and Kazuo Uemura (both deceased). Umezu has many famous works, among them horror works, but this is his second manga award in 43 years, after winning the Shogakukan Manga Award for works such as “Drifting Classroom”. “I thought I would never win a prize again.”
“Watashi wa Shingo” was serialized from 1982 to 1986. The main characters, Sato and Marin, who are in the sixth grade of elementary school, are about to lose their first adult love and decide to get married. Satoru’s father asks an industrial robot in the factory where he works how he can have a child.
◆ ”How can we give consciousness to unconscious things and make them intelligent?”
The answer shown was “333 no teppenkara tobiutsure.” When the two climb the 333 meter high Tokyo tower and do so, the robot gains an understanding of itself. In addition, he named himself “Shingo” by taking one character from “Satoru” and “Marin.” Just like the Internet, it connects computers around the world to access vast amounts of information. , and even connects to the human brain through medical equipment. Shingo performs miracles one after the other, acting on behalf of his parents.
“At first, I thought I would just draw a robot. In Makoto-chan, I drew a lot of stupid children’s lives, so I thought I would do the exact opposite.” However, the idea behind it is unique. “So how can we give consciousness to something that is unconscious and make it intelligent?” I thought, “If you don’t understand that, you can’t draw a robot.” The question is, “What is the mind?” What he came up with was, “Everything is in the words.” sometime, right?”
◆“Adults and children, you just have to add both.”
Umezu sees the current state of research in artificial intelligence (AI) as an “extension of humans.” another of mankind.” It is true that we live in an age where AI can beat professional shogi players, but humans are also incorporating AI to develop their strategies.
Sato and Marin teach the robot how to talk, and if they believe the robot’s words, they jump off the Tokyo Tower. It is the pure actions of children that create miracles. The main theme of this work is how different children and adults are. “Adults are professionals at one thing. Children are helpless, but they have the ability to be anything. You just need to put the two together.”
During the hour and a half interview, there was no shortage of topics from human history to fake news. When you point the camera at her, she stands smiling while holding a Gwashi illustration from Makoto-chan. The manga artist, who is said to be a genius, was between the two free sensibilities of a young boy and the generous spirit of service of a professional. (Seishi Tanioka)
Time.news Interview: Celebrating the Legacy of Kazuo Umezu
Editor: Welcome! Today, we have a special guest to discuss the incredible legacy of the late Kazuo Umezu, a pioneer in the manga industry who recently passed away. We’re honored to have Dr. Akira Saito, an expert in Japanese pop culture and manga studies. Dr. Saito, thank you for joining us.
Dr. Saito: Thank you for having me. It’s a bittersweet moment as we celebrate Umezu’s contributions to manga while acknowledging his passing.
Editor: Absolutely. Kazuo Umezu was awarded the Heritage Award at the 45th Angoulême International Manga Festival, reflecting his enormous impact on the medium. Can you share what made his work, particularly “I Am Shingo,” resonate so profoundly with audiences?
Dr. Saito: Umezu’s work stood out for its unique blend of horror and profound philosophical questions. “I Am Shingo,” serialized from 1982 to 1986, explores the transformation of an industrial robot into a sentient being. This tale mirrors significant aspects of human experience—love, identity, and the quest for consciousness. The storyline’s emotional depth, particularly involving young characters navigating adult themes, strikes a chord across generations.
Editor: It’s fascinating how Umezu infused such complex themes into his stories. He mentioned feeling surprised to win another award after 43 years. What do you think this award signifies for him and for the manga community at large?
Dr. Saito: Winning the Heritage Award at such a prestigious festival emphasizes the global recognition of Umezu’s brilliance. It not only celebrates his individual contribution but also highlights the evolution and acceptance of manga as a respected art form in the world. His award paves the way for future generations of manga artists, showing that even after decades, creativity and innovation can still be recognized and celebrated.
Editor: His portrayal of characters like Satoru, Marin, and the robot “Shingo” is illustrative of his nuanced storytelling. Can you elaborate on how Umezu’s character development contributes to his work’s enduring legacy?
Dr. Saito: Certainly! Umezu had a remarkable ability to create relatable and deeply emotional characters. In “I Am Shingo,” Satoru and Marin’s innocent exploration of love juxtaposed with Shingo’s existential journey offers readers a rich tapestry of human emotion and experience. The robot’s quest for identity can be seen as an allegory for the human experience itself—searching for meaning, connection, and understanding. This multifaceted character development allows his works to transcend time, remaining relevant to new audiences.
Editor: That’s a powerful insight. Umezu’s work often featured children in extraordinary settings, notably in his earlier work “Makoto-chan.” How do you think this thematic choice impacted the genre of manga and its audience?
Dr. Saito: By centering his narratives around children, Umezu tapped into a universal theme of innocence confronting the complexities of adult life. This approach not only made his stories accessible to younger audiences but also allowed adults to reflect on their own experiences. Umezu’s unique focus on childhood adventures, interspersed with darker elements, has influenced countless manga artists, establishing a template for stories that bridge innocence with the harsh realities of life.
Editor: As we remember Kazuo Umezu, what do you hope will be his lasting legacy in the world of manga and beyond?
Dr. Saito: I hope Umezu’s legacy inspires future creators to fearlessly tackle complex themes and challenge conventional boundaries within storytelling. His work encourages a deeper exploration of identity and the human condition, reminding us of the power of manga to be not just entertainment, but a profound form of art that can provoke thought and reflection. His influence will undoubtedly resonate in the hearts of both fans and creators for years to come.
Editor: Thank you, Dr. Saito, for your insights. Kazuo Umezu’s contributions will certainly be cherished in the realm of manga, and it’s heartening to know his legacy will continue to inspire future generations.
Dr. Saito: Thank you for the opportunity to celebrate his incredible work.
Editor: And to our readers, let’s honor the remarkable life and contributions of Kazuo Umezu.