Katsuhiro Otomo
Katsuhiro Otomo
Career
Manga
On October 4, 1973, Otomo published his first work, a manga adaptation of Prosper Mérimée's short
story Mateo Falcone, titled A Gun Report.[9]
In 1979, after writing multiple short-stories for the magazine Weekly Manga Action, Otomo created his
first science-fiction work, titled Fireball. Although the manga was never completed, it is regarded as a
milestone in Otomo's career as it contained many of the same themes he would explore in his later, more
successful manga such as Dōmu. Dōmu began serialization in January 1980 and ran until July 1981. It
was not published in book form until 1983, when it won the Nihon SF Taisho Award.[10] It also won the
1984 Seiun Award for Best Comic.[11]
In a collaboration with writer Toshihiko Yahagi, Otomo illustrated Kibun wa mō Sensō about a fictional
war that erupts in the border between China and the Soviet Union. It was published in Weekly Manga
Action from 1980 to 1981 and collected into one volume in 1982. It won the 1982 Seiun Award for Best
Comic.[11] 38 years later, the two created the one-shot sequel Kibun wa mō Sensō 3 (Datta Kamo
Shirenai) for the April 16, 2019 issue of the magazine.[12]
Also in 1981, Otomo drew A Farewell to Weapons for the November 16 issue of Kodansha's Young
Magazine. It was later included in the 1990 short story collection Kanojo no Omoide...[13]
Otomo wrote the 2002 picture book Hipira: The Little Vampire, which was illustrated by Shinji
Kimura.[16]
Otomo created the full-color work DJ Teck no Morning Attack for the April 2012 issue of Geijutsu
Shincho.[17]
Following the 2011 Tōhoku earthquake and tsunami, Otomo, a native of the Tōhoku region, designed a
relief that features a boy riding a robot goldfish in rough seas, while flanked by Fūjin and Raijin. Intended
to capture the region's will to overcome the natural disaster, it has been located on the first floor of the
terminal building at Sendai Airport since March 2015.[18]
In 2019, Kodansha announced that they will be re-releasing Otomo's entire body of manga since 1971 as
part of "The Complete Works Project". It was noted that some of his manga were edited when initially
compiled into book format, and this new project, personally overseen by Otomo, plans to restore them to
how they appeared in their original serialization.[19]
Otomo was initially reported in 2012 to be working on his first long-form manga since Akira.[20]
Planning to draw the work that is set during Japan's Meiji period without assistants, he was initially
targeting a younger audience, but said the story had developed more towards an older one. Although
planned to begin in fall 2012, Otomo revealed in November of that year that the series had been
delayed.[21] In 2018, Otomo said he is working on a full-length work, but the contents are secret.[22]
Film
At the age of 25, Otomo spent about 5 million yen to make a 16 mm live-action film about an hour long.
He said that making this private film showed him roughly how to make and direct movies.[8] In 1982,
Otomo made his anime debut, working as character designer for the animated film Harmagedon: Genma
Wars. It was while working on this film that Otomo began to think he could do it by himself.[8]
In 1987, Otomo directed an animated work for the first time: a segment, which he also wrote the
screenplay and drew animation for, in the anthology feature Neo Tokyo. He followed this up with two
segments in another anthology released that year, Robot Carnival. In 1988, he directed the animated film
adaptation of his manga Akira.
Otomo was executive producer of 1995's Memories, an anthology film based on three of his stories.
Additionally, he wrote the script for Stink Bomb and Cannon Fodder, the latter of which he also
directed.[23]
Otomo has worked extensively with the studio Sunrise. In 1998, he directed the CG short Gundam:
Mission to the Rise to celebrate the 20th anniversary of their Gundam franchise.[24] The studio has
animated and produced his 2004 feature film Steamboy, 2006's Freedom Project, and 2007's SOS! Tokyo
Metro Explorers: The Next. The last, is based on Otomo's 1980 manga SOS! Tokyo Metro Explorer and
follows the son of its main characters.[25]
The 2001 animated film Metropolis features a script written by Otomo that adapts Tezuka's manga of the
same name.[26]
Otomo directed the 2006 live-action film Mushishi, based on Yuki Urushibara's manga of the same
name.[27]
In 2013, Otomo took part in Short Peace, an anthology consisting on 4 short films; he directed
Combustible, a tragic love story set in the Edo period based on his 1995 manga Hi no Yōjin,[15] while
Hajime Katoki directed A Farewell to Weapons, depicting a battle in a ruined Tokyo based on Otomo's
1981 manga of the same name.[13] Combustible won the Grand Prize in the Animation category of the
Japan Media Arts Festival in 2012,[28] and was shortlisted for the 2013 Best Animated Short at the 85th
Academy Awards, but failed to get nominated.
Otomo directed the music video for Aya Nakano's 2016 song "Juku-Hatachi".[29] He is a fan of the singer
and previously drew the cover to her 2014 album Warui Kuse.[29]
Reports have suggested that Otomo will be the executive producer of the live-action film adaptation of
Akira.[30] In 2019, he announced that he is writing and directing an animated film adaptation of his 2001
manga Orbital Era with Sunrise.[31]
Style
Otomo said that when he started his professional career in the late 1970s, "almost all manga was gekiga
like Golgo 13. So it was all gekiga or sports manga, nothing to do with science fiction." Remembering
how much he loved science fiction as a child, Otomo wanted to recreate that kind of excitement; "That
was in part how something like Domu came about. [...] There was no hard science fiction manga [...] so I
wanted to change that and do something more realistic and believable."[8]
Describing his characterization style, Otomo said he first tried to draw and imitate "very traditional
manga-like art," such as Astro Boy. But by the time he was in high school, illustration work by people
like Tadanori Yokoo and Yoshitaro Isaka was popular, so he wanted to create manga characters with this
illustrative art style.[8] When asked about how Japanese critics praise him as the first manga artist to draw
realistic Japanese faces, Otomo said he always tries to balance fantasy and realism; "Depicting things too
realistically actually damages the social realism of the piece, and if you go too far into the realm of
fantasy, that hurts its imaginative ability." However, he said the realism of his early works probably came
from having used friends as character models.[32] French cartoonist Moebius, who is known for realistic
character designs, is often cited as one of Otomo's biggest influences.[33] Otomo is considered to be one
of the artists of the New Wave in manga in the late 1970s and 1980s especially due to his visual
innovation.[34]
Otomo includes homages to his favorite childhood manga in his work, and there were three manga
authors that he really respected; Osamu Tezuka, Shotaro Ishinomori and Mitsuteru Yokoyama. He named
the main computer in Fireball ATOM after Tezuka's character of the same name, the character nicknamed
Ecchan in Domu is a reference to Ishinomori's Sarutobi Ecchan, and the title character of Akira is also
known as No. 28 in homage to Yokoyama's Tetsujin 28-go in addition to the two series having the "same
overall plot."[8] Ever since depicting the apartment complex in Domu, Otomo has had a large interest in
architecture, proclaiming, "I don't think there was anyone before me who put this much effort into their
depictions of buildings." He believes this habit of drawing detailed backgrounds was influenced by
Shigeru Mizuki's manga, which showed him how important backdrops are to a story.[32] Otomo strongly
praised the framing done by Tetsuya Chiba, whose work he studied a lot out of admiration, for making it
easy to grasp how tangible the backgrounds and characters are.[35]
When asked about his influences in designing the mecha in Farewell to Weapons, Otomo pointed out that
Studio Nue's work was popular at the time, specifically mentioning the powered suit designs by Kazutaka
Miyatake and Naoyuki Kato. He also stated that he is a fan of mecha by Takashi Watabe and Makoto
Kobayashi and is fond of those seen in Neon Genesis Evangelion, but explained that all his influences are
jumbled and mixed together; "In short, I digest many different things and ideas tend to pop out from
that."[8]
Legacy
It was around the 1979 publication of his Short Peace short story
collection that Otomo's work became influential in Japan. Artists
influenced by him and his work include Hisashi Eguchi, Naoki
Urasawa, Naoki Yamamoto, Makoto Aida and Hiroya
Oku.[36][37][38] When talking in 1997 about the future of manga,
Urasawa opined that "[Osamu] Tezuka created the form that exists
today, then caricatures appeared next, and comics changed again
when Katsuhiro Otomo came on the scene. I don't think there's
France's 2016 Angoulême
any room left for further changes."[39] Masashi Kishimoto cited International Comics Festival hosted
Otomo as one of his two biggest influences, but liked Otomo's art an exhibition of art created in tribute
style the best and imitated it while trying to develop his own.[40] to Otomo.
Director Satoshi Kon, who worked as an assistant to Otomo in both manga and film, cited Akira and
especially Domu as influences.[42] American film director Rian Johnson is a big fan of Otomo and
pointed out similarities between how telekinesis is depicted in Domu and its depiction in his film
Looper.[43]
In 2017, the book Otomo: A Global Tribute to the Mind Behind Akira was published in Japan, France and
the United States, featuring writing and artwork from 80 artists such as Masakazu Katsura, Taiyo
Matsumoto, Masamune Shirow, Asaf and Tomer Hanuka, and Stan Sakai.[44] From April 8 to May 8,
2021, comic art collector Phillipe Labaune's self-titled art gallery in New York City held "Good For
Health, Bad For Education: A Tribute to Otomo" as its first exhibition.[45] Including pieces originally
curated by Julien Brugeas for the 2016 Angoulême International Comics Festival, it featured a total of 29
Otomo-inspired works by international artists such as Sara Pichelli, Paul Pope, Boulet, François Boucq,
Giannis Milonogiannis and Ian Bertram.[46]
Bibliography
Manga
Kodomotachi wa Doko E... (子供たちは Short story published in Weekly Manga Action (週刊漫画
1973
何処へ...) アクション) on 20th December 1973.
Tankyori Sōsha no Rentai 〔Kizu Short story published in Weekly Manga Action (週刊漫画
1975 Darake no Tenshi・3〕 (短距離走者の アクション) on 6th February 1975, later collected in
連帯〔傷だらけの天使・3〕) BOOGIE WOOGIE WALTZ.
Shūaku no Kishimi 〔Kizu Darake no Short story published in Weekly Manga Action (週刊漫画
1975 Tenshi・4〕 (醜悪の軋み〔傷だらけの アクション) on 6th March 1975, later collected in
天使・4〕) BOOGIE WOOGIE WALTZ.
Sukat to Sukkiri 〔Kizu Darake no Short story published in Weekly Manga Action (週刊漫画
1975 Tenshi・6〕 (スカッとスッキリ〔傷だ アクション) on 7th August 1975, later collected in
らけの天使 ・6〕) HIGHWAY STAR.
Shusei Sanchi no Yuki Chan (酒井さん Short story published in 別冊漫画アクション on 16th July
1976
ちのユキエちゃん) 1976, later collected in HIGHWAY STAR.
1979 Fire-Ball
Seija ga Machi ni Yattekuru Short stories published in Weekly Manga Action (週刊漫画
1979
聖者が街にやってくる アクション) and later collected in Sayonara Nippon.
1979–
Manjū Kowai (饅頭こわい)
1983
1980–
1981 Dōmu (童夢)
1980–
That's Amazing World
1981
1980–
Kibun wa mō Sensō (気分はもう戦争) Written by Toshihiko Yahagi
1981
1982–
Akira
1990
Short story published on 1st June 1984, later collected in
1984 Visitors
SOS dai Tôkyô tankentai (SOS 大東京探検隊).
Highway Star (ハイウ First short story collection in the Katsuhiro Otomo Masterpiece Collection
1979
ェイスター) published on 13th October 1979.
BOOGIE WOOGIE
1982 Published on 5th May 1982.
WALTZ
Kanojo no Omoide...
1990 Published on 23rd April 1990.
(彼女の想いで…)
SOS! Tokyo Metro
1996 Explorers (SOS大東京 Published on 6th February 1996.
探検隊)
Artbooks
1989 Kaba
2012 Kaba 2
2012 Genga
Filmography
Anime features
Anime shorts
Executive
Year Title Director Writer Notes
Producer
Construction Cancellation
Yes Yes No Segment of Neo Tokyo
Order
1987
Segments of Robot
"Opening" and "Ending" Yes Yes No
Carnival
Magnetic Rose No Yes Yes
Live-action
Year Title Director Writer Producer Notes
Additional work
Besides his own animation, Otomo has contributed art designs to Harmagedon: Genma Wars,[47] the
Crusher Joe film,[48] the seven-part OVA series Freedom Project, and Space Dandy episode 22.
He also oversaw the composition of the Spriggan animated film[49] and directed the music video Juku-
Hatachi (じゅうくはたち) for Aya Nakano.
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