Kazuo Umezu

Template:Nihongo was a Japanese manga artist, musician and actor. Starting his career in the 1950s, he is among the most famous artists of horror manga and has been vital for its development, considered the "god of horror manga". In 1960s [[shōjo manga|Template:Transliteration manga]] like Reptilia, he broke the industry's conventions by combining the aesthetics of the commercial manga industry with gruesome visual imagery inspired by Japanese folktales, which created a boom of horror manga and influenced manga artists of following generations. He created successful manga series such as The Drifting Classroom, Makoto-chan and My Name Is Shingo, until he retired from drawing manga in the mid 1990s. He was a public figure in Japan, known for wearing red-and-white-striped shirts and doing his signature "Gwash" hand gesture.

Life and career

Early life and career

Umezu was born on September 3, 1936,<ref name=":1"/> in Kōya, Wakayama Prefecture, but raised in the mountainous Gojō, Nara Prefecture. His mother motivated him to start drawing when he was seven years old.<ref>Template:Cite book</ref><ref name=":0">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name=":3">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> His father would tell him local legends about ghost and snake women before going to bed.<ref name=":0" /> He was inspired to start drawing manga by reading Osamu Tezuka's Shin Takarajima in fifth grade.<ref name=":1">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> He was part of a drawing circle with others called "Kaiman Club".<ref name=":2">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

In 1955, he published his first manga at the age of 18 with Mori no Kyōdai based on the fairytale Hansel and Gretel with the kashihon publisher Tomo Book.<ref name=":0" /><ref name=":2" /> He would soon shift towards the gekiga movement and publish manga in the kashi-hon industry in Osaka of the time, which would allow him more freedom than serializing his manga in magazines. His specialty was to include paranormal elements in his stories.<ref name=":0" /> At the same time, he also started working on [[shōjo manga|Template:Transliteration manga]]; he published in the magazine Shōjo Book and the kashi-hon anthology Niji.<ref name=":3" />

Breakthrough in the 1960s and 1970s

After moving to Tokyo in 1963 due to the decline of the kashihon industry,<ref name=":3" /> he developed his specific style, which blended the aesthetics of Template:Transliteration manga with grotesque horror visuals and broke with conventions of Template:Transliteration manga at the time.<ref name=":0" /><ref name=":7">Template:Cite journal</ref> Horror manga like Nekome no Shōjo and Reptilia became a hit in the commercial Template:Transliteration manga magazine Shōjo Friend in the mid 1960s.<ref name=":1" />

In the late 1960s, he also started publishing in [[shōnen manga|Template:Transliteration manga]] magazines and he switched publishing houses, from Kodansha to Shogakukan, when a new editor asked him to draw something other than horror manga.<ref name=":3" /> He became a well established author and was at times working at up to five serials at the same time.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In 1974 he won the 20th Shogakukan Manga Award for his series The Drifting Classroom about a school including its schoolchildren and teachers being teleported into an alternate post-apocalyptic universe.<ref name="ShogakukanAward">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

In 1975, Umezu started becoming a public figure also apart from creating manga. He recorded songs based on his horror manga and released them as the solo album Yami no Album.<ref name=":4">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

His comedy manga Makoto-chan, which he published from 1976 to 1981 in Weekly Shōnen Sunday, became a hit. The hand gesture "Gwash" from the manga became Umezu's own trademark hand gesture as well in public.<ref name=":0" />

Late career

In the 1980s and 1990s, he focused on science fiction manga depicting a near future like My Name Is Shingo and Fourteen.<ref name=":1" />

In 1995, he had to retire from regular publishing due to tendinitis after finishing Fourteen. He then became even more of a public figure, appearing regularly on TV in a red and white striped shirt. He was also famous for the architecture of his candy-striped home in Kichijōji, inspired by his Makoto-chan series.<ref name=":0" /><ref name=":5">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In 2011, he released a second music album with his songs.<ref name=":4" />

In 2018 he was awarded the Prize for Inheritance at the Angoulême International Comics Festival for the French translation of My Name Is Shingo. This was the second prize awarded to him throughout his career and Umezu had previously been unhappy about the amount of recognition he had gotten for his work. The award motivated him to start working again and he produced a series of 101 paintings based on My Name Is Shingo, which were exhibited for the first time in 2022 and were his first new work in 27 years.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name=":5" />

Death

In July 2024, Umezu was hospitalized after collapsing at his home in Kichijōji, Tokyo. He was diagnosed with terminal stomach cancer, but did not undergo surgery, remaining in hospice care from September.<ref name="Yomiuri-2024-11-05">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> On November 5, 2024, Shogakukan announced that Umezu died on October 28. He was 88. A private funeral was held by his family and close friends.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Umezu was planning a new work prior to his death.<ref name="Yomiuri-2024-11-05"/>

Style and themes

Folklore and monsters

His work is influenced by Japanese folklore. Manga artist and critic Sakumi Yoshino explains that his horror manga is related to religion in Japan, as monsters and demons are not considered completely evil, and Umezu wants readers to sometimes also feel compassion for the monsters in his works.<ref>Template:Cite journal</ref>

Intergenerational conflict

Many of his manga feature intergenerational conflict between children and adults. Umezu initially focused on this topic as he found that relationships between mothers and children in Template:Transliteration manga in the early 1960s were portrayed only as caring, never as scary. His manga Reptilia depicts an intense conflict between a schoolgirl and her sick mother, who turns out to be a snake woman when she visits her in hospital. Manga scholar Tsuchiya Dollase compares this character with the Jungian "Terrible Mother".<ref name=":7" /> The children of the deserted school in The Drifting Classroom are immediately betrayed by their teachers and need to fight for their survival. In My Name Is Shingo, children are the only ones able to communicate with and have an emotional connection with an AI computer. Umezu explained that he himself finds the world of children more relatable, as children are much more open and adaptable to illogical thinking: "I’m writing about myself in a way. I don’t want to become an adult and 'grow up.'"

Reception and legacy

His works inspired a new generation of horror manga artists. Junji Ito, Toru Yamazaki and Minetarō Mochizuki cite him as one of their biggest influences<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name=":5" /><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and Kanako Inuki got her career start in a magazine compiled by him.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Rumiko Takahashi briefly worked as an assistant for him, while he was working on Makoto-chan.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Flowers. February 2013 issue (December 28, 2012), p. 330–334 (English translation Template:Webarchive).</ref> His reputation gave him the nickname "god of horror manga" (ホラーまんがの神様) in Japanese media.<ref name=":5" />

Umezu's manga broke with the norms of the commercial manga industry at the time that he started publishing in major magazines in the mid 1960s and created a boom around horror manga in the late 1960s. Tsuchiya Dollase writes: "The monstrous mothers must certainly have scared the audience; at the same time, however, the torture of the pretty but superficial heroines by these horrifying mothers must have given the same audience a certain pleasure."<ref name=":7" />

Umezu regularly received complaint letters from parents in the beginning of his career due to his horror visuals and also editors of magazines would ask him to scale down the violence in his imagery. He remarks in an interview: "I was protested but never boycotted. I considered such criticism to be a form of praise."<ref name=":3" /> He was critical of watering down horror elements: "Old Japanese folk stories and fairy tales could be unflinchingly brutal. They come from a time when tragedy and carnage was an everyday part of life. Now we have people calling to water them down, which essentially whitewashes history. It’s insulting to the memory of those who suffered to bring us these stories."<ref name=":3" />

Besides his impact on the development of horror manga, scholar Tomoko Yamada counts Umezu as one of the Template:Transliteration manga artists in the 1950s who contributed to the development of ballet manga with his series Haha Yobu Koe (1958) and Maboroshi Shōjo (1959).<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

In 2019, Umezu received the Commissioner for Cultural Affairs award from the Agency for Cultural Affairs. It is an award for "individuals who have made distinguished accomplishment in artistic and cultural activities". It is rarely awarded to people in the manga industry.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Works

Manga

Original title	English title	Year	Notes
Template:Nihongo	Siblings of the Forest	1955	published by Tomo Book<ref name=":2" />
Template:Nihongo		citation	CitationClass=web }}</ref>|| one-shot in Shōjo Book
Template:Nihongo		1959	published by Tōhō Mangasha
Maboroshi Shōjo (まぼろし少女)		1959<ref name=":6" />	serialized in Niji
Template:Nihongo	Romance Medicine	1962	serialized in Nakayoshi
Template:Nihongo		citation	CitationClass=web }}</ref>|| serialized in Niji
Template:Nihongo		1964	published by Tōkyō Mangasha
Template:Nihongo		citation	CitationClass=web }}</ref>||
Template:Nihongo	Scared of Mama	1965<ref name=":7" />	serialized in Shōjo Friend
Template:Nihongo	The Spotted Girl	1965	serialized in Shōjo Friend
Template:Nihongo	Red Spider	citation	CitationClass=web }}</ref>|| serialized in Shōjo Friend
Template:Nihongo	Half-Fish Man	1965	serialized in Shōnen Magazine
Template:Nihongo	Cracked Human	1966	serialized in Shōnen Magazine
Template:Nihongo	Reptilia	1966	serialized in Shōjo Friend
Template:Nihongo	Ultraman	1966–1967	serialized in Shōnen Magazine
Template:Nihongo	Cat Eyed Girl	1967	serialized in Shōjo Friend
Template:Nihongo	Cat Eyed Boy	1967–1968 1968–1969 1976	serialized in Shōnen Gaho serialized in Shōnen King serialized in Weekly Shōnen Sunday
Template:Nihongo	Baby Girl	1967	serialized in Shōjo Friend
Template:Nihongo	March of the Dead	1967	serialized in Shōnen Magazine
Template:Nihongo		1968–1969	serialized in Big Comic
Template:Nihongo		1968	serialized in Teen Look
Template:Nihongo	Butterfly Grave	1968	serialized in Teen Look
Template:Nihongo	Fear	1969
Template:Nihongo	Orochi	1969–1970	serialized in Weekly Shōnen Sunday
Template:Nihongo		1970	serialized in Big Comic
Template:Nihongo		1971	serialized in Teen Look
Template:Nihongo	Again	1971–1972	serialized in Weekly Shōnen Sunday
Template:Nihongo	The Drifting Classroom	1972–1974	serialized in Weekly Shōnen Sunday
Template:Nihongo	Baptism	1974–1976	serialized in Shōjo Comic
Template:Nihongo	Makoto-chan	1976–1981	serialized in Weekly Shōnen Sunday
Template:Nihongo	My Name Is Shingo	1982–1986	serialized in Big Comic Spirits
Template:Nihongo	God's Left Hand, Devil's Right Hand	1986–1988	serialized in Big Comic Spirits
Chō! Makoto-chan (超!まことちゃん)		1988–1989	serialized in Weekly Shōnen Sunday
Template:Nihongo	Fourteen	1990–1995	serialized in Big Comic Spirits

Paintings

• Template:Nihongo <ref name=":5" />
• Template:Nihongo <ref>{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref>

Films

• Nekome Kozo (anime television series)
• Drifting Classroom (movie)
• Blood Baptism (movie)
• Drifting School (movie)
• Long Love Letter: Drifting Classroom (TV drama)
• Kazuo Umezu's Horror Theater (6-part TV anthology)
• The Snake Girl and the Silver-Haired Witch ("Hebimusume to hakuhatsuma", Template:Nihongo2) (1968) (Daiei/Kadokawa Pictures)
• Tamami: The Baby's Curse (film)
• Mother (film) (director)<ref>{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref>

Albums

• Yami no Album (闇のアルバム; 1975)
• Yami no Album 2 (闇のアルバム・2; 2011)

Video games

• Umezma (ウメズマ; 1996)<ref>{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Musicals

In 2016, his manga My Name Is Shingo was adapted into a musical. It stars Mitsuki Takahata and Mugi Kadowaki as the lead characters and is directed and choreographed by Philippe Decouflé.<ref>Template:Cite magazine</ref>

Assistants

• Noboru Takahashi
• Robin Nishi
• Rumiko Takahashi

External links

• Template:Official website (Japanese/English/German)
• Template:Anime News Network
• Profile Template:Webarchive at The Ultimate Manga Page
• Profile at The Lambiek Comiclopedia
• My Name Is Shingo, the Musical