The World is My Burrito Podcast

Episode 3 - Tezuka's Metropolis (manga)

January 06, 2021 Kory Torjussen Episode 3
The World is My Burrito Podcast
Episode 3 - Tezuka's Metropolis (manga)
Show Notes Transcript

Today I cover the 1949 seminal manga by Osamu Tezuka, Metropolis. It inspired an entire generation of war-stricken children to become manga artists.

INTRODUCTION:


This has been the most humorous failure of an episode. I really hope I never give Erik a reason to put me on Epik Fails of History but I feel like I’m working for it. Hey there all you androids and gynoids, you’re listening to The World is My Burrito Podcast Where I take a pop culture topic of questionable meat byproduct, unwrap it, tour the ingredients, then wrap it up, pack it in. Now, lettuce begin.


You are listening to episode 3 released on January 6th 2021 covering Osamu Tezuka’s seminal manga Metropolis. Hey it’s 2021 so this means I’ve been podcasting for a year! Right? 


HOUSEKEEPING:


Housekeeping! Merry Robonukkah and Happy 2021! I hope your whatever-you-celebrate was amazing. Mine was great. Hung with family. Saw some friends. Took lots of photos of other people’s families. Ol’ Chuck Dickens never taught us that Christmas-time was time to start your first podcast but I learned the hard way.


In reaction to the holidays I picked what was supposed to be a super easy topic that could quickly be knocked out but i am dumb. I thought selecting the manga of a dude who survived a world war would be “simple” and “easy”. Then I thought, “I know the anime is deep but not that deep”. Pfuh. You can’t hire Katsuhiro Otomo for screenwriting without diving into the abyss of multi-themed storytelling. So not only did I spend whole days researching this stuff for one episode, but at the last second I decide to split it. Pair that with a gig yesterday, keeping me from recording, but go into today, January 6th, where I realize I have to remove notes about the next episode. Whole restructuring of some sections that took me a while. As I’m about to open Audacity on today, January 6th, I discover I can’t find my mic because last week I responsibly decided to organize all of my audio equipment. Which is good, because what you’re about to shove into your earballs is the kind of thing I’ve been fumbling to do with this podcast. 


Before we get into the meat of it all we gotta cover the toppings; some history to once again put your brain in a position to understand the importance of this work. I’m only gonna cover history in this episode. No repeats for the next one. The next 3 bits are gonna be from the perspective of about March, 1949.


WORLD HISTORY:


World War II ended 5 years ago and featured a whole slew of new technology and weapons the world hadn’t yet seen featuring such greats as Napalm and The Atomic Bomb. Most of Japan’s major cities were firebombed within the final 6 months before their surrender and are still not quite rebuilt. The American occupation of Japan is still in effect. The new constitution -as overseen by Supreme Allied Commander Douglas Macarthur- was established two years prior in May of 1947. Part of this new Constitution involved the Emperor of Japan renouncing his divinity which we’ll just put a pin in that seemingly unimportant note.


AUTHOR HISTORY:


Tezuka is 21 years old, something like ten years after he STARTED serving during the war by working in a factory that was bombed one day while he was en route. By 1949, the vision of a burning pile of formerly living bodies taking cover under a bridge is pretty old news. He’s clearly psychotic because he’s been writing and drawing uplifting, serialized manga for a few years.


POP CULTURE HISTORY:


Manga, specifically “akahon” which literally translates to “red book” (after their red spines and predominantly red covers) have been the most popular and accessible form of literature since 1946. Akahon were part of a color coding system denoting the intended audience: in this case, children roughly 10 and under. Up to this point, these were known as being hella cheaply made, totally disposable books usually featuring stories from several different artists in each book. 


It’s no longer 1949. It’s now whatever day you’re listening to this. Alright. Metropolis.


Written and drawn by the godfather of manga, Osamu Tezuka.

Released: September 15, 1949 by Ikuei Shuppan as a single 160-page hardback volume with slipcover. Wikipedia mentions Kodansha but I can’t find anything else saying they were involved. I’m reading from the 2003 edition from Dark Horse.


The Japanese title is “Metoroporisu” so there’s no title translation to worry about. Unless you don’t know what a Metropolis is - in which case it’s a very large and densely populated industrial and commercial city. You’re welcome. For some soft history, this is part of his unofficial science-fiction trilogy consisting of Lost World, Metropolis, and New World in that order. All 3 of these were part of the aforementioned competitive attempt to release high-ish quality content. No trilogy for you today. Just Metropolis.


Backstory: Ikuei, an Osaka-based publisher, wanted to up their game to compete with Tokyo manga publishers. It’s the Davids versus the Goliaths… Or in this case “Dabiddo baasezu Goraiasu”. So they worked with the ambitious and aspiring Osamu Tezuka to create a 160 page long format story -that’s ONE story, not a collection of serialized comics- that featured hard binding and a slipcover. I get it if the details sound underwhelming, but it was a huge deal to not only release a single 160 page story, but to produce it out of materials that would last WITH a hardcover WITH a slipcover. This was blowin’ people’s minds. It’s like going from pulp comics to full color glossy comics. The Japanese have no delineation for what this arrangement was called, but to American audiences this is like comparing a “graphic novel” to a standard comic issue. Oh, and this needed to be done in 6 months. Just Tezuka on writing and art. 6 months. The story was built upon ideas he had in a backlog combined with new story. 


HOT TAKE:


Hey this sounds like a great time to throw some salsa into the mix cuz here is my hot take: You do not need to read the manga before listening to my review. It becomes very clear very quickly that this was written by a young person and is intended for children maybe 10 and under. The plot between this and the film are so completely different, there are no real spoilers. If you are a fan of discovering the origin of things, read it. Doesn’t get more “original” than this as far as big steps in manga go. It was a bestseller in its time and inspired many to become manga artists. 


Now that we’ve got most of the establishing history out of the way the only note I have to make before the synopsis is that this is *not* based in a world where humans and robots coexist on a daily basis. That’s kind of a Tezuka futuristic norm so I felt it merited clarification. 


SPOILERS:


If you don’t want this burrito spoiled you’re gonna have to put this back in the fridge because I’m about to dive into this like a nacho in a bowl of queso blanco with chorizo. Onward to the synopsis:


The year is 19XX -actually written like that- in the great city of Metropolis. The International Scientists Conference is abuzz with news that the underground criminal organization, the “Red Party” has infiltrated their ranks.  While the police force search for its leader, the nefarious Duke Red, intensifies, news breaks that major abnormal sunspot activity has appeared on the surface of the sun.


We turn our attention to the honorable Dr. Lawton’s laboratory, where he has been researching synthetic proteins to make artificial life but to no avail. Suddenly, his tanks of synthetic cells begin to show signs of life. What a joyous occasion! His joy is short-lived, as Duke Red and his thugs pay the scientist a visit and intimidate him into creating an artificial humanoid for them.  Time passes and the guilt weighs heavily on Dr. Lawton. His creation now complete, Dr. Lawton sets his own laboratory ablaze and goes down in fire with his creation….


Several months go by and we learn that was an elaborate ruse! Dr. Lawton survived, escaped with is creation, and has confined himself in a new house with Michi, the name of his humanoid creation, whom he has been raising as a regular human. Michi’s childish impatience to see the world beyond the house results in his leaving Dr. Lawton, inevitably getting spotted by one of Duke Red‘s henchmen. With proof of Dr. Lawton‘s duplicity, Duke Red confronts the scientist which leads to his untimely death.


Unaware of the events at home, Michi ends up in the hands of the young Kenichi. Meanwhile, Japanese Detective Mustachio, who was in pursuit of Duke Red, arrives at the scene of the murder, scares Duke Red away, then discovers a video and diary containing the secrets of Michi and his abilities. Kenichi conveniently unites Michi with Detective Mustachio, who tells Michi his father is dead, and basically just says “you can live with me I’m only here to arrest Duke Red”. That’s the first act of the book.


After this there’s 106 pages of shenanigans. We soon learn that creatures like rats, earthworms, bees, and more are growing to enormous sizes as result of the sun spots. Mustachio discovers that Duke Red has an underground lair containing a small army of robots that he treats like slaves. Duke Red spends the book scouring the city for Michi. The climax comes when Michi finally accepts that he has no parents and is truly nothing more than a robot which leads him to lose his mind, cause a revolt with the robots, then lead them to attack Metropolis and its inhabitants. During the chaos Mustachio discovers the Duke’s machine causing the sun spots and destroys it, which causes Michi to spontaneously combust thus ending our story. 


Some important details for the upcoming breakdown: Michi is a name that is both masculine and feminine.  That said, one of Michi’s features is the ability to swap gender at the press of a button. The rest are boring things like flying, super strength, and underwater breathing.


I don’t know what to call this section but let’s throw a lot of extra meat in this bad boy because I’m about to blow your brain in the consensual way: 


Metropolis has no assigned leadership but is an amorphous society operated by people working together. This is one of the things Tezuka saw in the future. Not necessarily a lack of leadership, but the personification of unity. That said, anyone not working together -like a powerful figure trying to control the city- can cause greater disarray since the people have no figure to look to. There is a police force but that also seems to be the first and last line of defense. It’s also amorphous in shape: there is no real rhyme or reason to layout. Things just kind of appear when they need to fit the narrative. This could be a reference to Japan itself having no structural rhyme or reason after firebombs and nuclear bombs kinda leveled their cities. Or because Tezuka was 21-years old had only 6 months and was not used to lengthy storytelling.


The beginning of this story takes place in the year 19XX. Tezuka, god bless ‘im, genuinely believed mankind would take all of this destructive technology, unite as one and strive to create a more beautiful and technologically-filled future within the 1900s. He genuinely believed a place like Metropolis would exist within his lifetime This guy was enthralled with tech and where we *could* go, while never forgetting to remind his readers of the dangers of technology. The atomic bomb was not limited to war, it was -in its essence- just another technological advancement that used with heinous intent. 

As his writing advanced, robots waned back and forth between the embodiment of technological dangers and the embodiment of racial inequality. Kinda both at once. Speaking of racism! 


When Mustachio discovers Duke Red’s secret underground base, he sees that the Duke has a bunch of custom robots which are being mistreated. While most of these robots appear as soulless as you’d think, it seems like they can have personalities, which can occasionally rebel. Other than aesthetic, there’s no real reason as to what separates these robots from Michi. They seem to have a personality that can feel sorrow. When Mustachio sneaks into the Duke’s lair he meets a robot who tries to help him escape. The end result of which involves that robot being viciously melted before the reader’s eye. 


The beginning of the final act comes after Michi accepts that they don’t have parents, causing them to lose their damn mind and start a robot uprising against all mankind by teaming up with Duke Red’s mass produced robots. Of course, this uprising goes straight back to Metropolis.


Mustachio and his creator Tezuka believed that all things should be treated with equality, animate and inanimate. Biological or manmade. This is a Shintoist ideology. There is a presumption that the robots represented something called “Sangokujin” which translates to “third country person”. At this time in history that term referred to Taiwanese, Korean, and Chinese who were left in Japan after the war. Despite a country that was still suffering from the smoke of recently exhausted firebombings, these aliens were treated as less than human, had no rights, and if they were lucky could work unwanted jobs. If this was the intended message, it was only introductory and does not control the narrative. 


DEEP-ISH:


Written structure! Have you ever heard of a Ring Structure or Chiastic structure? I hadn’t heard of the names before this. If ya don’t know, It’s basically when events or locations or SOMETHING in a story between the opening and the midpoint are mirrored to reach the end. Don’t worry, I’ll ‘splain it. Burritos aren’t the best example so burgers it is. It’s like getting a burger layered as a bun, lettuce, tomato, patty, tomato, lettuce, and bun. Scholar William L. Benzon noticed that, while there is no verticality in the Metropolis manga, that doesn’t mean there is no depth. One of the earliest scenes in the manga is narrated by a Dr. Yorkshire Bell who provides us with an important message for our future. The story then moves to greater Metropolis, underground, what he refers to as “Child’s world” which is basically the bubble that the children in our story interact in, finally reaching the midpoint where everything comes to a head. From there the events backtrack to the child’s world, underground, Greater Metropolis, ending the book with an identical panel of Dr. Yorkshire Bell providing roughly the same message as the beginning. I don’t know if this structure was intentional, but it’s definitely there.


Let’s move on to the greater message: personal identity. The cause of the climax is when Michi finally accepts they have no parents -what with being man-made and all. When the Duke finally rejects Michi’s humanity to their face, Michi loses their mind, rounds up all the robots because they all have something in common, and turns on all humans. The Duke is one of the first people to die in this act albeit off screen.

Now seems like the best time to mention the weirdest part of the book. You remember how I said Michi can switch between Gender with the press of a button? Well that button is located in the back of their throat. And the act of pressing that button is probably more awkward than you’re currently thinking and is only visibly forceful. I’m sure it’s hilarious as a kid. The first time we see it is used to hide Michi from her captors, who are only looking for a boy. Later when Duke Red finds her, he changes her to a boy to confirm it’s his property (which would have been super weird if it was the wrong kid). Finally, we’re shown the same male Michi starting a robot uprising yet somehow a female Michi arrives in Metropolis. This is the most subtle yet important change because it’s the first act of personal identity she’s taken. Prior to this point, Michi has had an understandably slow growth, really just testing the waters as a child does. They focused on exploration, seeking their family or reacting to surroundings. The change of gender is a monumental act of essence. This is the first and last life changing decision Michi makes. 


Contrasting this topic of personal identity is Duke Red, who can be himself and go anywhere he wants yet spends much of the book in hiding or disguised as other characters. Neither Michi nor the Duke spend the story as one character. 


Metropolis is an amorphous society until the duke comes in like a hammer to mosaic glass. He exists outside their social norm and controls a weapon that exists outside of the natural norm. Michi the android also exists outside of a social norm as one’s parents or guardians are their primary link to the world around them. Michi exists outside of the natural norm because they are a robot made from artificial cells.


Shortly after the Duke’s black spot machine is destroyed, Michi’s cells -which were powered by the increased radiation- begin to die as she lights on fire thus restoring the balance of nature.


Their deaths by unnatural means mark the final congruence between Michi and the Duke.


I end this section By saying I think There is a LOT of supposition here. Trust me, all of This makes the manga sound cooler than it is. I really don’t think Tezuka did much of this by intention but it’s fascinating that so many things line up. It touches fairly softly on systemic racism and what it means to be human. It gives us a visual of his perception of the physical and political world at the time. The main repeated spiel throughout the book is “we should respect all things both animate and inanimate and work together to create a greater future”.


I have spent so many hours compiling research and review on this manga and genuinely believe some of the researchers were giving Tezuka a lot more credit then he’s due


Let’s take a quick second to talk about some of the Characters because I’ve neglected to mention something very important in the last 2 episodes. Live Theatre heavily inspired Tezuka’s manga. He envisioned his characters as actors who played bit pieces and created the Osamu Tezuka Star System, in which characters would frequently cross titles and universes. Sometimes for a single episode, sometimes as a main character. As an example, you hopefully know Astro Boy. Astro Boy infrequently makes an appearance in other Tezuka series but usually as just a young boy. No powers. As for the previous episode on The Book of Human Insects, there are no cameos from anyone or anything which is indicative of how serious Tezuka wanted that story to be.


With that, Metropolis is the introduction to Duke Red or レッド公爵 (こうしゃく  - meaning 
“duke”), who became a repeat character in various roles in the Astro Boy series.


Revisiting the franchise are Mustachio whose Japanese name is Higeoyaji (which translates into “moustache old man”), and his nephew Kenichi. Who is just Kenichi.


One of the henchman is Acetylene Lamp, whose Japanese name is アセチレン・ランプ so you can’t blame Americans for a mistranslation there.


There are others but these merit the most mention.


No taco truck is perfect so let’s do some pest control: I’m gonna list my problems with the iterated statement that this was not only an insanely early work by a young writer in 6 months but by someone who was mostly used to serialized writing. Tezuka mentions that he had issues with containing the story in 160 pages and had troubles picking which parts of the story to keep. Even so, he somehow decided on page 48 to use FIVE WHOLE PAGES to replay the story up to that point to Detective Mustachio. I get that they also need to know what happened, but it makes no sense to me that the reader needed to re-read the events. Even young children wouldn’t have forgotten what literally just happened, and it would have allowed Tezuka 5 pages of breathing room. 


There are a lot of things that “just happen”. I was confused to discover this was not serialized, because there are some hard cuts and weird dialogue that force the story to do something.


The most confusing parts of the book involves separate timelines that get all fuddled up. You literally have one character living in a quantum reality where his 3-day arc lasts 1, 2, and 3 days. If that sounds confusing it’s because it is. If Tezuka had never once dated the dialogue in this section the whole thing would’ve made sense. Here’s a tip, kids, don’t throw specific times into your work. Ever. 


Most other complaints are clear examples of fanfare or acts of goofiness for the intended audience so it’s not worth mentioning


Trivia: Tezuka styled Metropolis after what he imagined Chicago and Manhattan to look like. He states Michi flying through the air and tossing cars might be related to Superman, but is unsure if he’d seen Superman at that time. He had only seen a single still of the awakening scene in Fritz Lang’s Metropolis and inserted that into Michi’s awakening sequence. Otherwise, it’s not related to or based on Lang’s film in any way. Michi spontaneously combusting was inspired by Universal Pictures’ The Invisible Ray from 1936 and her following death scene by one of his previous works, The Monstrous Fellows of the Country Underground. If any of the robot equality plot sounds familiar, this actually predates Astro Boy by 2.5 years and was clearly a great stepping stone to some much better story-telling. The kinda-multi-gendered protagonist is featured in Princess Knight, another fan favourite of his. The giant rats in the story are identified as Mikimaus Waltdisneus. If you don’t get it, I can’t help you. But Tezuka always openly admitted that Disney was his idol.


Okay. What did you think of that? Was it good? I hope so, because that was the easy part by a long shot. For the first time, I genuinely hope you listeners enjoyed what I’ve provided you because it took a ton of time and a lot of research to reach this point. This and the next episode have me at 16 pages of just notes. For comparison, alllll of my used and unused notes AND the entire written dialogue you heard from The Book of Human Insects episode fit into 15 pages.


Now, I’m gonna give you a week and a half to find the Metropolis anime and watch it. It is a film that does so much more than its surface level; one that truly requires attention to its parts to grasp what’s happening. With this episode under your belt, you now have a modicum of a headstart.


Now that that burrito is wrapped up, I can tell you what the life of a burrito enthusiast entails with Nacho Business! Honestly I haven’t done much. Sushi Ghost and Dragon Quest 11 were basically on hold because of the podcast and work. There was so little free time that I started Spyro The Reignited Trilogy for PC just so I could limit gameplay without feeling unaccomplished. Spyro is great, man. It ain’t difficult at all, it’s just a fun world to exist in.


Big shoutsouts to people like William L. Benzon, Laurence Green, Lawrence Bird, ResearchGate.com, and the peer-reviewed academic journal covering Japanese pop culture: Mechademia. 


Hey, have you read Metropolis before? Have you watched the film? Tell me what you thought. Any input on the film could re-direct parts of the next episode. Does this make you want to experience Metropolis? You can find me on every platform at TWIMB Podcast or email me at TWIMBPodcast@gmail.com.

If you wanna check out my day job, search the letters KTORJ and you’ll find K. Torjussen Photography.


Thanks for listening!


I don’t have a sign-off!