アドルフに告ぐ

ADOLF NI TSUGU

MANGA

STATUS
COMPLETE
VOLUMES
5
RELEASE
May 30, 1985
CHAPTERS
36

DESCRIPTION

A graveyard in contemporary Israel has an unlikely visitor. The elderly gentleman from Japan, a former news correspondent, lays a bouquet of flowers at the tomb of one Adolf Kamil. For he remembers the tale of three Adolfs: Kamil, a Jew who grew up in Kobe, Japan, the son of a baker; Kaufmann, only child of a German consul stationed at that port city and his Japanese wife; and the Fuhrer with whom the Far Eastern nation made common cause.

Note: Won the 10th Kodansha Manga Award for general manga in 1986.

CAST

Adolf Kaufmann
Sohei Toge
Acetylene Lamp
Adolf Kamil
Hamegg
Adolf Hitler
Benito Mussolini

CHAPTERS

RELATED TO ADOLF NI TSUGU

MANGA ComedyTezuka Gakuen

REVIEWS

ronaldinhosoccer99
79/100
Embate político envolvente sobre a natureza de conflitos em nome de uma "justiça" distorcida.
A minha primeira leitura de um mangá do tão conceituado Osamu Tezuka não poderia começar de melhor forma. Conhecia por alto suas obras e acabei "caindo de paraquedas" nesse mangá em questão, tendo conhecimento que foi uma das últimas produções do mangaká. Destaco não somente o traço e estilo de desenho tão marcantes de um autor com uma duradoura e notável carreira nas costas, mas também o esmero de um contador de histórias emocionantes sobre nós e direcionadas a nós, seres humanos, nos mais amplos alcances do termo.

Adolf ni Tsugu, ou simplesmente Adolf, título difundido no Brasil como minissérie pela Editora Conrad, é um drama político que relembra episódios marcantes da Segunda Guerra Mundial na perspectiva de uma narrativa paralela sediada na cidade japonesa de Kobe e suas intermediações, a princípio. O processo de concepção do mangá esteve cingido em meio às fortes reverberações da conjuntura de "reabilitação" material e até moral do pós-guerra no mundo - ainda que, concomitantemente, a crueldade fosse mantida através de conflitos violentos instigados pelas potências da Guerra Fria. É sob esta influência que Tezuka constrói uma história abordando a correspondência entre relações civilizatórias, étnicas, culturais e humanas entre diferentes sociedades e o decurso de possíveis divergências políticas.

O eixo fundamental de ligação entre suas temáticas reside no conceito de pertencimento. O enfoque nos três Adolf's - Hitler, Kaufmann e Kamil - é responsável por atravessar essa concepção propondo cenários próprios. Do mesmo modo que existe uma forma de pertencimento forçado, como aquela perdurada pela imposição de um nacionalismo exacerbado e pela promessa de uma supremacia eugênica nazista, se difundiu, também, o discurso do "não-pertencimento" atingindo desde descendentes da miscigenação, até a totalidade de grupos étnicos.

Desde o começo das conquistas civilizatórias, sociedades passaram a ser, senão subjugadas, condicionadas à sina da diáspora. O decorrer dos acontecimentos, entretanto, nunca é simples e as investidas, da mesma forma, não são unilaterais. Diante disso, a Segunda Grande Guerra não foi o princípio e muito menos o fim desse processo. Exemplificada pela história na figura das três personagens, é transmitida a seguinte mensagem: enquanto houver um indivíduo estabelecido na condição de detentor do direito à opressão e imposição para com outro ser humano, serão mantidas relações de colonização e controle na civilização. Como resultado, historicamente, à semelhança dos Judeus e, posteriormente, dos povos Bascos, Curdos e Palestinos, remanescem os sujeitos sem qualquer resguardo ou pertencimento mesmo entre seus "semelhantes".
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Sebsus
100/100
The atrocities of war through the lenses of the three Adolfs—bound by the same name, yet so differentiated by fate.
Description and Historical Background
Adolf ni Tsigu interweaves the lives of the two fictional personas living in Kobe during the 1930s-1940s Adolf Kaufmann – son of a German diplomat, Adolf Kamil – a Jew – and factual Adolf Hitler– an Austrian politician. The fictitious setting receives support from the Frankenberger thesis to cause mayhem and hope inside the cast’s psychological behaviour.
The real-life anecdote behind the Frankenberger thesis is the rumours of possible Jewish blood in Hitler’s veins. After researching the truth behind the mouth propaganda, Frank’s conclusion foresees the parentship to his father’s root in a Jew called Frankenberger who offered Hitler’s grandmother financial support for 14 years after bestowing life to Alois, while not being officially entitled as Alois’ father. And, therefore, must be Alois’ valid parent. Frank’s motivations to reveal such backgrounds are only evaluated via theories – not legally accurate – because of Hans Frank’s execution after World War II. The motives’ tendency was, presumably, rather pro-Nazism. An abstract, but realistic possibility of his motives, could lie in the nature of the propagated Jewish evilness. Behind every war is a Jew, from Mischling to Jude (see Nuremberg Laws), with evil roots in Judaism. Hans Frank concludes: If Hitler is a Mischling(Crossbred), the Third Reich theory of evil is proven for a Jew was then the brain behind World War II, therefore the anticipation that Jews pull the wires behind every conflict is verified.
Osamu Tezuka cleverly redevelops the thesis's fictitious origin into a factious one. Creating the main plot string. A huge conspiracy surrounding political outliers, mysterious homicides and spies.

Thematical Analysis
Progression into a propagated psychopath
Initially, Kaufmann and Kamil are bonded by a deep friendship, oppositional to Kaufmann’s father’s liking, who forces the bright Kaufmann into the AHS (Adolf Hitler Schule) – to join the Hitler Youth for his pa has become obsessed with his son’s Nazi destiny. Resulting in a 180 turn in Kaufmann's life, who is onward to learn about Kamil’s dark side – Judaism. Kaufmann opposes his father’s decision, but is left choiceless, and henceforth lives in Germany where propaganda takes him into possession. The Jew-loving German grows into an exceptional Nazi and finally, unfortunately, leaves his prejudice-free world picture behind and starts killing and oppressing Jews like prey. Kaufmann’s hatred never ends, while subsequently peaking with the rapture of his former Jewish sweetheart, whom he was meant to marry after the Nazi’s victory. The antagonism possessed by obsessed human beings results in a cycle of never-ending hatred.
Kamil, Kaufmann and Hitler therefore symbolize the stages of Propaganda. Kamil, the everlasting resistance to Propaganda, Kaufmann, the change to Propaganda and Hitler, never-ending loyalty to the Propaganda.
[image removed] Nobody wins in war; some just lose less than others
Tezuka’s philosophical agenda heavily relies on the peace of our race between nature, animals and other humans. The obvious breaking during times of war leads to the implementation of destructive scenery on each side of the ideological spectrum. Adolf Kaufmann – the heroic Nazi – sheds his sanity while gaining endless hatred. Adolf Kamil’s succession in family and peace via Zionism concludes in a fresh conflict between Palestine. And Adolf Hitler’s Utopia was massacred ranging from his grandeur building plans to his mildest pieces of Aryan ideology. The surviving Japanese not only lost the war but a majority were also deprived of their life, their organs, their senses, their pride, basically their cultural importance.
Destruction as the force of new hope
Tezuka’s marvelous, poetic passage speaks for itself:

Those who fought at sea became floating corpses.
Those who fought on land became rolling corpses.
Many of those who did not even fight died. Their corpses decayed everywhere, from cities to open fields.
But new lives were being born, new lives who knew nothing of the war.

Storytelling Analysis
Art
Tezuka's artistic approach is of a rather conservative nature but primarily extends his emotional expression range. The harrowing faces of suffering burn into your brain like I’ve never seen in Osamu’s artwork. Contrary, the facades of optimism and newborn joy have an expressing rhythm conveying their powerful testimony upon the reading experience. The comical art style that runs through Osamu’s vein never loses its charm while minor reformations are the cause of bigger revolutions between the endless demographics Tezuka aims towards, with divergent works. Ultimately, Adolf ni Tsigu’s dichotomy of war and peace is not transported via experimental techniques, but a rather slightly progressive path into the right corners.
Writing
Adolf ni Tsigu is a well-rounded anti-war manga with thought-provoking character dynamics. Especially the unification of the protagonists-naming raises questions of fate, due to their different destinies, whilst sharing a duplicate name. In spite of that, the development of characters often falls short. Kaufmann’s character journey solely carries the character writing. The people’s vividness is not lost, but lots of characterization potential was wasted.
Thematic density is unsurprisingly its key strength due to my adoration of Tezuka’s leftist philosophy and, generally, themes being my favourite storytelling element to create notions about.

Conclusion

Adolf ni Tsigu underlined its status as a Tezuka essential. Despite not having the philosophical depth of the human condition anthology Phoenix or the religious tale about the essence of karma – Buddha. Its interwoven narrative between fiction and reality crafted a world with an adult undertone, that points in its realism and its optimism. A pro-peace artwork, that will hopefully be interpreted rightfully to secure a peaceful future for mankind.
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