Dororo

Set in feudal Japan, Dororo follows the young warrior Hyakkimaru on a quest to reclaim his lost body parts from 48 demons, which he lost at birth after his father gave them away in a pact with said forty eight demons. Accompanied by the small and clever orphan Dororo, they navigate a world filled with supernatural threats.

Osamu Tezuka (1928–1989) also known as God and Father of Manga revolutionized early manga and anime during his lifetime. Born in Toyonaka, Osaka Prefecture, he grew up during the pre war years and World War II. This influenced his works, which are characterized by humanism, as seen in his most famous creation, Astro Boy.

»I'm still living in my post-war.«

From an early age, Tezuka developed a love for both drawing and science. His mother, a major influence, often took him to the theater, supporting his love for storytelling. At the same time, Tezuka was fascinated by nature, especially insects, which could be an excellent example of nominative determinism, as the kanji for his name includes insect (虫).This interest in biology led him to study medicine, earning a medical degree and later a PhD, though he never practiced as a doctor. Instead he incorporated his medical knowledge into his stories exploring the human body. These theme is also prominent in Dororo, where the protagonist Hyakkimaru is treated by a doc who becomes a father figure to him.

One of his most significant inspirations was Walt Disney, whose films left a lasting impact on him through their use of large, expressive eyes to convey emotions and optimistic, child-friendly narratives. Tezuka adopted this style, which became a defining feature of manga and anime, and set the stage for the iconic big eyes that have become synonymous with the animanga medium today. Prior to Disney, Tezuka was also influenced by Max Fleischer, known for animating characters like Popeye. His admiration for both Fleischer's and Disney's work inspired him to create animation of high quality, leading to the founding of his own animation studio Mushi Production in 1961.

In 1963, Tezuka's studio launched Astro Boy, followed by Kimba the White Lion, both series greatly accomplished. A few years later by 1968 the company faced financial difficulties, forcing the studio to shut down further anime production and in 1971 Tezuka ultimately stepped back from the company. During this turbulent period, Tezuka was working on Dororo (1967–1969).

The late 60s was a time of rapid change in Japan driven by the economic miracle the whole country was experiencing. While Japan saw industrial growth and modernization, parts of the younger generation felt increasingly disconnected from the country's newfound success. During that time the Gekiga movement was gaining popularity with a growing demand for darker, more serious narratives in manga. Tezuka responded to this cultural shift by moving in his own work with a darker tone that would characterize his second great creative arc. Dororo could represent this transitional phase, where Tezuka began to weave in more mature, philosophical, and morally ambiguous themes into his storytelling.

Despite that, the story retains Tezuka’s signature sense of humor, blending dark storytelling with fun, regularly breaking the 4th wall throughout the story, alloweing him to maintain the charm of his earlier works while exploring a new style.

The edition I’m reviewing, published by Vertical (Kodansha), is very impressive and rightly earned an Eisner Award. At its core, Dororo can be seen as a grandparent to today’s popular sword wielding manga like Demon Slayer. Like its modern counterparts, Dororo draws heavily from Japanese folklore around Yokai (Demons), yet it feels more entrenched in traditional tales, unafraid to leave questions unanswered. The world Tezuka crafts is gritty and unforgiving. While not as gory as many modern works, it was pushing boundaries and laying the groundwork for manga of later decades.

Structurally, Dororo follows a journey that resembles a road movie without car. Constant travel shapes the narrative, with each new location offering fresh challenges and new characters. The episodic nature, combined with Tezuka’s art style, often brought classic cartoons to mind, particularly Popeye. Even the battles, short and powerful, are reminiscent of the fast paced action of earlier animated shorts — without the spinach. Unlike modern manga, where fights can span over several entire chapters, Dororo’s conflicts lead with the discovery of a demon’s weakness to a rapid conclusion.

A central theme in Dororo is the question of what it means to be truly human. Hyakkimaru (Hyakki = 100 demons) begins the story as an incomplete being — lacking not just his physical form but the senses that make us human. Stripped of his 48 body parts, he's almost more demon than human. Yet, as he regains his body, the line between humanity & monstrosity blurs. His quest to recover his body is not just a physical journey, but a deeper exploration of what it means to regain his humanity.

As readers, we are compelled to ask: »At what point does Hyakkimaru become whole? Is he still a man, even without his body parts?« Instinctively, we would say yes. Unfortunately the world around him sees things differently. Most of those he encounters view him as something other than human, reflecting society’s struggle to accept those who don't fit in its norms. This aspect of his journey introduces a layer of Buddhism, with themes of suffering & the nature of existence present throughout the story.

»Nobody is born whole« »A life must be saved as long as it can be no matter whose it is.«

This thematic exploration ties directly into one of Tezuka’s core beliefs. The message is embodied early on by the doctor who takes Hyakkimaru in, repairing him and giving him a second chance at life after getting abandoned by his parents. Hyakkimaru's prosthetic limbs and hidden weapons make him a feudal-era Inspector Gadget. With each body part he regains, both he and the reader gain a deeper understanding of him and how we perceive our senses.

One recurring motif in the story is the way Hyakkimaru and Dororo are treated by the people they help. In many chapters, after they save a village, they are banned and feared rather than celebrated. Hyakkimaru, with his demon like appearance and methods, is viewed as a threat despite his heroic acts. This brings a familiar trope in literature and mythology to mind: the savior who is punished for their own power.

The character dynamics between our two main characters Hyakkimaru & Dororo add richness to the story. Though they seem mismatched, they develop a sibling like bond, with Dororo regularly getting them into trouble. Their relationship feels authentic, full of push & pull, yet it’s clear they are bound by fate and a shared sense of loss. In many ways, Dororo becomes the family Hyakkimaru never had, while also acting as a reminder of the humanity he risks losing in his relentless pursuit of his body.

Tezuka portrays the brutality of the era, challenging the often glorified view of samurai. Like all cultures, Japan has a tendency to look back on its past with nostalgia, but Dororo peels back the layers of that idealism, revealing a world of suffering, fear, and corruption. Dororo's identity, while not deeply explored in the story, plays a important role in shaping the story. Though presented as a bratty young boy, it is revealed later that he is actually a girl. Tezuka doesn’t go deeply into this aspect, but it hints at themes of gender roles and the harsh realities of the time.

Tezuka’s artwork is the main standout feature. His use of black and white contrast is outstanding, with a focus on strong lines and dynamic motion. The panels feel alive with energy, during the action and landscape scenes, where movement is depicted with fluidity. The large, often dramatic panels that open and close chapters provide a cinematic flair, giving the reader time to pause and absorb what they just read.

One cannot discuss Dororo without addressing the abrupt ending. The manga was serialized in a fragmented manner, with the series being discontinued and later resumed, which may explain why the story ends rather suddenly. There’s a sense that Tezuka had more in mind for the story, perhaps  a more thoughtful resolution to Hyakkimaru’s quest or a deeper exploration of Dororo’s fate, considering the manga title.

After sacrifizing his brother in exchange for regaining another body part, Hyakkimaru spirals into depression, questioning the purpose of his mission and considering ending his own life to avoid further loss. The sacrifices he’s made feel overwhelming, and he starts to wonder if regaining his body is worth the cost. This turning point adds depth to the story, as Hyakkimaru begins to realize that his relentless pursuit of wholeness has caused pain and suffering. Some fans believe that Tezuka may have planned to explore this conflict more, possibly forcing Hyakkimaru to choose between completing his body or saving Dororo. Such a choice would have brought the story full circle, making Hyakkimaru confront whether his true humanity lies in his physical form or in his soul. But that's just speculation.

In sum, Dororo is a masterful work that combines adventure, horror, and philosophical inquiry in equal measure. It’s a story that resonates on different layers with its commentary on humanity and power. Tezuka’s ability to blend humor with dark, tragic themes is on full display, making it a compelling read from start to finish. This manga is essential for any fan seeking to appreciate the foundations laid by early manga masters.

»Manga is virtual. Manga is sentiment. Manga is resistance. Manga is bizarre. Manga is pathos. Manga is destruction. Manga is arrogance. Manga is love. Manga is kitsch. Manga is sense of wonder. Manga is... there is no conclusion yet.«