By Osamu Tezuka
Osamu Tezuka’s vaunted storytelling genius, consummate ability at visible expression, and hot humanity blossom totally in his eight-volume epic of Siddhartha’s lifestyles and occasions. Tezuka evidences his profound snatch of the topic via contextualizing the Buddha’s principles; the emphasis is on flow, motion, emotion, and clash because the prince Siddhartha runs clear of domestic, travels throughout India, and questions Hindu practices similar to ascetic self-mutilation and caste oppression. instead of suggest resignation and impassivity, Tezuka’s Buddha predicates enlightenment upon spotting the interconnectedness of existence, having compassion for the pain, and ordering one’s lifestyles sensibly. Philosophical segments are threaded into interpersonal events with ground-breaking visible dynamism through an artist who makes yes by no means to lose his readers’ attention.Tezuka himself was once a humanist instead of a Buddhist, and his magnum opus isn't really an test at propaganda. Hermann Hesse’s novel or Bertolucci’s movie is similar during this regard; actually, Tezuka’s strategy is just a little irreverent in that it accommodates anything that Western commentators frequently eschew, specifically, humor.
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Extra info for Buddha, Volume 8: Jetavana
B5 ! in Line B3 1 , where White hasn't managed to find convincing antidotes. There fore White should have another look at Leko's 1 2 a4! (Line B32), which seems to give chances for a slight advantage. However, if this proves to be so, Black can always fall back on Line B2, which seems sufficient for equality. 10. f2. ll lbb3 Here Black has a choice: 43 B1: ll f5!? e6 44 B3: ll lbge5 46 ••• ••. b5 has in practice usually transposed to Line B31 after 1 2 f3 lDge5, but 12 h4!? lbge5. f5!? (D) w 43 The most sensible option.
TlJe5 52 The latter seems to be slightly the more reli able at the moment. •. xd5?! c4 ± Leko-Morovic, Cienfuegos 1997. a7. xf5 19 c3 White is still slightly better thanks to his better pawn-structure. C) 10 h3 (D) B White kicks back the knight before complet ing his development. It seems strange to waste a tempo on threatening the g4-knight, since it doesn't have a clear function there. tiJf6 (D) w Here the black knight doesn't look as active as on e5, but this is nevertheless a very interest ing option.
E2 Leko-Milos, Yopal 1997. d5 ! e6! 21 'ii'xd8 l:tfxd8 (Ftacnik). ••• ••. w 832) 12 a4! (D) 14 lt::ld5 Worse is 14 lt::ld 4?! b4! d7 equalized effortlessly in Anand-Kasparov, Linares 1 998, but the text-move is even better) and here: a) 15 lt::lce2 lt::lxd4 16 lt::lxd4 d5 is good for Black. 'ii'a5 and 1 8 ... dxe4 leaves Black better. xd4 d5! leaves White struggling to equalize: b1) lvanchuk played 17 exd5?! but it is clear that Black must be better then. xc3 'ii'e6! +. xe5 gives Black a powerful initiative after 17 ...
Buddha, Volume 8: Jetavana by Osamu Tezuka