In the stories that follow, things just get more and more bizarre. Take for instance, Pinoko, Black Jack's pint sized side-kick and comic relief. She's literally an old doll filled with the living remains of an unborn Siamese twin that was removed from the psychic tumor of a famous actress in chapter 3. (Go on, read that last sentence again. I'll wait.) Or how about the return of Black Jack's long-lost love? Pinoko is jealous until she finds out that years ago, Black Jack had to perform a sex change operation on his true love in order to save her (now: him) from uterine cancer. And then there's the close-up, gross-out panels included in nearly every story. Usually occurring during an operation scene, these are the one place in the comic where Tezuka switches from his normally cartoony style to something closer to life drawing. While it could be argued that these are there for educational purposes, truth be told, I think that Tezuka just likes giving his readers the willies at the sight of an abdomen being pried open by medical equipment.
All of this would just be mind-warping eye-candy, though, were it not for the fact that Tezuka makes each of these stories so emotionally affecting. There is a genuine undercurrent of sadness throughout, a haunting sense of heartbreak, and even, at times, moments of inspiration and elation. As strange as this is gonna sound (especially after the tumor-becomes-a-main-character reveal), while reading Black Jack, I kept being reminded of Carl Barks' classic Disney duck stories. Both series feature moody, misanthropic leads. Both use short, self-contained adventures as a means of slowly exploring the backgrounds and motivations of their lead characters. Both are drawn in an unabashedly 'cartoony' manner; their deceptively simple styles showcasing their creators' mastery of the artform. Oh, and both comics are hella fun to read. Yes, Osamu Tezuka's Black Jack might be the answer to that age old question: What would an EC Comic by Carl Barks look like?