Монстр: Манга и её адаптации

Japanese manga series and its adaptations

The Japanese medical industry was strongly influenced by the professional practices in Germany, thus it seemed natural to the author to set Monster in Germany. Post war Germany was chosen so that the neo Nazi movement could be included in the story. When he started the semimonthly Monster at the end of 1994, Urasawa was already writing Happy! weekly and continued to serialize both at the same time. When Happy! ended in 1999, he began the weekly 20th Century Boys. Writing both Monster and 20th Century Boys at the same time caused him to be briefly hospitalized for exhaustion.

Written and illustrated by Naoki Urasawa, Monster was serialized in Shōgakukan's seinen manga magazine Big Comic Original from December 1994 to December 2001. Shōgakukan collected its 162 chapters into 18 tankōbon volumes released from 30 June 1995 to 28 February 2002. Takashi Nagasaki is credited as "co producer" of the manga's story. Monster received a nine volume kanzenban re release between 30 January and 29 August 2008. Monster was licensed in North America by Viz Media, who published all 18 volumes between 21 February 2006 and 16 December 2008. They released the kanzenban version of the series, titled Monster: The Perfect Edition, between 15 July 2014 and 19 July 2016.

The manga series was adapted into an anime by Madhouse, which aired between 7 April 2004 and 28 September 2005 on Nippon TV. Directed by Masayuki Kojima and written by Tatsuhiko Urahata, it features original character designs by long time Studio Ghibli animator Kitarō Kōsaka which were adapted for the anime by Shigeru Fujita. The music was composed by Kuniaki Haishima, including the opening theme "Grain". David Sylvian was commissioned to write the first ending theme, "For the Love of Life", on which he collaborated with Haishima. In the cover notes to the official soundtrack he said, "I was attracted to the Monster material by the moral dilemma faced by its central character. The calm surface of the music giving way to darker undercurrents, signifying the conscience of the lead protagonist and the themes of morality, fate, resignation, and free will." It was used for the first 32 episodes. The second ending theme, "Make It Home" by Fujiko Hemming, was used for the remaining 42 episodes. It is the only song Hemming sung in her career. The credit sequence features illustrations from the book Obluda, Která Nemá Své Jméno (The Monster Who Didn't Have A Name) by Emil Scherbe which was published by Shogakukan on 30 September 2008. An English dub of Monster was produced by Salami Studios for Viz Media, which had the North American license to the anime. The show aired on Syfy's Ani Mondays with two episodes back to back each Monday night at 11:00 pm EST, beginning 12 October 2009, as well as on its sister network Chiller. Monster began airing on Canada's Super Channel on 15 March 2010, and on the Funimation Channel on 3 April 2010 on weekends at 12:30 am. The series was also available digitally from several internet retailers. Siren Visual licensed the series for Australia in 2013, and released it in five DVD volumes beginning in November 2013. Netflix began streaming the series internationally on 1 January 2023, premiering the first 30 episodes; the entire 74 episodes were made available for the following month.

In 2005, it was announced that New Line Cinema acquired the rights for an American live action film adaptation of Monster. Academy Award nominated screenwriter Josh Olson (A History of Violence) was hired to write the screenplay. No new information on the film was released since. In 2013, it was revealed that Guillermo del Toro and American premium television network HBO were collaborating on a pilot for a live action TV series based on Monster. Co executive producer Stephen Thompson (Doctor Who and Sherlock) was writing the pilot, while del Toro was to direct it and be an executive producer alongside Don Murphy and Susan Montford. In 2015, del Toro told Latino Review that HBO had passed on the project and that they were in the process of pitching to other studios.

Monster has been critically acclaimed. It won an Excellence Prize in the Manga Division at the first Japan Media Arts Festival in 1997; and the Grand Prize of the 3rd Tezuka Osamu Cultural Prize in 1999. It also won the 46th Shogakukan Manga Award in the General category in 2001; and the Best Manga Series at the Lucca Comics Awards in 2004. The Young Adult Library Services Association placed Monster on their 2007 Great Graphic Novels for Teens list. Viz Media's English release was nominated several times for Eisner Awards, twice in the category Best U. S. Edition of International Material – Japan (2007 and 2009) and three times in Best Continuing Series (2007, 2008, 2009). In 2009, when Oricon conducted a poll asking which manga series the Japanese people wanted to see adapted into live action, Monster came in fifth. At the 2009 Industry Awards held by the Society for the Promotion of Japanese Animation, the organizers of Anime Expo, Monster won the award for Best Drama Manga. The Monster manga has over 20 million copies in circulation. Writing for Time, Pulitzer Prize for Fiction winner Junot Díaz praised the manga, proclaiming "Urasawa is a national treasure in Japan, and if you ain't afraid of picture books, you'll see why". About. coms Deb Aoki called Monster a multi layered suspense series and satisfying mystery that stands up to repeat readings, although it is sometimes a "little hard to follow". Reviewing the Monster manga for Anime News Network, Carl Kimlinger called Urasawa a master of suspense "effortlessly maintaining the delicate balance of deliberate misinformation and explicit delineation of the dangers facing protagonists that only the finest suspense thrillers ever achieve." He commented that even the stories and characters that had felt unrelated to the greater picture are "eventually drawn together by Johan's grand plan." Kimlinger deemed the art "invisible perfection," never "showy or superfluous," with panels laid out so well that it is easy to forget how much effort is put into each and every page. he praised their expressiveness, writing that the characters "wear their personalities on their faces, communicating changes in their outlooks, psychology, inner thoughts and emotions with shifts in expression that range from barely perceptible to masks of rage, hate and fear." On the other hand, Active Anime felt the art improved across the manga's serialization. A. E. Sparrow of IGN described Monster as a "Hitchcock film set to manga" and felt its real strength comes from its huge cast of interesting characters, who each have "a unique story and history to relate". Carlo Santos, also for Anime News Network, called Monster "a one of a kind thriller" and suggests that one of the most overlooked qualities of it is that "amidst all the mystery and horror, there are moments of love and hope and all the good things about humanity." Though she praised the manga for its "cinematically precise" art, never confusing the reader, and making each person visually distinct despite the large cast of characters, Casey Brienza from the same website felt that too much time was spent developing minor characters "who are likely to be dead or forgotten just a few dozen pages later," and that the series' ending "went out with a whimper." Leroy Douresseaux of Comic Book Bin, praised Monsters finale and wrote that the manga is "worth reading again and again. It's perfection".

THEM Anime Reviews called the anime adaptation "complex" and "beautiful", stating that it features "sophisticated storytelling and complex plot weaving, memorable characters, godly production values and excellent pacing". Darius Washington of Otaku USA named Monster one of the ten best anime of the past decade. Carl Kimlinger enthused that "It cannot be overstated how brilliantly apart from the anime mainstream this unsettling, fiercely intelligent, and ultimately uncategorizable journey into darkness is." He praised Madhouse's animation for not only keeping up the dark "cinematic quality of Urasawa's art" but also improving on it, as well as Kuniaki Haishima's score for adding "immeasurably to the series' hair raising atmosphere." Though he noted Viz Media's inability to acquire the original ending theme song due to licensing problems, Kimlinger also called their English dub of the series one of the best in recent memory.