Takao Saito

2.1. Birth and Childhood

Takao Saito was born in Nishiwasa city (now Wakayama city), Wakayama Prefecture, Japan, on November 3, 1936. Shortly after his birth, his family relocated to Osaka, where they established a barbershop. Saito himself was unaware of his Wakayama birthplace until he was 43 years old, considering Osaka his true hometown. As the youngest of five siblings, Saito's early life was shaped by his mother, who single-handedly raised him and his four older siblings while managing the barbershop after his father left the family. During his childhood, Saito was known as a mischievous boy, excelling in art and crafts, but also prone to getting into fights. His childhood dream was to become either a boxer or a painter. He demonstrated early artistic talent, winning a gold prize at a prefectural painting exhibition during his junior high school years.

2.2. Family Relationships

Saito's relationship with his family, particularly his mother, was complex due to her strong aversion to artistic professions. His father, who had pursued photography, painting, and sculpting before abandoning his family, instilled in his mother a deep distrust of artistic careers. She would openly express her disdain, even burning his father's paintings in front of Saito and stating that "a man cannot make a living from art." This sentiment extended to Saito's own artistic endeavors; she immediately burned the gold prize-winning painting he created in elementary school. When Saito decided to leave the family barbershop to pursue manga, his mother was furious and continued to despise manga and the profession of a manga artist until her death. Saito recounted that she never touched any of his books, even on her deathbed, and refused reconciliation, turning away from his works placed near her. A photograph of his deceased mother was displayed in his writing room, facing him as he worked, indicating his continued contemplation of this relationship.

His older brother, Hataji Saito, who later became the president and CEO of Saito Production and Leed Publishing, also held similar views, reportedly admonishing his own children not to read manga. Takao Saito was married to Setsuko Yamada, and they had two daughters. His daughters, using the joint pen name "Jungle-do," have published their own dōjinshi and commercial manga, including works for Leed Publishing, the company managed by their relatives.

2.3. Education and Early Influences

After graduating from Sakai Municipal Fukuzumi Junior High School in 1952, Saito began working at the family barbershop. He took over the business in 1953 with his sister. Although he initially had little interest in manga, aspiring instead to be an illustrator, he harbored a vague unease about the future of the illustration industry. This led him to explore storytelling through other mediums. He was deeply influenced by the cinema of the time and the "10-cent comics" brought into Japan by the Allied Occupation forces.

A pivotal moment came when he encountered Osamu Tezuka's Shin Takarajima (New Treasure Island), which profoundly impacted him. He was reportedly so excited, exclaiming, "You can make movies with paper!" At this time, Saito's drawing style was soft, reflecting Tezuka's influence. One significant figure from his school days was a teacher named "Togo," who deeply impressed Saito by emphasizing the importance of responsibility and commitment, even in small matters like signing one's name on a blank test paper. This teacher's surname, Togo, later inspired part of the name "Duke Togo," the protagonist of Golgo 13. Saito also had a brief experience submitting a work to Manga Shonen magazine, where it was reportedly criticized by Tezuka (though it was later revealed that the editor, not Tezuka, had written the critique).

3.1. Rental Manga and the Gekiga Movement

Saito's entry into the manga industry began in the rental manga market. In 1955, after nearly two years of working on it in his spare time, he brought his story manga Baron Air (空気男爵_{Kūki Danshaku}^Japanese) to Hinomaru Bunko, a rental manga publisher in Osaka. Although initially rejected due to the paper size, he spent another year rewriting it, leading to his debut in 1956. He quickly became a prominent artist for Hinomaru Bunko, releasing numerous tankobon volumes.

In 1956, Saito made the pivotal decision to leave the family barbershop to fully dedicate himself to manga. This decision, however, greatly angered his mother, who continued to harbor deep resentment towards his profession throughout her life. Around the same time, Saito began living and working collaboratively with other artists, including Yoshihiro Tatsumi and Masahiko Matsumoto, in an apartment. He even briefly employed Noboru Kawasaki as an assistant, though Kawasaki soon left due to Saito's demanding nature.

In 1958, under the guidance of fellow manga artist Masami Kuroda, Saito moved to Tokyo. The following year, in 1959, Saito co-founded the 劇画工房_{Gekiga Kōbō}^Japanese (Gekiga Workshop) in Kokubunji, Tokyo, alongside seven other artists, including Tatsumi and Matsumoto. Their goal was to promote and establish the "gekiga" style, which focused on more dramatic, realistic, and mature storytelling, distinguishing it from traditional children's manga. Despite receiving numerous requests from rental manga publishers, the Gekiga Kōbō was short-lived, disbanding in the spring of 1960 due to internal conflicts over organizational structure, work distribution, and artist fees.

3.2. Founding Saito Production

Following the dissolution of Gekiga Kōbō, Saito initially planned to establish a "New Gekiga Kōbō" with five other action-oriented gekiga artists, including Masaki Sato and Noboru Kawasaki, but this plan did not materialize. Instead, in April 1960, he founded his own manga production company, Saito Production, in Kokubunji, Tokyo. Artists such as Fumiyasu Ishikawa, who resonated with Saito's organizational philosophy, joined as staff members. Saito's older brother, Hataji Saito, took on the role of manager, marking a significant step in professionalizing manga creation. Saito Production subsequently published a multitude of rental gekiga works, with Typhoon Goro (台風五郎_{Taifū Gorō}^Japanese) becoming a particularly popular series. In 1962, Saito also co-founded the "Gekiga Shudan" (Gekiga Group) with other rental gekiga artists, including Masamichi Yokoyama and Shinji Nagashima. Unlike the previous Gekiga Kōbō, this organization primarily served as a social group for gekiga artists, also publishing newsletters for general readers.

3.3. The Division of Labor System

Saito Production pioneered an innovative manga production system based on a division of labor, a method that mirrored the practices of film studios. This system involved specialized staff members handling different aspects of manga creation, such as scriptwriting, character drawing, background art, and finishing touches (toning, inking, corrections). This approach significantly improved efficiency, allowing Saito Production to undertake long-term serializations while maintaining high quality and ensuring the well-being of its staff, who were known for their good employment conditions and fair treatment, a contrast to the often low wages and long hours typical for manga assistants.

Unlike Osamu Tezuka's Tezuka Production, where Tezuka's name alone was credited, Saito Production's works often included a detailed list of staff credits at the end of each chapter, similar to film credits. However, these credits were typically removed in the tankobon volumes. For instance, in the production of Onihei Hankachō, the process involves a team of about 10 drawing staff members, in addition to Shinji Hikino, who handles the initial pencil sketches after reading the script. Chief artists such as Yoshihide Fujiwara and his twin brother Terumi Fujiwara then review and refine the composition. Once the composition is finalized, the work is distributed to specialists: Shuji Shirakawa for backgrounds, Shuji Kimura for main characters, and Naoko Ura for supporting characters. Shirakawa and Ura then assign tasks to other staff members. The final stage involves all staff applying tones, ink, and making corrections. This entire process, from sketching to finished manuscript, typically takes about seven days. The popular urban legend that "Saito Takao only draws the main character's eyes" is a misconception, originating from the manga Kochikame, whose author Osamu Akimoto is a fervent admirer of Saito.

Saito Production also played a crucial role in the establishment of Leed Publishing. Leed Publishing was spun off from Saito Production's publishing division. Saito's brother, Hataji Saito, served as the president and CEO of both companies. After Hataji's death in 2016, his eldest son, Tetsuhito Saito, took over as president. Leed Publishing uniquely publishes tankobon volumes of Saito's works, even those serialized in magazines from other major publishers like Shogakukan (for Golgo 13), a practice that originated from a time when major publishers primarily focused on magazines rather than separate tankobon releases.

4.1. Golgo 13

Golgo 13 is Takao Saito's most famous and enduring work, a series that has become synonymous with the "gekiga" genre. It began serialization in Shogakukan's Big Comic magazine in October 1968 and continued without interruption until Saito's death in 2021. This makes it the oldest manga still in publication. In July 2021, with the publication of its 201st volume, Golgo 13 was officially recognized by Guinness World Records as the "Most volumes published for a single manga series."

The series centers on the professional assassin Duke Togo, also known as Golgo 13, and is renowned for its detailed research, realistic depiction of international politics, weaponry, and criminal underworlds. Saito himself stated in 2013 that "The manga has continued so long that it is no longer the property of the author; it belongs to the readers." The immense popularity of Golgo 13 led to numerous adaptations, including two live-action films, one animated film, an OVA, an anime television series, and several video games. Following Saito's death, in accordance with his explicit wishes, the serialization of Golgo 13 continues under the collaborative efforts of Saito Production, its script staff, and the Big Comic editorial department, showcasing the ultimate form of the division of labor system he established.

4.2. Other Notable Works

Beyond Golgo 13, Takao Saito created a vast body of work that significantly contributed to the manga landscape:

• 007 (1963-1967): Saito entered the mainstream manga industry with this adaptation of Ian Fleming's James Bond novels for Shogakukan's Boy's Life magazine.
• Muyonosuke (無用ノ介_Muyōnosuke^Japanese, 1967): A historical action gekiga serialized in Weekly Shōnen Magazine, becoming a representative hit for the magazine's gekiga line.
• Kage Gari (影狩り_{Kage Gari}^Japanese, 1969): Another notable action series.
• Barom-1 (バロム・1_{Baromu Wan}^Japanese, 1970): A superhero manga.
• Japan Sinks (1970): A manga adaptation of Sakyo Komatsu's disaster novel.
• Kaito Sugar (怪盗シュガー_{Kaitō Shugā}^Japanese, 1972): A phantom thief series that was adapted into the unreleased NES video game Secret Ties.
• Survival (サバイバル_Sabaibaru^Japanese, 1976-1980): A popular survival-themed manga.
• Doll: The Hotel Detective (ホテル探偵DOLL_{Hoteru Tantei Dōru}^Japanese, 1980): A detective series.
• Kumotori Zanpei (雲盗り暫平_{Kumotori Zanpei}^Japanese, 1983-1988): A historical series.
• Onihei Hankachō (鬼平犯科帳_{Onihei Hankachō}^Japanese, 1993-present): An adaptation of Shōtarō Ikenami's novel series, continuously serialized in Leed Publishing's Comic Ran magazine. This series also continues after Saito's death, with scripts initially by Sentarō Kubota, then Kusumi Ohara, and later joined by Kaori Moriyama.
• Breakdown (ブレイクダウン_Bureikudaun^Japanese, 1995): A series focused on collapse.
• Professional Swordsmen of the Edo Era (剣客商売_{Kenkyaku Shōbai}^Japanese, 1998-1999): Another manga adaptation of Ikenami's work.
• Shikake Jin Fujieda Baian (仕掛人 藤枝梅安_{Shikakenin Fujieda Baian}^Japanese, 2002-2016): This series was put on hiatus in 2015 due to Saito's physical burden and eventually concluded in 2016.

Several of Saito's series, including Onihei Hankachō, Barom-1, Japan Sinks, and Doll: The Hotel Detective, were released in digital English versions by JManga. He also created numerous other works, including Baron Air (1955), Typhoon Goro (1958), Devil King (1964), Hawking (1974), Breakdown (1995), and various historical and action-oriented titles.

5.1. Identity as a Gekiga Artist

Takao Saito strongly identified as a "gekiga artist" rather than a "manga artist," a distinction that underscored his unique approach to storytelling and art. He rejected the conventional term "manga" because he aimed to create works that were more dramatic, realistic, and mature, often employing cinematic techniques and complex narratives. While he initially had an interest in science fiction, the prevailing preferences of the rental manga audience, primarily young laborers, led him to focus on action-oriented stories. This preference for "gekiga" reflected his commitment to pushing the boundaries of the medium beyond what was typically associated with children's comics, establishing a genre that appealed to adult readers with its depth and intensity.

5.2. Artistic Techniques and Process

Saito's artistic techniques and production process were highly distinctive and integral to his ability to maintain a prolific output while ensuring quality. Initially, he used a G-pen for his inking, but later transitioned to using sign pens of varying thicknesses. A notable aspect of his workflow was his practice of inking directly without preliminary pencil sketches after the "name" (storyboard/layout) phase. He would begin drawing characters by focusing on their most distinctive features, such as eyebrows or sideburns, and then build the rest of the character from there. In his works, particularly Golgo 13, numbers in dialogue were consistently written using Chinese numerals (kanji), except for proper nouns, adding to the unique aesthetic of his pages.

Within Saito Production, the division of labor system was meticulously applied to the artistic process. After the script was read, initial pencil sketches were made. These sketches were then reviewed and adjusted by chief artists to fit the "Onihei-style" composition. The work was then divided among specialized staff members responsible for backgrounds, main characters, and supporting characters. The final stage involved all staff collaborating on applying tones, inking, and making corrections. This streamlined process allowed for efficient production, with a single manuscript typically taking about seven days to complete from initial sketch to final artwork.

6.1. Major Professional Awards

• In 1976, Saito won the 21st Shogakukan Manga Award in the General category for Golgo 13.
• In 2002, he and Golgo 13 were honored with the Grand Prize at the Japan Cartoonists Association Awards.
• In 2005, Golgo 13 received the Special Judges Award at the 50th Shogakukan Manga Awards.
• In 2019, Saito was awarded the Special Prize from the Tezuka Osamu Cultural Prize committee, recognizing his decades of significant contributions to manga.

6.2. Government Decorations and Posthumous Honors

• In November 2003, the Japanese government bestowed upon Saito the Medal with Purple Ribbon for his outstanding contributions to the arts.
• In April 2010, he received the Order of the Rising Sun, 4th Class, Gold Rays with Rosette, another prestigious government decoration.
• In 2017, he was given the Iwate Hometown Special Manga Award at the 7th Iwate Manga Awards, acknowledging his residence in Hanamaki, Iwate, and the inclusion of a character from the prefecture in Golgo 13.
• In January 2018, he was honored with the Wakayama Prefecture Cultural Award from his birth prefecture.
• In September 2019, the Tokyo Metropolitan Assembly recognized him as a meritorious resident of Tokyo for his artistic contributions, bestowing upon him the title of Honorary Citizen of Tokyo.
• Following his death, on October 6, 2021, the Japanese government decided to posthumously confer the Senior Sixth Rank upon Saito.

7.1. Establishment and Purpose

The Saito Takao Award (さいとう・たかを賞_{Saitō Takao Shō}^Japanese) was established in 2017 by the Saito Takao Gekiga Cultural Foundation. The award's primary objective is to promote and recognize "outstanding works" created using the division of labor system pioneered by Saito himself, which separates the roles of writing and illustrating manga. It aims to highlight the collaborative nature of professional manga creation, a cornerstone of Saito Production's success. First awarded in January 2018, the prize is unique in that it recognizes not only the scenario writer and illustrating artist but also the editor or editorial department of the winning manga, emphasizing the collective effort behind successful series. Winners in the writer and artist categories receive the "Golgo 13 Trophy" and a prize of 500.00 K JPY. Nominations for the award can only be submitted by professional manga editors, and nominated works must be original, targeting adult readers. Due to the COVID-19 pandemic in Japan, the fourth Saito Takao Awards in 2020 presented a Special Award to Buronson for his 48 years in manga, deferring the main awards for that year to the following year. The final selection committee has consistently included Takao Saito (until his death), Ryoichi Ikegami, Jūzō Yamasaki, and writer Masaru Sato. Takashi Nagasaki has also been a regular committee member since winning the first award under his pen name Richard Woo.

7.2. Past Recipients and Works

The Saito Takao Award has recognized several notable works and their creative teams since its inception:

8.1. Family Life

Takao Saito's personal life was deeply influenced by his family dynamics, particularly his mother's strong disapproval of his artistic path. His mother, having experienced his father's abandonment after his failed artistic pursuits, harbored a deep-seated aversion to any form of art as a profession. This led to her strong opposition when Saito decided to become a manga artist, a decision she never reconciled with, even on her deathbed. His older brother, Hataji Saito, who later managed Saito Production and Leed Publishing, also shared similar views, reportedly discouraging his own children from reading manga. Despite this, Saito was married to Setsuko Yamada and had two daughters, who themselves became manga artists under the joint pen name "Jungle-do," publishing works in both dōjinshi and commercial magazines, including those from the family-related Leed Publishing.

8.2. Hobbies and Personal Habits

Saito had several notable hobbies and personal habits. He enjoyed watching television and movies, and was a lifelong fan of sumo wrestling; a former sumo wrestler, Sanmihama Toshikazu, was a relative on his mother's side. In the 1980s, he was an avid golfer, often playing with fellow manga artists such as Shotaro Ishinomori, Kenichi Kitami, Tetsuya Chiba, Jiro Tsunoda, Fujiko Fujio A, and Mitsutoshi Furuya. A group autograph from these artists is displayed at Fujinoya Bekkan in Yamanashi.

Saito was a lifelong smoker, having started at the age of four. He claimed to have smoked "anything called tobacco," including cigars (preferring thin Mexican brands) and pipes, and continued to smoke while working. Although he was once a heavy chain smoker, lighting one cigarette from the last, his daily consumption reportedly decreased to about 40 cigarettes. He favored brands like Premier One and Mevius D-Spec.

8.3. Mentors and Key Influences

Several figures and experiences significantly influenced Saito's life and career. His junior high school teacher, "Togo," left a lasting impression by emphasizing responsibility, inspiring the name "Duke Togo" for the protagonist of Golgo 13. The impact of Osamu Tezuka's Shin Takarajima, which he saw as "movies on paper," was a turning point in his decision to pursue story manga. Early influences also included "10-cent comics" and cinema. Professionally, manga artist Masami Kuroda served as a mentor, guiding Saito when he moved to Tokyo. Saito also maintained a close friendship with fellow manga artist Shotaro Ishinomori.

Other personal details include his diagnosis of retinal detachment at age 28 and diabetes at 48. He was known for his "tough guy" demeanor, with anecdotes of him confronting yakuza and physically handling a drunken colleague. Saito resided in Nakano, Tokyo, where Saito Production is located, and also maintained a home in Hanamaki, Iwate, his wife's hometown. His affection for Iwate was evident in Golgo 13, where he often featured characters from the prefecture. He was a fervent believer in blood type personality theory, even publishing several books on the subject. In 2014, he was appointed an Honorary Ambassador of Sakai City, Osaka. It is a common observation that Golgo 13 is often found in barbershops, partly due to its self-contained, easy-to-read episodes suitable for waiting customers, and partly due to Saito's own background as a barber.

9.1. Circumstances of Passing

Takao Saito passed away on September 24, 2021, at the age of 84, due to pancreatic cancer. His death was announced five days later by Shogakukan, his publisher.

9.2. Legacy Through Ongoing Series

In a testament to his innovative production system and his wishes, Saito explicitly stated that his major works, particularly Golgo 13, should continue even after his death. Following his passing, the serialization of Golgo 13 has indeed continued, with Saito Production, the script staff, and the Big Comic editorial department collaborating to maintain its publication. Similarly, his other long-running series, Onihei Hankachō, also continues to be published by Leed Publishing, aligning with Saito's wishes. This continuation of his works, facilitated by the robust division of labor system he meticulously established, represents the ultimate realization of his vision for professional manga creation, ensuring his legacy lives on through his stories.

10.1. Revolutionizing Manga Production

Takao Saito's most profound impact on the manga industry lies in his pioneering and successful implementation of the division of labor system within Saito Production. Before his innovations, manga creation was largely a solitary endeavor, with artists handling most aspects themselves, often leading to burnout and inconsistent quality for long series. Saito's model, inspired by film production studios, professionalized the manga creation process by assigning specialized tasks to a team of skilled staff members. This system not only drastically improved production efficiency and allowed for the consistent output required for long-running serializations like Golgo 13, but also fostered a more sustainable and professional working environment for manga artists and their assistants. Saito Production was notable for its fair employment conditions, reasonable wages, and attention to staff well-being, which contrasted sharply with the often exploitative practices in the broader industry. The inclusion of staff credits at the end of chapters, akin to film credits, further underscored the collaborative nature of his studio's output. This revolutionary approach set a new standard for manga production, demonstrating a viable business model for large-scale, high-quality manga creation.

10.2. Cultural Contributions

Saito's contributions extended far beyond production methods; he was a seminal figure who significantly shaped Japanese culture and popular entertainment. By championing and popularizing the "gekiga" genre, he broadened the scope of manga, proving its potential for mature, realistic, and complex storytelling that appealed to adult audiences. Golgo 13, in particular, became a cultural phenomenon, influencing countless creators and readers with its meticulously researched plots, gritty realism, and iconic protagonist. His works often reflected contemporary social and political issues, offering a unique lens through which to view the world. Through his dedication to craft, his innovative business practices, and the enduring popularity of his creations, Takao Saito solidified his status as one of the most influential and transformative figures in the history of Japanese manga and gekiga, leaving an indelible mark on the art form and its industry.