My Osamu Tezuka 1 — Mamoru Masaki (Unpublished / Unearthed Documents)

This "My Osamu Tezuka 1" is an extremely valuable account that records, from an insider's perspective, the largely untold scenes inside Mushi Production in the 1960s.

A5 size
Main text: 144 pages
Produced by: Mamoru Masaki Project

This is a Comiket item, so there is no set retail price.
It is sold on BOOTH for ¥2,500.
If you come to Equal Bookstore, we will sell it for ¥1,500.

The author is Mamoru Masaki, who—before his debut as a manga artist—worked as a production assistant on TV anime such as Tetsuwan Atom (Astro Boy) and Jungle Emperor (Kimba the White Lion), and who was right in the middle of Mushi Production's hellish production environment.

In 1963, at 22 years old, a young man who came to Tokyo from the countryside is suddenly thrown onto the front lines of Japanese animation history.

Tezuka Osamu's obsession: drawing until paper calluses form (not pen calluses) and they bleed.
Endless all-nighters.
Schedules on the verge of collapse.
Confusion in each department, breakdowns among subcontractors, and the psychological pressure focused on the production managers.

Even so, in order to complete the work, the production site must overcome everything.

The precariousness of a workplace built around a "genius."
Friction within an organization losing control as it grows; the raw energy and unrefined passion of young talent.
The handmade sense of rush that characterized the early days of anime rises up here not as a record but as an experience.

This is not a polished story; it is unvarnished reality. The contradictions, exhaustion, shouted orders, and anxieties of the workplace are depicted candidly.

There is one more reason this book suits Comiket.

On the pages of COM magazine, Mamoru Masaki used the pen name Akane Toge and founded a nationwide organization for aspiring manga artists called "Gura-Kon," which actively introduced doujinshi and ran special features, built networks that crossed readers and creators, and provided pathways for amateur artists to debut in commercial magazines.

In other words, he actually stood at the source of the doujin culture that later led to the Comic Market.

Commercial vs. doujin.
Professional vs. amateur.
Production sites vs. reader communities.

This is a record by someone who lived on the front lines at a time when those boundaries had not yet been put into words.

For people interested in animation history.
For those who want to know Osamu Tezuka not as a myth but as a flesh-and-blood person.
And for anyone who loves the gritty reality of creative workplaces.

This is not a retrospective commentary compiled later. These texts retain the heat of a person who was in the midst of it all.

▼ Online sales
私の手塚治虫１　真崎守　（未発表・発掘文書） - 『イコール』メディアショップ - BOOTH