Golgo 13 Omake 10.5

Golgo 13, Special Edition Volume 2, Commentary (pp. 307~316)


Volume 2, Commentary
by Masatake Sugimori


Golgo 13 began serialization in 1968. Those were the times of the Cold War, symbolized by the nuclear arms race, the Vietnam War, and other surrogate wars between East and West; led by the Soviet Union and the United States, respectively. Japan was no exception to all this, and in politics, conservatism dueled against progressivism. In culture, the generation of youths led mass student protests, heightening student political activism more than ever. Justice was debated, both in Japan and across the rest of the world, purely in terms of black and white. Left and right. The age can be said to have marked the heyday of political ideologies. And Golgo 13 began with this age as its current scene.

However, the protagonist of this narrative chooses neither left nor right. He is neither conservative nor progressive. He upholds no particular ideology. And not to forget, he is a criminal who makes a living through murder. Regardless of its fictional nature, for a work targeting an adult audience, the protagonist's character was so far removed from the trend of thought of its time.

But this narrative was an astounding success. The biggest reason for this was that readers were able to empathize with the character of Golgo. In an age where justice was a constant theme, and when narratives, in manga, television, or literature, always upheld good and condemned evil, Golgo 13 was completely unique. Why this brought empathy remains a mystery, but it is indeed a curious case in terms of sociology and psychology.

The fact that Golgo 13, 34 years after its inception, is still maintaining a tremendous level of popularity, provides us with yet another surprise. Many theories can be developed regarding this mystery, but to name one in particular, it is because Golgo 13—both the character and the work itself—do not operate based on contemporary ideologies. They have constantly pursued the most basic elements of being human. Common sense, justice, are all temporary illusions. Golgo constantly pursues his own, unique lifestyle, which is neither temporary, nor based in illusion. It is his steadfast walk along the human path.

An empathy for his manner and lifestyle. That may truly be the biggest reason for Golgo's popularity.


Chapter 5: Sleepers in the Cage
This undoubtedly ranks among the best of the early chapters. He goes to prison just to eliminate a criminal on death row, and once inside, places himself on death row in order to approach his target. He then cunningly guides the other into escaping, and hearing the target's cries of joy, proceeds to cruelly shoot him down. A hard-boiled manga in the true sense. He even employs a scientific property, halation, to make his way out of the once-inescapable prison without a hitch. As his target, Zallas the Blue-Eyed remarked, he really is an unbelievable man.

However, Golgo still shows signs of his youth at times. In the last scene, he tells Zallas, "They said they didn't have the patience to wait for your execution." But how unbecoming is this, for a professional hitman with a reputation for absolute secrecy. Though indirectly, he is essentially revealing the name of his client to his target. The Golgo of later years never pulls a stunt like this, even when he is absolutely certain of his target's eventual death. The reason for this is because there is always the smallest chance of his target living, and that would represent a betrayal of his employer's trust. Even when the chances are slim, or next to none, it is still a chance.

By being critical of the early Golgo in this manner, I may be doing so unfairly, and in hindsight. However, ironclad rules are created through constant experiences like this chapter. And fans begin to empathize with Golgo's uncompromising iron will.

*Staff*
Director: Takao Saito; Scenario: Kazuo Koike/Takao Saito; Layout: Saburo Takemoto/Takao Saito; Artwork: Fumiyasu Ishikawa/Mikijiro Kora/Saburo Takemoto/Takeshi Kanda/Hiromi Yamazaki/Yuji Otake/Yoko Mimura/Seisaku Tamura/Fuji Yamashiro/Takao Saito; Editor: Mamoru Osada


Chapter 6: The Midnight Sun Wails for Love
Kazuya Kudo, who would later become a scenario writer for Golgo 13, says he first read this chapter at a lending library during his youth, and was astounded the moment he saw the first page. The opening's movie-like cuts were so far removed from his preexisting notion of manga. The chapter ended like a foreign film, and he explains he was very much moved, realizing "Comics have come this far, can express this much" (excerpt from interview in THE Golgo-gaku). Film director Makoto Tetsuka agrees with this notion in THE Golgo-gaku, explaining that Golgo 13 is very movie-like in its layout and pace, and that the work is a pioneer in employing those techniques to picture narratives. The work's influence on later works is undeniable.

Among all of the chapters, this one contains one of the rare emotional storylines. It is composed as a love story of sorts. The title text is also special in that it is hand-drawn, and not typeface like most of the others.

In the last scene, the woman in the story follows Golgo after their one night stand, and sees him carry out his assassination. Golgo shows signs of shock, and after a brief moment of hesitation (he is shown sweating), he shoots the woman. He had no other choice other than to eliminate her. However, the fact that he had not been aware of being followed by a total amateur, again shows his youth. In this sense, Golgo's inexperience was what really took the woman's life.

*Staff*
Director: Takao Saito; Scenario: Kazuo Koike/Takao Saito; Layout: Saburo Takemoto/Takao Saito; Artwork: Fumiyasu Ishikawa/Mikijiro Kora/Saburo Takemoto/Takeshi Kanda/Hiromi Yamazaki/Yuji Otake/Yoko Mimura/Seisaku Tamura/Fuji Yamashiro/Takao Saito; Editor: Mamoru Osada


Chapter 7: Booby Trap
This chapter gives us an idea of how sharp Golgo's analytical skills are. He correctly determines his client to be a bureaucrat from his reaction to the French anthem, and instantly memorizes the characteristics of one of the hitmen, disposing of him when they meet for the second time. He also realizes the woman he abducted is an operative when he orders her to remove her clothes. The woman responds, "I won't try to run, I promise!!" to his request, unwittingly revealing that she is no ordinary lady.

When the woman asks Golgo what her mistake was, he graciously (?) explains: "There's only one thing an ordinary woman would imagine... If a man tells her to remove her clothing..."

Also in this chapter, we are offered a glance into Golgo's internal dialogue: "Without even knowing how many are out hunting... How will you escape!? Golgo 13!!" It is very interesting that he also refers to himself as Golgo 13.

*Staff*
Director: Takao Saito; Scenario: Kazuo Koike/Takao Saito; Layout: Saburo Takemoto/Takao Saito; Artwork: Fumiyasu Ishikawa/Mikijiro Kora/Saburo Takemoto/Takeshi Kanda/Hiromi Yamazaki/Yuji Otake/Yoko Mimura/Seisaku Tamura/Fuji Yamashiro/Takao Saito; Editor: Mamoru Osada


Chapter 8: The Black Simoom
This chapter begins with a shocking scene where Golgo is about to be executed by a firing squad. The wily Colonel Kaiyote appears, and Golgo is saved, but what would have occurred had there not been a sudden interruption? What was Golgo planning on doing? He certainly must have had no intention of going out like that, but with both hands bound, and a firing squad standing before him, it was definitely the most desperate situation of his career thus far.

This sort of scene begs the question of how Golgo would escape such a situation on his own...

*Staff*
Director: Takao Saito; Scenario: Kazuo Koike/Takao Saito; Layout: Saburo Takemoto/Takao Saito; Artwork: Fumiyasu Ishikawa/Mikijiro Kora/Saburo Takemoto/Takeshi Kanda/Hiromi Yamazaki/Yuji Otake/Yoko Mimura/Seisaku Tamura/Fuji Yamashiro/Takao Saito; Editor: Mamoru Osada


Chapter 9: Côte d'Azure
Ixion. The blind sniper who draws and shoots with godly speed and accuracy, and who even Golgo would not have been able to defeat head to head. Ixion is the first real rival that appears in Golgo 13. In order to defeat this formidable opponent, Golgo surprises Ixion by momentarily throwing away his weapon; the tool of trade for the professional hitman.

Golgo begins to walk off after defeating Ixion. However, he turns and shoots Centaurus, the Seeing Eye dog, who refuses to leave his master's side. This action isn't as cruel as it may seem. Golgo simply decided that it would be best to send Centaurus off with his master, a rare instance where we catch a glimpse of Golgo's compassionate side.

*Staff*
Director: Takao Saito; Scenario: Kazuo Koike/Takao Saito; Layout: Saburo Takemoto/Takao Saito; Artwork: Fumiyasu Ishikawa/Mikijiro Kora/Saburo Takemoto/Takeshi Kanda/Hiromi Yamazaki/Yuji Otake/Yoko Mimura/Seisaku Tamura/Fuji Yamashiro/Takao Saito; Editor: Mamoru Osada


Chapter 10: Golgo in the Sandstorm
June, 1967. Israel emerges victorious in the Six-Day War in electrifying fashion. The premise of this chapter is that Golgo contributed to the Israeli victory by carrying out a hit ordered by Israeli Defense Minister, Moshe Dayan. This is the first chapter where real-life individuals appear as characters, and the first time Golgo is depicted within the frame of a real historical event.

Golgo makes contact with his employer, Dayan, in his own unique way. As usual, he is supremely distrustful and cautious, even towards his clients.

The top secret operative, Insect (whom Dayan mistakenly assumes to be a man), mentioned in this chapter is actually an important character who makes several appearances later on. However, the operative's true identity is not revealed all the way until Chapter 20.

*Staff*
Director: Takao Saito; Scenario: Kazuo Koike/Takao Saito; Layout: Saburo Takemoto/Takao Saito; Artwork: Fumiyasu Ishikawa/Mikijiro Kora/Saburo Takemoto/Takeshi Kanda/Hiromi Yamazaki/Yuji Otake/Yoko Mimura/Seisaku Tamura/Kinzo Maeda/Harumi Kato/Fuji Yamashiro/Takao Saito; Editor: Mamoru Osada


Masatake Sugimori
Golgo 13 historian and director of the Duke Togo Research Center. Chief editor of THE Golgo-gaku (Shogakukan).