Tezuka’s playful zaniness is in full view here, as Beethoven’s encounter with mademoiselle Westerhold unfolds like a sequence from Alice in Wonderland. If you didn’t notice it yet, now it’s obvious - Tezuka draws Beethoven as a perpetual child, never really growing up - for comic effect, but also, obviously, to symbolize his innocence and the rift between his ideal world and reality (something that was highlighted in last volume’s conversation between Beethoven and Mozart, too). The theme of...
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