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talgia,” writes Svetlana Boym in The Future of Nostalgia.1 This zeitgeist of looking backwards materializes in Japanese manga and anime as a belated rendezvous with World War II, as a gaze across half a century into the Rising Sun and the invariable averting from the blinding rays of wartime history. Japanese comics’ “return of the repressed” entails a coming to terms with the collective trauma that allegedly ended in 1945, yet this yearning to engage a specific past of great pain is adulterated by the human instinct for pleasure and a withdrawal from pain. After all, any gaze into the sun results in a turning away, lest blindness or madness set in. Instead of staring into the sun himself, Van Gogh lets his sunflowers do that, maintains Georges Bataille. Bataille further casts this paradox of attraction and revulsion of the sun in the image of Icarus: “the summit of elevation is in practice confused with a sudden fall of unheard-of violence. The myth of Icarus is particularly expressive from this point of view: it clearly splits the sun in two—the one that was shining at the moment of Icarus’s elevation, and the other that melted the wax, causing failure and a screaming fall when Icarus got too close.” 2 Drawn to the best and the worst of times of Imperial Japan, the three Three Views of the Rising Sun, Obliquely: Keiji Nakazawa’s A-bomb, Osamu Tezuka’s Adolf, and Yoshinori Kobayashi’s Apologia s h e n G m e i m a