It is impossible to dangle one’s toes into the waters of Japanese sequential art without, sooner or later, encountering the name of Osamu Tezuka. Aside from being a hugely prolific and influential artist who inspired generations of authors, Tezuka was also one of the first Japanese comics artists to enjoy commercial success in the West with series including Astro Boy and Kimba the White Lion. However, despite the child-friendliness of Tezuka’s greatest successes, many of his finest works are decidedly darker and a good deal more complex. An excellent example of this is Tezuka’s recently translated The Book of Human Insects. Set in 1970s Tokyo, the novel offers a darkly compelling portrait of a woman with a remarkable capacity for re-invention. Ostensibly a psychological thriller about a Mr Ripley-like femme fatale who feeds upon Japan’s predominantly male intelligentsia, The Book of Human Insects resonates most when read as a critique of post-War Japanese society.