Twelve years after their beloved eldest son, Junpei, drowned while saving a stranger’s life, Kyohei and Toshiko welcome their surviving children home for a family reunion. Younger son Ryota still feels that his parents resent that he isn’t the one who died; his new wife, Yukari, is awkwardly meeting the rest of the family for the first time. Daughter Chinami strains to fill the uncomfortable pauses with forced cheer.

A young witch, on her mandatory year of independent life, finds fitting into a new community difficult while she supports herself by running an air courier service.

When Sophie, a shy young woman, is cursed with an old body by a spiteful witch, her only chance of breaking the spell lies with a self-indulgent yet insecure young wizard and his companions in his legged, walking home.

Beautifully constructed, 1001 Nights stays true to the lush and mysterious backdrop of the well known and age old story. Tezuka remolds the story into an escapist fantasy where a 60s-era working man is transported back to an era of entirely fictitious Arabian details. Seemingly at odds with itself, 1001 Nights consistently unfolds in a way that combines Playboy graphics, Arabian rug design and traditional Japanese scroll paintings. Sound like a strange mix? You bet and along the way we experience some of the great cultural juxtapositions that makes Tezuka the unpredictable style it is. Source: MAL

Ginko’s younger brother Tetsuro, a failed comedian, is the oddball of the family. Embarrassing, loud and plain inappropriate at times causes Ginko to disown him. The two reunite when she discovers Tetsuro is terminally ill. Tetsuro’s impending death marks the beginning of love and toleration.