A lot of manga is published every year. While it appears a good chunk has been translated into English, we only get a drop in the ocean of what’s available in Japan. This is especially the case for classic material, with many important series unavailable in English officially. Ashita no Joe (aka Ashita no Joe: Fighting For Tomorrow) was among those until this week, with the first of eight planned hardcovers for the boxing drama now available through Kodansha.
Written by Asao Takamori and illustrated by Tetsuya Chiba, Ashita no Joe was serialised in Weekly Shōnen Magazine from 1968 to 1973. Five years of publication might not seem all that substantial – especially when you compare it to Gogol 13, which started the same year and is still running today. However, this boxing drama left a lasting legacy, selling over 25 million copies, being adapted into several mediums, and it’s even part of a working-class movement in Japan. The series has garnered a mystique in the West due to only a few anime adaptations making their way stateside.
So, with this legacy in mind, I was curious to see what all the fuss was about. And you know what? It’s pretty good.
Joe Yabuki is a 15-year-old drifter. One day, he wanders into one of the rundown neighbourhoods of Tokyo and instantly rubs people the wrong way. While picking a fight with some local gangsters, Joe catches the attention of a washed-up boxer who sees his boxing potential. He takes Joe under his wing, promising to train him to be a professional boxer. However, he uses this as an excuse to mooch off the old man and not take training seriously. Instead, Joe gets into trouble with the police due to several fraud-based scams. It’s not until being sentenced to a juvenile reformatory that the brash young man sees his talents for the sport, his potential as a boxer, and understands what it all means.
Those expecting boxing match after boxing match will need to shift their expectations for this first volume. These foundational chapters set up the characters, especially Joe, and justify the boxing later. It’s the dramatic side of the series, showing Joe getting in trouble with the law and navigating the trials and dangers of juvie. These events are integral to Joe’s character development and will eventually push him to take boxing seriously. That means that it takes almost 500 pages before we see a boxing match in the traditional sense. However, the sport is still front-an-centre in the lead-up, such as Joe using the few skills he’s learned to defend himself against everyone he’s disgruntled.
Joe Yabuki is the archetype for the juvenile delinquent hero seen in manga/anime today, with a blend of likeability and abrasiveness. His jovial attitude and street-smart tongue make him likable, which is probably why the local kids follow him around town all day. But it also gets him into unnecessary trouble by rubbing people the wrong way. In many ways, this attitude is a survival mechanism. Joe is a frustrated young man, raging against the world that hasn’t treated the orphan fairly. It also makes him stubborn, which might frustrate readers. But this frustration comes from caring about the character and wanting him to succeed due to witnessing his journey. This first volume sees these negative attributes evolve into something more positive as he takes up boxing, with future volumes likely to show its continuation in satisfying ways. It’s what made the character appealing to Japanese audiences at the time, being a champion for a class of people during a time of economic and social change.
Artist Tetsuya Chiba opts for an animated style similar to his contemporaries in a landscape heavily influenced by Osamu Tezuka. The solid lines and rounded forms that were popular at the time are just a starting point, with the liveliness of the characters elevating the comic. Characters are expressive in their actions and posture. Chiba uses it as a non-verbal tool to communicate how the characters feel, with the comic occasionally featuring stretches of minimal dialogue. For instance, Joe has a confident swagger and a sly look as he wanders into the neighbourhood. It also includes humourous moments, such as the reformatory’s guards’ shock at the aftermath of a fight, with them falling over themselves in surprise. I particularly enjoy the neighbourhood kids, each with their mini tough guy mannerisms such as exaggerated steps, leaning backwards with hands in their pockets, or walking around with their hands resting behind their heads. It gives the comic a lot of attitude and an extra level of enjoyment.
Many of the previously mentioned visual elements go out the window with the boxing action. Chiba opts for rougher linework during these scenes, composing Joe and his opponent tightly within panels so readers witness every blow. The punch’s speed gets accentuated through speed lines that give the illusion of motion blur. When they connect, the force is underscored by an impact burst, often accompanied by rough-bordered sound effects that explode into the next panel. These elements make the boxing match exciting, contributing to the stakes.
Ashita no Joe is more than a mere historical curiosity. It tells a drama populated with charismatic and flawed characters, using boxing at its centre. The manga is elevated by a liveliness that services the character acting and comedy but is also hard-hitting and tense during a boxing match. These ingredients make for a reading experience that lives up to the comic’s legacy and will make you wonder why it took so long to be translated.
Ashita no Joe: Fighting For Tomorrow Volume 1 can be found at all good comic book shops, online retailers, eBay, and Amazon/Kindle.
This is such a great classic. Really happy to see it showing up here. 🥊🥊