Ashita no Jô

Ashita no joe is nothing like average shounen, in fact it's not even like average sports anime like hajime no ippo or blue lock, ashita no joe is very realistic anime that doesn't require gruesome scenes or extreme dark themes, it doesn't try to be dark or mind blowing, it's hard to explain in words but there is almost an emotional mature aspect to it, which you can just feel it by watching and reading the art itself.

The journey of joe from being arrogant to being mature is just peak fiction.

It's been more than 50 years and no fiction of media has topped ashita no joe for me. Greatest piece of fiction no doubt about it. Everything about it is beautiful, I love the midnight blues as well.

Ashita no Joe isn't a show about boxing, it's a show about a man who boxes. And yet it's the best sport anime I've ever seen.

But Ashita no Joe is less about boxing as a sport, and more about how it can become the very lifeblood for a man, and how that affects him and those around him.

The story of Ashita no Joe, seen through Joe Yabuki (amazing protagonist) as a character, was very influential to the young crowds at the time. Joe's journey through life, his strive to find meaning in a beforehand meaningless existence, his brash attitude, combined with the state of the Doya slums, created a very relateable figure for the younger crowd back in 1968.

It even went so far that they constructed an (real life) funeral for a deceased, fictional character. The creators themselves had difficulty believing how much of an impact Ashita no Joe had as a story.

While Hajime no Ippo (another boxing anime) had a huge impact in terms of Manga field because of its longevity, characters and other things, Ashita no Joe was a social piece of art which became the symbol of a young population protesting on the streets, it went beyond the borders of its media to become a cultural and social symbol.

Ashita no Joe is one of the few shows I consider peak fiction and Joe was the best main character I've encountered.

Amazing anime. It's a grown up anime. It's harsh. But it's also touching without being kitsch. This is an anti-kitsch, loving and touching rash story. Beautifully made.

It suffers from lack of technology, of course. Even the plot won't follow modern graphics of tension and release. This is old fashioned. It's like reading a book. One of my favorite shows.

My fellow reviewer is the main reason I'm writing this review. He couldn't understand "the cartoonish design of the seven kids" and why wouldn't they grow, so I want to give him my thoughts on that. Read his review, for a detailed commentary on other aspects of the show - it's a very good review.

Here we go:

Cartoonish kids are supposed to be cute. These are the ugliest kids I've ever seem in animation. It IS unsettling. I think that's part of the plan. They are poor. It's a sick world. They are ugly kids.

And they DO change, as time passes. Specially the kid with the big teeth and the older kid, Taro, they change a lot during the 79 episodes. But they won't grow. They don't have food. Poor kids don't grow properly. They're underdeveloped. They are not normal kids. They are poor kids. I think that's the underlayment to those kids and I think it's heartbreaking.

That's some sophisticated way to deal with children in cartoon. This show is the opposite of kitsch and it's harsh, but it's not pessimistic. That's what's special about it. It's uplifting and full of hope and wisdom and lessons about overcoming problems.

It's a wonderful work of art.

Also, great music.

"Ashita no Joe" ("Tomorrow's Joe," 1970) is a 79-episode Japanese animated TV drama that tells the tale of Joe Yabuki, an orphaned teenager from the wrong side of the tracks in Tokyo who becomes a bantamweight boxing champ. Given the nature of the shantytown where many of the characters live, I initially assumed this was set in the immediate postwar era, but then I spotted the Tokyo Tower in the background in one shot, which would make it after 1958. Plus, the boxing matches are televised (in black-and-white) and many people have TV sets. There may be other cultural references that give specific markers as to when this is set, but I wasn't able to spot them. I watched eight episodes of the TV series for this review (nos. 1-4 and 37-40), plus the ASHITA NO JOE movie that came out in 1980, which compiled scenes from the entire series. All of these were in Japanese with no subtitles, so I was somewhat at a disadvantage. However, the story is primarily told visually and follows the familiar rags-to-riches arc of classic boxing melodramas, so I found it somewhat easy to follow throughout, except for certain subplots that were dependent entirely on dialogue. Episodes 38-39 focus their entire length on one important boxing match, so that was a high point.

I was impressed with the social context depicted so explicitly in the series. Joe initially has no interest in boxing, despite his success in fighting off large numbers of Yakuza thugs. An old boxing manager, Tange Danpei, now an alcoholic living in a shack, sees Joe as a potential champion and his ticket out of the slums, so he persuades Joe to undergo training under his guidance. Joe's motivation is in helping a group of orphaned children who have come to idolize him. When Joe's not training, he's involved in petty scams to amass a hidden cache of money, the purpose of which I was unable to determine. Joe's a big favorite among the vendors and peddlers in the shantytown district, along with other victims of the local Yakuza. When Joe eventually becomes a champ, the poorest fans are the ones rooting for him the most. But before that can happen, he gets in trouble with the law and has to do a stint in prison.

A lot happens in prison, some of which is featured in the movie version, which devotes an entire hour of its 152-minute running time to Joe's stay in prison, which means a significant portion of the series takes place there, starting with ep. 5 and ending at some point before ep. 37. In prison Joe meets another boxer, Rikishi, whom he fights a number of times both in and out of the ring, although they become good friends later on. There's a rich girl named Yoko Shiraki, the daughter of the owner of a prominent boxing club in Tokyo. She shows up a lot and seems quite close to Rikishi, although not, apparently, in a romantic way.

The match between Joe and reigning champ Wolf Kanagushi takes up two episodes, #38-39, and is quite harrowing. Poor Joe gets battered throughout the fight, but keeps bouncing back up before the count of "ten" for more punishment. In an American ring, his corner would have thrown in the towel well before the end of the fight. It's quite suspenseful.

I love the animation and design in this. The lines are bold and the backgrounds richly evocative of a time and place in Tokyo's history when the city had numerous pockets left untouched by the nation's postwar "economic miracle." It mixes elements from old Warner Bros. boxing melodramas (think KID GALAHAD, 1937, or CITY FOR CONQUEST, 1940) with the kind of gritty 1970s yakuza story directed by Kinji Fukasaku (e.g. THE YAKUZA PAPERS). A great deal of attention is paid to the mood of the piece, which holds more interest for me than the plot. In addition to the design of the characters and the detailed Tokyo backgrounds, I was moved by the music score, which uses some very unusual instrumentation, including a solo instrument that I couldn't identify which sounds like a cross between a harmonica and an accordion and is used to play the theme for Joe as he walks alone through the streets.

One problem I had with the series was the cartoonish design of the seven kids who act as Joe's entourage, including one little girl, Sachi. When Joe comes back from prison, after at least two years, the kids look exactly the same, not having aged or grown an inch at all. I'm sorry, but young children tend to look noticeably different after two years. I assume this was a conscious choice on the part of the animators, but the rationale for it eludes me.

The series was directed by Osamu Dezaki, who went on to do the women's tennis series, "Ace wo Nerae" (Aim for the Ace, 1973), which I've also reviewed on this site, and "Rose of Versailles" (1980), a groundbreaking historical series about a girl who becomes a bodyguard for Marie Antoinette. One of the great visual stylists of Japanese animation, Dezaki is more famous today for his later works, "Golgo 13" and "Black Jack."

The VHS tapes I have from this series look very different from the DVD copy of the movie version. The colors are different in each and the lines considerably softer in the DVD. The VHS image shows the graphics in greater detail and the image is complete, whereas the DVD crops the top and bottom and the right side to fit the theatrical aspect ratio. I definitely prefer my VHS copies. I had a chance to buy the entire series on used VHS, but opted to sample Volumes 1 & 10 first. I now wish I'd bought the whole series when I had the chance.

I did not watch the first season of Ashita no Jo, as I was not able to find it through my usual means of accessing Anime. After having watched Ashita no Jo 2, I can confidently say that you do not need to watch the first season to enjoy the second. It does reference the first season a number of times, but in such a way that it fills the blanks while doing so.

Ashita no Jo 2 is a special anime. The show does not try to convince you to have a certain perspective about the protaganist and his flaws, it simply takes you on a journey where some of the most powerful and inspiring aspects of human nature can also represent the most heart-breaking and disappointing results.

AJ2 seemed like it was going to be one thing as I ventured into the first half of the show, but it became something that held more depth, pain and within those qualities, beauty - than I imagined it would.

I believe that we as viewers are most drawn to characters in movies/books/tv that convincingly represent human traits and flaws in their more extreme places on the spectrum. Jo Yabuki is the epitome of finding fulfilment in the simplicity of one's passion, at cost to all other things, if necessary. The people around him represent balanced desire, normalcy, without this being portrayed as negative. He is what many wish to be, but fear being. Passion, in it's purest, most undiluted form. How beautiful, how tragic.