Tomorrow’s Joe, the manga that changed everything – Danger Room –

publication Ashita no Joe †from tomorrow) represents before and after the manga’s release in Spain by Arechi† Some will consider this statement a bit exaggerated and point out that the same can be said for the following titles. haikyu!! from Haruichi Furudat or kingdom from Yasuhira Hara, has a large extension. But it’s not even remotely the same, not only that the last two are relatively new and bestsellers that only need “editorial power” or the confidence that Japanese cartoons connect with a large audience devoted to their stories, it’s a guaranteed worldwide situation. Sales of works such as: tokyo avengers from Ken Wakui My Hero Academy from Kohei Horikoshi or your own haiki!!, among other things and especially because We’re talking about Ashita no Joe, a 1968 manga published in Shonen Magazine that changed the storytelling, representing the atmosphere of its time with a modernity that still disarms and gains greater validity as it is read today.

for something in the book Marc Barnabas (he is the translator of this manga) and Oriol Estrada (This title is the champion of being published in Spanish) 501 manga to read in spanish Wrote: “As this file was not published in Spanish at the time of writing, there has been no licensing announcement or even an announcement of intent to publish it by any publisher, we are making an act of trust with this file. However, we believe that sooner or later we will be able to read it in our own language. This, along with the fact that absolutely nothing has been published in Spanish by writer Tetsuya Chiba, one of the most fundamental in manga history, led us to decide to review this work in advance.†

And yes, that moment has come, thanks to his decision. Aresik and its publisher Carlos Miralles† And yes, everything that has been written about Ashita no Joe is not only true, but is dimensionalized by the narrative power unleashed by this first volume, which, when read through today’s eyes, is growing for the reader. We are faced with a kind of ‘manga river’, full of very, very modern, very meaningful drawing, so full of contemporary findings and resources that you think of that distant 1968, a year of the student revolts, and the social impact of a social change of these events. manga, the protagonist of the story Joe Yabuki, a charismatic orphan, a homeless man, a 15-year-old boy who must find a life, a survivor, who unconsciously thinks that things can be transformed into symbols of society (or a world).

The context of that period is important, so it should not be forgotten that 1968 was the year of social movements that took place all over the world. The famous French May, the Prague Spring, the Cultural Revolution in China, the Vietnam War and civil rights protests in the United States… and of course this is reflected in Japan as well. These are rebellions that somehow feed off each other.

In the 1960s, the Land of the Rising Sun was shaken by numerous student revolts in the context of growth and westernisation. However, this phrase, which emphasizes Ashita no Joe and the cultural formation of manga, was very influential at the time, Demonstrating for their ideas in 1968, teenagers had read manga all their lives.† Like all over the world, reading manga was geared towards children. But Japanese university elites read the manga and took their characters as figures symbolizing their desires or the mind with which they faced problems. In other words, while Ashita no Joe has a clear social impact, it represents a different, more mature approach to graphic storytelling.

We have already determined the coordinates where your hero is located. Ashita no Joe† Joe Yabukic, that parentless, poor, stubborn child who, after such a hard and intense training, had to fight against everything unimaginable, both physically and spiritually. The social critique component cuts through the whole story, offers more surprising analysis than a contemporary read, and clearly opens the door to a large audience manga that will evolve along the way.

scriptwriter Asao Takamori (Real name Ikki Kajiwara) and cartoonist Tetsuya Chiba It exudes a dynamic, expressive style that naturally mixes genres (not forgetting certain literary touches and a clear Dickensian echo, not forgetting all the adventures of Joe and the neighborhood kids), in which the characters move freely among the background in an impressive play. and the form, the landscape, and the peasantry of the work, thus spoiling everything superfluous, as if the adventures of Joe Yabuki actually unfolded in a natural/vital way. I don’t think it’s fair to attribute this to sports squads alone, as participation and coverage goes even further. And the authors of Ashita no Joe penetrate the deepest part of the collective consciousness of a historical moment by the young man who was trained to be a boxer. In other words, it immerses itself in labyrinths and human frailties with a level of empathy that celebrates and deserves the survivor and that mood, perhaps because in today’s world it is even more meaningful to read. Ashita no Joe†