Erick retweeted
『あしたのジョー2』第40話
車椅子のカーロスと海を眺め、クリスマスの回想に蘇る、かつての栄光。変わり果てた親友の姿に涙を流しながらも、その思いを胸に宿敵ホセ・メンドーサとの決戦へ。悲しみと闘志が交錯する。
Erick retweeted
All that remains is pure white ash
Ashita No Joe 2 #14 - Where is it ... joe's youth?
SB: Osamu Dezaki
ED: Shunji Ooga, Yoshio Takeuchi
Masterpiece
Erick retweeted
I feel visceral rage at anyone who tells people to give up, regardless of circumstances.
Erick retweeted
This is one of the most heartbreaking and iconic scenes in Ashita no Joe.
Tomorrow's Joe is more than just a sports anime; it's a man's lore and his unique ways of expression.
Erick retweeted
Un viaje... Siento que desaparecerás de nuevo en un viaje a alguna parte, pero no quiero que te vayas, si te vas esta vez siento que será para siempre y ya nunca volverás.
Que en paz descanse Tetsuya Chiba ❤️
Erick retweeted
To those who keep correcting me by saying that Tetsuya Chiba was merely the artist behind Ashita no Joe, and that Ikki Kajiwara was its true creator, I'd like to share a few thoughts on the matter.
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The reality is that both men are officially recognized as the co-creators of Ashita no Joe. The manga was born from a collaboration between Ikki Kajiwara, who wrote the story under the pen name Asao Takamori, and Tetsuya Chiba, who brought it to life through his artwork.
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However, in Japan and throughout the manga industry, there is a deeply rooted perception of Tetsuya Chiba as the true father of Joe Yabuki.
And this perception is far from baseless. There are compelling reasons behind it, rooted in the very creation and development of the manga.
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Ikki Kajiwara was widely known for writing raw, aggressive, and melodramatic stories filled with blood, sweat, and tears, such as Kyojin no Hoshi (Star of the Giants). In his original vision, Joe Yabuki was portrayed as a violent, unpleasant delinquent with little emotional depth or redeeming qualities. The overall tone of the story was intended to be considerably darker and more cynical.
Tetsuya Chiba, however, did far more than simply illustrate Kajiwara's words. He gave Joe his humanity.
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Chiba continually reshaped elements of the script because he wanted readers to connect emotionally with the protagonist and with the children growing up in Japan's impoverished neighborhoods.
If Joe ultimately became a tragic hero and a symbol of Japan's postwar working class, much of that transformation can be attributed to the emotional sensitivity and humanity that Chiba brought to the character.
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Some of the most legendary moments in Ashita no Joe were also born from Chiba's improvisation, creative decisions, or insistence on taking the story in a particular direction.
Take Tōru Rikiishi, for example.
Joe's legendary rival was originally intended to be a relatively minor character, roughly the same size and weight as Joe himself. However, Chiba accidentally drew Rikiishi considerably taller and more physically imposing.
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To make this visual difference work within the story, Kajiwara had to develop the brutal and now-iconic extreme weight-cutting storyline, which ultimately became one of the most unforgettable arcs in manga history.
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Then there is the ending.
The famous final image of Joe sitting in the corner of the boxing ring, completely white, was a visual interpretation conceived by Chiba himself. It brought the story to a poetic and deeply symbolic conclusion, moving beyond the purely tragic tone that Kajiwara often favored in his storytelling.
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Another important detail is that Ikki Kajiwara originally published the story under the pseudonym Asao Takamori, which somewhat diminished the direct association between his real name and this particular manga.
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Over the years, Kajiwara also became involved in personal scandals and legal troubles, eventually passing away at a relatively young age in 1987.
Tetsuya Chiba, on the other hand, remained active for decades as one of the most respected, admired, and beloved figures in the manga industry. Sadly, he passed away in October 2026 at the age of 87.
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Having served as the most recognizable public face of Ashita no Joe for more than half a century, Chiba became so closely associated with the work that, in Japan's collective cultural memory, the manga and his name became almost inseparable.
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And that brings me to my final point.
Recognizing Tetsuya Chiba's enormous contribution does not mean denying Ikki Kajiwara's authorship or diminishing his importance. Both men were essential to the creation of this masterpiece, and neither contribution should be overlooked.
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But their roles went far beyond the simple distinction between writer and illustrator.
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Kajiwara laid the structural foundations and established the boxing premise, but Tetsuya Chiba gave Ashita no Joe its soul, its heart, and the visual identity that transformed it from a boxing manga into the cultural legend it remains today.
#TetsuyaChiba #AshitaNoJoe #JoeYabuki #TomorrowJoe #LegendaryMangaka #MangaMasterpiece #AnimeShindeiru #あしたのジョー
Damn that's unfortunate, while the movie was entertaining as a movie should be I completely understand why many would dislike it
Street Fighter is now getting hit with walkout reports and empty theaters.
Following a Deadline reader claiming guys were leaving over the movie’s homoerotic scenes, CBN now has firsthand accounts from opening night.
A friend of CBN says six separate groups walked out of his screening before the movie ended.
About 14 tickets total.
Then there was my showing.
Friday night.
9:45 p.m.
Opening night.
I was the only person in the theater.
One ticket sold.
That lines up with the box office.
Street Fighter is currently heading for around a $30 million opening, at the low end of expectations, on an $82 million budget.
The critics score is rotten.
And audiences appear to be getting a very different movie from what the trailers sold.
Walkouts and empty theaters are the opposite of the word of mouth this movie needs.
The full weekend numbers arrive Sunday.
Our full review is also coming.
It’s complete garbage.
more: cosmicbook.news/street-fight…






































