#Heroes Journey

[teathattast]

[odinsblog]

In 4 minutes, Kurt Vonnegut explained stories better than anyone I’ve ever heard. “The shape of the curve is what matters. Not their origins.”

He plots stories on 2 axes: X: Time, Y: Good fortune / ill fortune. He goes on to say, “Somebody gets into trouble, then gets out of it again. People love that story. They never get tired of it.”

Point 1: Stories have defined patterns.

In Joseph Campbell’s Hero of a Thousand Faces, he makes the case for the Hero’s Journey. Since then, it’s become the most famous storytelling structure in the world. Vonnegut argued stories could be divided into 8 shapes.

Each story, he said, fit one of the 8.

Point 2: Vonnegut says, “Be a sadist.”

No matter how sweet and innocent your leading characters, make awful things happen to them — so the reader may see what they're made of.” To see who your characters really are, you have to make them suffer. Only then does your audience have someone worth cheering for.

Point 3: End on a high note.

Vonnegut says, “It’s not accidental that the line ends up higher than where it began. This is encouraging to readers.” The way a story makes people feel when they finish is how they remember it. It’s called recency bias. Lift people up and they will love you.

“There are people. There are stories. The people think they shape the stories, but the reverse is often closer to the truth.” —Kurt Vonnegut

(source)

[watchnrant]

Daisy Johnson: Marvel’s Hidden Powerhouse Deserves the Spotlight

Daisy Johnson, better known to some as Quake, is one of those Marvel characters who, despite being packed with potential, often flies under the radar. With her complex backstory and incredible abilities, Daisy stands out as a character who could easily take center stage in the Marvel Universe. Yet, despite her many contributions to various teams and storylines, she remains one of Marvel’s most underappreciated heroes.

The Origin of a Seismic Hero

Daisy Johnson’s story begins with her debut in Secret War #2 (2004). Born to the supervillain Mr. Hyde and a S.H.I.E.L.D. agent, Daisy inherited more than just a complicated legacy — she developed seismic powers that allow her to generate powerful earthquakes. These abilities immediately set her apart, making her one of the most formidable characters in Marvel’s roster. But Daisy isn’t just another hero with an impressive skill set; she’s a trained S.H.I.E.L.D. operative, a force to be reckoned with in her own right.

Throughout the years, Daisy has proven herself time and time again. As part of the Secret Warriors, she worked directly under Nick Fury, handling threats that required the utmost discretion and skill. For instance, her leadership during the “Secret Warriors” storyline showcased her strategic mind and ability to navigate complex missions, yet these moments often didn’t get the spotlight they deserved. Similarly, her role in the “Avengers: Standoff!” storyline, where she played a crucial part in resolving the conflict, further cemented her status as a key player. However, despite these significant contributions, Daisy’s moments of glory have often been overshadowed in the broader Marvel narrative.

The Missed Opportunity in Marvel Comics

What’s frustrating about Daisy’s journey in the comics is how often she’s been pushed to the sidelines. Despite her vast potential, Daisy is often cast as a supporting character — a powerful ally who steps in during crises but rarely takes the spotlight. This is particularly disappointing when considering the rich narrative possibilities that come with a character like Daisy.

Her seismic abilities alone could easily be the focus of epic battles or catastrophic events. Imagine a storyline where Daisy’s powers are central to averting a global disaster — her seismic waves could be both the cause and solution, adding layers of moral complexity to her actions. Coupled with her experience as a S.H.I.E.L.D. agent, Daisy has everything needed to take on leadership roles in high-stakes missions that blur the lines between espionage and superheroics. Unfortunately, these opportunities are rarely explored, leaving Daisy in the shadow of more mainstream characters.

Learning from Marvel’s Success Stories

To understand how Daisy Johnson could transition from a supporting role to a leading one, it’s useful to look at other Marvel characters who have successfully made this leap. Take Carol Danvers, for instance. Originally introduced as Ms. Marvel, Carol underwent a significant evolution to become Captain Marvel, eventually rising to prominence as a symbol of strength and empowerment within the Marvel Universe. Her journey from a secondary character to a leading figure in both comics and the Marvel Cinematic Universe (MCU) is a testament to what can happen when a character’s potential is fully realized.

Similarly, Natasha Romanoff, who started as a supporting character in Iron Man 2, grew into one of the Avengers’ central figures, both in the comics and films. Her story arc, filled with complexity and depth, transformed her into a beloved and central figure in the MCU. These examples illustrate that with the right narrative push, characters like Daisy Johnson can ascend from the background to become vital parts of the Marvel Universe.

A Star in the Marvel Cinematic Universe

The contrast between Daisy’s treatment in the comics and her portrayal in the Marvel Cinematic Universe (MCU) couldn’t be more stark. In Agents of S.H.I.E.L.D., Daisy, portrayed by Chloe Bennet, is not just a side character — she’s central to the show’s narrative. Viewers watch her evolution from a rebellious hacker named Skye into a powerful Inhuman leader, embracing her identity as Quake and becoming one of the MCU’s most formidable heroes.

The show succeeded where the comics have struggled: it recognized Daisy’s potential and gave her a fully developed character arc. She wasn’t just a member of the team — she often was the heart of it, driving the narrative forward with her growth and deepening connection to her powers. Agents of S.H.I.E.L.D. highlighted what makes Daisy special: her ability to balance her humanity with her extraordinary abilities, and her relentless determination to do what’s right, even when the odds are against her.

Exploring the Future: Where Could Daisy Go Next?

Looking forward, there are numerous ways Marvel could reintegrate Daisy into major storylines, giving her the spotlight she deserves. One possible direction could be to have Daisy lead a new iteration of the Secret Warriors, perhaps in response to a global crisis that requires her unique combination of intelligence, training, and seismic power. This would not only showcase her leadership abilities but also reconnect her with her roots as a S.H.I.E.L.D. operative.

Another intriguing possibility could be exploring the tension between her powers and her sense of responsibility. A storyline where Daisy is faced with a moral dilemma — using her powers at the risk of causing widespread destruction — could add layers of complexity to her character. Such a narrative could challenge her in new ways, forcing her to confront the limits of her abilities and the weight of her decisions.

Why Daisy Deserves More

Daisy Johnson has all the qualities that make for a great Marvel character: a compelling backstory, unique powers, and the potential for significant character development. Her journey from a troubled young woman with a mysterious past to a confident leader and hero is one that resonates with fans. She embodies the struggle between destiny and choice, power and responsibility, in a way that few other characters do.

It’s time for Marvel Comics to bring Daisy Johnson out of the shadows and into the spotlight she deserves. She should be leading major storylines, tackling threats that require her unique blend of intelligence, training, and raw power. There’s no reason why Daisy couldn’t be a central figure in the Marvel Universe, especially given her deep connections to S.H.I.E.L.D., the Inhumans, and the Avengers.

In a universe that’s constantly evolving, with new heroes rising to prominence, Daisy Johnson deserves to be at the forefront. Marvel has a hidden powerhouse in Quake, and it’s time they let her truly shake things up. By giving Daisy the attention she deserves, Marvel could unlock a treasure trove of untold stories, bringing new depth and excitement to their universe. The potential is there — Marvel just needs to unleash it.

FAQs

Who is Daisy Johnson, and what are her powers?

Daisy Johnson, also known as Quake, is a Marvel Comics character with the ability to generate seismic vibrations, effectively causing earthquakes. She is the daughter of the supervillain Mr. Hyde and a S.H.I.E.L.D. agent, and she is a highly trained S.H.I.E.L.D. operative.

Why is Daisy Johnson considered underappreciated in the Marvel Universe?

Despite her significant powers and contributions to various teams, Daisy Johnson often plays a supporting role in the comics. She has not been given the same level of prominence or storytelling focus as other Marvel characters, leading her to be somewhat overlooked.

How is Daisy Johnson portrayed in the Marvel Cinematic Universe (MCU)?

In the MCU, Daisy Johnson is portrayed by Chloe Bennet in the television series Agents of S.H.I.E.L.D.. Her character evolves from a hacker named Skye into a powerful Inhuman leader known as Quake, playing a central role throughout the series.

What potential storylines could elevate Daisy Johnson’s status in Marvel Comics?

Daisy could take the lead in a new Secret Warriors team, or she could be involved in storylines that explore the moral and physical implications of her seismic powers. These narratives would provide her with more opportunities to be a central figure.

How does Daisy Johnson compare to other Marvel characters like Carol Danvers?

Like Carol Danvers, who evolved from a secondary character into a leading superhero, Daisy Johnson has the potential to rise to prominence. Both have compelling backstories and unique powers, making them strong candidates for more significant roles in the Marvel Universe.

Why should Marvel Comics focus more on Daisy Johnson?

Daisy Johnson has a rich history, unique abilities, and the potential for deep character development. By giving her more attention, Marvel could explore new storylines and add depth to their universe, appealing to fans who enjoy complex and powerful heroes.

[wistfulnightingale]

"Somewhat Heroes" (or, Why Our Ineffables have been a Couple Since the Bus Stop, Part 1)

Mini-Meta Musing #5

Our Dear Ineffables have always been heroes to us. The Almost-Apocalypse in Season 1 pushed Aziraphale and Crowley farther than anything they'd ever encountered before. Each went through a crisis, a loss, and an individual journey during the final days of those events. It's the Classic Heroes Journey, right? Surprisingly, their stories don't reflect the 12 Classic Heroes Journey Moments. Or even the top 7. On purpose? Yep.

Although they made heroic choices at the airport, they were supporting-characters in that climax. It was the Them who stopped the Four Horsemen, Anathema and Newt who prevented nuclear war, and Adam who altered reality and saved the world. Azi and Crowley were "Somewhat Heroes." Kinda ordinary. Almost like Humans Incarnate -- just getting through by doing the best they can.

Nonetheless, Crowley and Aziraphale each came out of it all a changed Being, ready for a New Life. Ready to choose each other.

At the end of a Heroes Journey, the Hero has earned a Reward. For Our Ineffables, their reward was to finally be together, safely, without fear. There was nothing either of them truly wanted more than the chance to be "Us", enjoying the world they both love.

They held hands on the bus because they wanted to. 💕 The Ineffable Commitment began that evening. They were together as a couple from that moment on. The next day, the nightingale sang for them.

Crowley subtly offers his hand, bringing it down from the rail. He can feel the change. Aziraphale takes his hand, holds it. Finally. It was a moment of Truth for the angel. The significance of that gesture of affection was something he'd been carefully avoiding for a very long time.

We can see in the gif that Azi is looking straight ahead as he reaches for Crowley's hand. This moment matters deeply to him. He's crossing a threshold of commitment to this relationship, and it took a great deal of courage, and a great deal of love.

But neither of them could have fully reached this point without going through the Transformative Journey of a "Somewhat Hero."

When Aziraphale and Crowley argued at the bandstand in S1 E3, Aziraphale was still trusting in God's Plan. It was Inconceivable that he would Ever consider killing the child-Antichrist -- he would rather jeopardize their friendship with emotional protests and hurtful words.

When a frightened Crowley later finds him, apologizes, and proposes running away, Azi isn't angry any longer... "Our side" isn't really over... He doesn't reject Crowley. He's simply completely determined in his faith that God will fix everthing. There's even a moment where he seems to (very!) briefly imagine running away to Alpha Centauri.

Oh, he's not seriously considering leaving. Certainly not now -- the world needs saving, if he can just find the right person to fix it all.

For the Somewhat-Heroes Journey of our Ineffable duo, it's noteworthy that, unlike the Classic Hero Journey, there is no Yoda or Obi-wan, no Gandalph or Professor X to guide them. There is no "Meeting the Mentor". They are on their own, with no one but each other to rely on. It's been that way since... well, since The Beginning, when they weren't even quite sure that they'd made choices "their sides" would approve of.

After this brief meeting, they part, and each "Crosses the Threshold", continuing the Journey alone. Azi heartbreakingly learns that his shoud-be mentors/authorities are only uncaring bullies. Crowley must steel himself to face what he believes he fears most -- punishers from Hell. He survives, he wins! "Tests, Allies, & Enemies". They've never had any allies but each other, but right now, they don't even have that.

The next step for Classic Heroes is the "Approach to the Inmost Cave", the inner preparation for the difficult ordeal. I don't see it for our Dear Somewhat Heroes. Maybe I'm missing something... But it seems to me that what makes them different from Classic Heroes is that they're US, they're just very human and doing their best to cope with the dramatic circumstances they keep finding themselves in.

Even when they decided to thwart the Apocalypse 11 years ago, they planned to do it quietly, subversively, no heroic gestures and with what they hoped was minimal risk. Now, with a young Antichrist coming into power with a Hell Hound at his side, Aziraphale and Crowley are just making it up as they go, doing their best and trying to survive, like any of us might.

Ah, but next is "The Ordeal". The Ordeal is when the Hero faces their most deadly enemy, or their deepest fear. They must experience a metaphorical "death and resurrection" to be transformed -- everything they hold dear is on the line. Aziraphale and Crowley each face this, two diverging paths that tear them apart and bring them back together.

The burning bookshop is Crowley's "Inmost Cave", his darkest ordeal. Until now, Crowley's fears of the tortures of Hell limited him. I don't think he fully realized until this moment that the greatest fear of his existance was actually losing Aziraphale forever.

Everything that actually matters to Crowley is destroyed, and the empty space to his right holds nothing but flames. He is broken, and drunkenly waits for The End, lost in painful memories, a metaphorical death of Self.

As everyone but our angel expected, Heaven fails Aziraphale. In his "Ordeal", he is discorporated, pulled into Heaven to prepare for war. the encounter with the Metatron was his "Inmost Cave". What Azi thought was his greatest fear, what he had avoided fully facing for millennia, turns out to be true. Heaven isn't actually Good, it can neither be trusted nor relied on. His corporation has literally "died" in the accidental chain of events from this encounter. Everything he holds dear is now on the line -- the world, its people, and most of all, Crowley. The empty space to his left holds nothing but the glaring emptiness of Heaven. This simply won't do!

Aziraphale "Seizes the Sword" first. For the first time ever, he faces a higher authority, looks them straight in the eye, and defies them. No more fawning, no stammering. He's done with trying to fit in and "act like an angel". Azi is stronger now, TRANSFORMING. He's going Home, and if that means possessing someone in a very non-angelic rather-demonic way, that's perfectly fine. He knows a very nice demon who will understand perfectly!

Crowley, alone in the bar, has no idea there is still Hope. He's lost everything. Aziraphale's return reignites him -- now our beloved demon will do and can do Anything to reunite with Aziraphale. His Angel is his "Reward", and Crowley faces down Hastur fearlessly, in total control of an inane situation. With sheer will and imagination, he drives through unsurvivable hellfire, and holds the Bentley together, determined to reach the Being he LOVES. HE IS TRANSFORMED.

Why do our own hearts flutter as we watch this scene? We recognize a Romantic Hero. Crowley has a new level of confident swagger, an extra swing in his hips. He will win his Beloved, and we have the backlit romantic silhouettes of classic cinema to prove it. The deep gentleness when he leans in and murmurs, "Leave it to me" always makes my heartbeat jump just a little more...!

The car explodes, reality returns, Crowley can't "fix" everything... But Azi again doesn't act like an angel -- it's up to him to deal with the soldier. When they encounter the child Antichrist, Aziraphale is ready to shoot if he must. He was broken and reborn, he no longer trusts Heaven and their rules. Instead, He Trusts Crowley. What was a horrific thought to him when they fought at the bandstand is now his free choice. He fires the weapon to kill the enemy and save everything he loves. Thankfully, Mdm. Tracy prevents him. Other unlikely heroes have also been led to the same place, and each contributes to averting the Apolcalypse.

For Aziraphale, there is one more step to be made to fully complete his Journey to Transformation. He still trusts God, despite everything he's experienced. When Crowley reaches out to his Angel, oh so gently and tenderly, at the bus stop, Aziraphale lights up, but isn't quite able to make that final commitment-- yet.

Lesley, the International Delivery Man, arrives. He takes away the symbols of the horsemen, as well as Aziraphale's sword. Remember, Aziraphale bravely raised that flaming sword against Satan himself. It's committing to Crowley that's the greater challenge. Lesley speaks lovingly of his wife. He leaves. As the bus approaches, Aziraphale thinks of love, and again ponders what Crowley first said:

"Angel, what if the Almighty planned it like this, all along? From the very Beginning?"

This is the final moment of Transformation for Aziraphale. Our Angel realizes that he can trust them both, God and Crowley. He doesn't have to choose. He doesn't have to surrender the core of who he is, an angel who loves and trusts both God and Crowley.

He commits, and accepts the Hero's Reward. He takes Crowley's hand. It's a Promise. It's a Vow. It's the Reward both of our Somewhat Heroes wanted most, the only thing that mattered to them, besides Azi's faith in God. Loving and being Loved by each other...

I would have loved to see a flashback scene of those quiet years in between. The years we as fans imagine and write and draw and share and reblog, the cocoa, the cuddles... Solidifying and building on the bond of six millenia, now fulfilled.

But I have no doubt what we were seeing in the beginning of Season 2. Stick around, if you'd like. This is only the start of more posts that might just convince you...

[wr1t3w1tm3]

Look, I understand people are upset about the end of Will and Elizabeth's arcs in the original Pirates of the Caribbean trilogy. I won't lie and say I didn't want to see some Will as the Dutchman's captain and some Pirate King Elizabeth BAMF on the high seas. I'm not even saying the writers are right... I'm just saying that the way they set up Will and Elizabeth's arc's, it makes sense.

They're tragic heroes: it's like John Proctor or Reverend Hale in the Crucible or Iron Man during the Infinity Saga or even Thackery Binx from Hocus Pocus. They're heroes working towards a noble goal, but they either can't obtain it or when they can, it doesn't go according to plan, and they have to make some sacrifices.

For Elizabeth it's a little more obvious. She's the girl who's trapped in her social status. In the first movie, her corset, a very real symbol of her status, literally suffocates her. It nearly kills her. Only once she sees the world of piracy and gets swept up in that world and allows herself to be changed by it does she see any smattering of freedom. Her whole goal is to get freedom, for her people (Port Royal) and her love (Will) in CotBP, even at the price of her own freedom (agreeing to marry Norrington if he saved Will). In DMC it's for herself (literally), Will again, and her father. That whole movie she is constantly fighting to keep herself and Will out of prison and danger. In AWE, she's fighting for her own freedom at times, but she soon finds herself the harbinger of freedom for a new golden age of piracy against Cutler Beckett and the East India Trading Co, who in the Pirates universe are canonically slave runners. She is searching for freedom in a very wide scope.

For Will, it's a little less obvious. He is also striving for freedom, but often not his own. He fights to help free Elizabeth during CotBP, and in DMC he's literally fighting to keep his own freedom and win the freedom of Elizabeth. Even when that means turning in a (sort of) friend (Jack). When he meets his father in DMC, his mission of freedom for those he loves expands in two parallel directions, Bootstrap tells Elizabeth as much in the brig of the Dutchman in AWE. The director and writers of AWE made that very clear in Elizabeth and Will's direction. One of my biggest pet peeves with that movie is the lack of a relationship between Will and Elizabeth, but it does make sense. It demonstrates Will's dilemma. His search for freedom is much more tangible, and on a very narrow scope. It also demonstrates Elizabeth's dilemma, where she feels that the freedom Will craves for his father will separate them for good. So, she turns to piracy, because freedom is all she has left by act II of AWE.

Both are searching for freedom, but both are tied down by duty. Elizabeth becomes the Pirate King, Will the Captain of the Dutchman. Both bound by their own duty, although the only duty we see them both bound too tangibly is Will's. Isn't it ironic that in the end, the choice to kill Davy Jones isn't Will's? Sure, it was his intention, but Jack wrapped his hand around the knife and dropped the hand that felled the heart. Jack - the pirate - an embodiment of freedom for both characters in CotBP (he saves Elizabeth from her corset and is the inciting incident into Will beginning his quest for Elizabeth) is the one who chains them to Will's curse? Narratively, it makes sense. Elizabeth has just become the free-est we've seen her in any of the movies (and I will die on this hill) and Will's only just literally been freed from the clutches of the EICo. And even if you did argue that Elizabeth still had her freedom as Pirate King, it can be easily argued that she lost her freedom the day she decided to keep and raise Henry. Both of them end up chained by Will's curse - one to land, one to the sea. All on their search for freedom. And Jack, that symbol of freedom (or rather, a symbol of piracy that for both characters ends up being a symbol of freedom), is the one who chains them to land or sea.

Now I am all for Henry, I actually think he had some great potential pre-Deppo-osition trial, and I think it speaks to Elizabeth's character that she was willing to wait and stayed on land for her child (who she easily could've taken her anger out on, though that doesn't appear to be the case). It can even be argued she stayed on land for Will to, as he gave her his heart to guard, a very fragile heart that if stabbed, ended her husband (this is one of the final demonstrations of their mended relationship, but that's a different topic for another time). Will got a very short stick in this fight, but Elizabeth got an equally short, if not shorter stick. Chained to the sea, destined to see your wife a max of seven more days before her death, and the reverse true for Elizabeth, instead she is arguably forced by society to keep and raise the boy who reminds her of the husband she'll never be sure she'll see again.

That's why William and Elizabeth Turner - The Captain of the Flying Dutchman and the Pirate King - are tragic heroes. In striving for freedom, they became trapped by duties, obligations, and burdens that they didn't even get a say in. In the end, not every happy ending is a good ending. And while the original Pirates trilogy didn't have a happy ending, it had a good one, as far as the narrative was concerned (Do I like this ending? Yes. Personally, I think it works and it gives me that kind-of-icky-kind-of-satisfying pit in my stomach that Hocus Pocus did back when there wasn't a sequel. Maybe it's not the ending everyone wanted, but for the story being told, it's the right one).

Thanks for coming to my little rant! I used to love doing these literary analysis essays in English my junior and senior years of high school. Over analyzing media, especially film and tv, is something I quiet enjoy. Plus, I might do a foray into video essays one day, so I figured I could use some practice. This is something that's been bouncing around in my head since I first watched AWE. The original Pirates Trilogy is just so good at symbolism, I'll probably put more stuff out here eventually raving about it. For now though, this is it.

[nm-mattuz]

THEY DIED!!!

[saiyan-of-fairy-tail]

In the 5-star version of the new Heroes Journey memento, Lucina and Corrin can be spotted meditating in the water. And moving to and fro, fro and to, effortlessly dodging every object that M!Robin (supposedly) is dropping on them.

Honestly, I'm just surprised they can feel that.

[env0writes]

Impure Pilgrimage, 5.1.24 “Heroes Journey"

@env0writes C.Buck   Ko-Fi & Venmo: @Zenv0 Support Your Local Artists!   Photo by my friend Mika

I'm growing older than my heroes ever got to be Where is the logic? Where is the Bic? Burnt pages out of reach is a sight to see

Smoke stained lips, fingertips, eyes cry Better batter in my buttermilk pancakes Pitter patter, rain takes no breaks Do they know by journeys end, they die?

May, this midway month Land me for less than O’Hare Safer by the breadth of a hair Be more than a footnote for this doudecim-stunt

I'm past the rising action So hope to be, or not What middling Midwest question, unanswered since a tot Renew the race again, each firing of the gun

I'm older than my heroes now Learned much from their misfortune Evaded graven errors, and shared in my on portion Deciding my destiny on what and on how

A frosted fork in the road, less traveled than mine Neither with ease or with leisure To who shall it benefit, our rest and our pleasure For there are many more miles left to go and together; we'll whine

[thesummonerandthehelgeneral]

New Heroes Journey Event

Alfonse sneaked out during the night. Let's go see what he's up to.

3 Star

Miranda: Did you just eat the last cookie?!

Alfonse: *Knows he's busted*

4 Star

Joins him in some night time training.

5 star

Training again but get to a see a pretty sunrise.

[ds-90210]

Miles: I went on the hero's journey but I passed all the trials easily on my first attempt and returned home unchanged and learned nothing.

[thehat-taheht]

Boxers of Yesterday Today and Tomorrow

Storytelling in Sports

A normal person otherwise devoid of any specific purpose finds their raison dêtre in training for the martial arts.

This single sentence storyline is a fundamental story type in many Asian stories. You find it in Chinese Shaolin Temple epics, Japanese and Chinese rival school epics, Thai action films, Spanish and French sword-fighting fictions, and even American dramas and comedies. Rocky is the most notable example of an American version of this story type. In every example, the storytelling rarely focuses on the action and instead puts the onus on the relationships the character has with the world.

The most notable Japanese examples are Samurai films and combat/sports manga. In most of these examples the protagonist is relatively normal, allowing the audience to relate to them. Then the narrative introduces a reason for the character to evolve during exposition. The main character then is introduced to a mentor, not unlike Joseph Cambell’s example path of the Hero’s Journey. In sports narratives this mentor is usually in the form of a coach or trainer and they are uplifted from normal person to a superior athlete.

In sports manga and other sports fiction, the answer to all problems is always the same: Training.

Discipline provides confidence and training provides strength. Both of these are held together with ‘guts’ or determination. The athletic hero is confronted with stronger and stronger opponents and continues to train until he can defeat them. This type of ‘superiority through training and determination’ is a cornerstone of most Japanese stories. Many deal with an argument between skill and talent as well. In most cases learned skill defeats natural-born talent after enough training has occurred.

The lessons taught in these stories are almost always the same:

Nothing good is achieved without effort

Trust your friends and family

Strength is the product of discipline

Determination will give you victory

In this essay I will be focusing on three Boxing stories from Japanese culture. We will explore their meanings and narratives, the lessons taught, and the importance of their stories on culture.

Joe Learns to Box: Yesterday’s Tomorrow

Pugilism has a long history of nobility and violence. Boxing is enjoyed the world over as the world’s most basic of martial arts. Everyone can do it, but few can master it. Despite the sport’s organization being mostly from a European base, the United States has become the de facto home of the sport. It spread across the world and entered Japan in 1854 and became popular despite Japan’s dominance in the martial arts world.

Post World War II anti-American sentiment led to a lull in the sport, but boxing matches continued. As Japanese classical art like Emakimono evolved into Manga, artists struggled for meaning in a post nuclear world. One particular author found this meaning in the story of a prize fighter from the slums of Tokyo. Asao Takamori under the pen name Ikki Kajiwara teamed up with the artist Tetsuya Chiba to create their seminal work, Ashita no Joe. The story captured the spirit of Japanese determination and also their desperation in the face of their defeat of WW II and the subsequent reconstruction period. Joe’s redemption and anger belonged to the youth of the day and inspired other authors, artists, and aspiring boxers to try their best to grow and learn what it means to be strong.

Using this story as a lens to view other anime and manga you can see its influence everywhere you look, from popular to obscure. Notably Takamori’s story inspired a renaissance of boxing fandom in the late 1970’s. Despite there being several titles going to Featherweight and Welterweight champions in Japan during the time, boxing was relatively unpopular due to its association with the US. Ashita no Joe, or “Tomorrow’s Joe” captured a moment and helped to move its fans forwards toward a brighter tomorrow.

The titular character Joe Yabuki, is a tough-as-nails drifter that wanders into a shantytown and runs into an alcoholic boxing trainer, who sees a bright future hiding inside the brash youth and attempts to coax it out of him. Because of his terrible attitude and criminal behavior he is instead put in jail. Joe redeems himself (somewhat at least) and pushes himself to become a professional boxer. His story can be seen as a successful transition from an economic outcast into a functional member of society. In this case, society can be said to be the true villain of the story. Joe has either rejected society or society has rejected him, he has either turned to violence or been rejected due to his reliance on violence to solve his problems. Similar story origins can be found in gangster movies but also in stories like Rambo: Firstblood.

Classic and contemporary gangster films have characters that as children are shown a violent way of life, either by design or necessity. These children then grow into violent adults, full of anger and contempt for society and view the world as a thing to be possessed or conquered. Society ultimately rejects them for their violent and destructive natures. Stories like Rambo on the other hand, have a well liked child grow into a life of violence for a noble cause, but are ultimately unable to separate this violence from their personality. They eventually reject society as they cannot find a place and the violence in them serves no purpose.

Yabuki is a bit of a mystery as we have no context to put him in, but as with both other character types, his violence serves no purpose. He is defined by his violence and it colors all of his actions towards others. Joe is a fundamentally unlikable character, full of anger, bitterness, and child-like pettiness. His relationship with those that eventually come to care about him serves to instill societal norms in him in an attempt to turn him into a better person.

Instead of society itself, I propose that poverty is the real enemy of Joe and his friends. Every day is a struggle for all of them in San’ya. Economic disparity is on parade throughout the narrative, from the driftwood houses along the Namida Bashi (Bridge of Tears) to the sky scrapers and mansions of the mega-wealthy. Joe is carted around the world boxing in various countries, but he never really grows out of the slums in his mind. Joe is obviously a victim of his own stubbornness, but he was made that way because of lack of economic opportunity. This is one of the primary stumbling blocks on display in gangster stories, but instead of becoming an enforcer and earning a living in the underworld, Joe becomes a homeless wanderer, evoking the Japanese concept of a Ronin. A skilled fighter, disgraced and masterless but clinging on to his own moral code as he wanders from town to town.

While Joe is a product of his time, his story is no less poignant for modern audiences. I enjoy Ashita no Joe for a variety of reasons, but one of the best is its lack of focus on form. Chiba’s art is almost romantic with emphasis on Joe’s inability to care about the world, and Takamori’s rambling narrative is like a daydream at times with no obvious focus or form. If I had to compare it to music, Joe’s story is like a free form jazz with some repeating phrases and a theme, but mostly feels disorganized and yet is familiar. Joe has emblazoned himself into the minds and hearts of Japanese artists and athletes for decades and will continue to guide hearts, minds, and fists for decades to come.

Ippo Steps into the Ring: Yesterday’s Today

In sharp contrast to the unlikable character study of Joe Yabuki, we now come to possibly the most likable character in all of Japanese sports manga. Makunouchi Ippo, the titular character of Hajime no Ippo, has a boundless optimism that is almost never extinguished and his ability to win through sheer will power is incredibly inspirational. When I meet people that do not watch any anime or read manga and they ask me what to start with, Ippo’s story is always close to the top of the list. Of the three stories explored in this work, Ippo is my favorite. I have watched Ippo's road to fight against Date Eji more times that I can remember.

As with Joe, Ippo is a product of his environment and time. He is an example of modern boxing theory and technique tempered with lessons from the past. The origins of boxing are represented by the retired boxers in the narrative and the techniques of famous modern era boxers are on display in this love letter to obscure boxing styles. Ippo is the son of a fishing boat captain whose good naturedness causes him to forgo friendships and childhood distractions to help his mother operate the fishing boat business that supports them after his father's death. He is bullied and taunted until a chance encounter with a professional boxer saves him from a group of wannabe hoodlums underneath a bridge. Ippo awakens to find himself in the world of boxing and puts all of his considerable determination into making himself a professional licensed boxer. He manages this and continues to help his mother without complaining or losing his intoxicating optimism.

Makunouchi is meant to be a representation of the perfect son in Japanese culture. He is mannered, self-effacing, and always does the right thing. Conceptually, Ippo is almost as far as possible from Joe as a character. The world that Ippo exists in is also just as opposed to Joe’s world. While economics do factor into the narrative a bit, it is not a focus of the story. In this world the common everyday experience of Japan’s average citizen is on display. The manga is in full swing with shonen style comedy and slice of life stories, Ippo’s life is beset with heartache, rivals, highschool life, and bad dating advice.

The thing that really sets Ippo apart is the illustration of effort and power in the art of the near constant boxing and sparring matches. Although the art is a bit dated, it still communicates emotion and drama in a way that no other sports show has ever done in my opinion. Some of the later fights continue to give me chills and despite knowing the outcome of every fight, I still find myself cheering on Ippo. The color palette for everyday life is somewhat subdued but still contains a range of colors, but the fights are incredibly bright with flashes and huge blast lines. Usually this style of art would be a turn off for me in other mediums, but somehow Hajime no Ippo gets away with it.

If Joe’s story is Jazz, then Ippo is a Rock Ballad. Guitars scream at times, but other times the story is whimsical or romantic. George Morikawa’s skillful blend of emotions bring you through a chord progression of inspiring notes building to larger than life crescendos, that crash down upon you in a hail of pummeling fists, and knock you out with the power solos that are the crowd pumping championship matches. The drama conveyed in Takamura’s face while he attempts to control himself from opening a refrigerator while dieting to make weight, and the joyful head nod that Ippo gives when he defeats the first villain of the show are highlights that play on an loop in my mind drenched in squealing guitar riffs and the roar of the crowd.

One of the craziest things about watching the show for me is the effect it has on my exercise habits. If I ever want to get motivated to work out, I put on the first season of Ippo. Just as Ashita no Joe’s world is meant to capture the desperation of the downtrodden and the realism of his world, Hajime no Ippo seems to look at the world through Ippo’s guileless naivete. Ippo’s world is both very realistic and simultaneously extremely exaggerated. This offputting juxtaposition is difficult to navigate at times when you are wondering what is real and what is imagination.

Junkyard Dog Bites Mankind: Today’s Tomorrow

When writing about the future one of the things you have to ask yourself is ‘what will X be like in the future?’ Yō Moriyama, Katsuhiko Manabe, and Kensaku Kojima asked themselves, what would boxing be like in the future? How would people fight in the age of machines and artificial intelligence? Gearless Joe is the answer, or rather the inverse of the answer as he is essentially an anti-hero forgoing the future methods of robotic-assisted carnage, for old fashioned human-powered beatdowns.

If Hajime no Ippo is Classic Rock and Ashita no Joe is Jazz, then Megalobox is Industrial HipHop. It is hard, but rhythmic, artistic and catchy. By far the most polished of the 3 examples, it is an extremely fun watch and is effectively a stylized re-telling of Ashita no Joe. The nameless protagonist chooses the moniker ‘Joe’ meaning a man with no real name, but also an obligatory hat-tip to the source material that inspired them. Originally self-named ‘Junk Dog’ is employed to fight in fixed matches in the underworld that our original Joe eschewed. He feels trapped by his life and while attempting to force change, ends up essentially trapping himself even worse. Through a twist of fate, he is forced into the world of professional legitimate boxing in which if he loses he will die. In this brutal and vicious dog-eat-dog world, Gearless Joe shines as a likable anti-hero.

Unlike Ashita no Joe, society is not the big bad guy. There are of course real bad guys in Megalobox in the form of gangsters and fixers and hustlers, but the true villain in the story is greed. The story paints a nasty picture of corruption in the slums and then opens up the world into the bright lights of the legitimate world. With every turn you see another sign of economic elitism, not the least of which is Joe’s lack of personal identity. He is a non-person in the society and cannot even be allowed into the city, there is of course a blackmarket answer for everything and Gearless is allowed to come into the futuristic world of the Megalonia tournament and fight for his life.

His trainer sets up their gym under a bridge bearing more than a passing likeness to the same Bridge of Tears from Ashita no Joe. His team and Gearless Joe are the only desperate ones in the narrative, so unlike the feeling of inclusivity that Yabuki’s gang felt, Gearless Joe feels isolated.

An Abridged Story of A Bridge: Tears to Cheers to Fears

Dieting and sweat, training and bruises, bright lights and cheering crowds. There are a lot of things that the stories share due to the sheer concept of boxing, but one thing that stands out the most to me about the similarities is the geography. Ashita no Joe and Hajime no Ippo canonically occur in Tokyo whereas Megalobox occurs in the fictional ‘Administrative Zone’, but a common point with all stories is their reliance on a single feature of the landscape, a bridge. The bridge in Ashita no Joe is a famous one called Namida Bashi or the Bridge of Tears. It got this name due to the requirement that future prisoners of Kozukahara penitentiary would have to say their goodbyes to their loved ones on that bridge as you had to cross the Omoigawa river to get to the prison. The river was moved and the bridge doesn’t exist anymore, but in its time it was a symbol of loss and heartache and of loss of agency. It was no small symbolism for Joe’s trainer Danpei to open his ramshackle gym under the bridge. Joe’s relatively brief stint in prison and their constant struggle for survival, coupled with Joe’s incessant need to cause trouble always lead to loss, heartache, and usually a loss of agency. Many of Ashita no Joe’s most important moments occur in and around the bridge, borrowing context from the bridge’s reputation. Each of these events is usually a precursor to a major event in the context of Joe Yabuki.

Even though the bridge is now gone, the area around the bridge’s location is close to the Tiato and Arakawa districts that have several rivers that run through them with modern bridges that look remarkably like the one that serves as a setting for many of the critical plot turns in Hajime no Ippo. We see the entire storyline of Ippo’s relationship with Umezawa (Ippo’s school bully that is turned into his greatest fan) unfold under and around the bridge. Ippo manages to catch the 10 leaves that teach him how to jab next to the bridge, and several key conversations and character introductions are in and around the canal next to the bridge. I don’t feel that this use of the canal next to this particular bridge is random and suspect that if it isn’t just an icon from the author’s youth, it is an homage to Ashita no Joe’s use of the Bridge of Tears.

Ippo’s story doesn’t revolve around the same themes, so the bridge being similar but different is important in my mind. Being under the bridge, where Joe and Danpei were, is when Ippo is at his weakest and most vulnerable. The wise tree nearby becomes his first teacher and Ippo learns that he can grow stronger through dedication and training. This causes the bridge to become a symbol for growth and hope for a better tomorrow for Ippo. Even Umezawa crosses the bridge on his way to become a better person. Like Ippo is the inverse of Joe, the bridge in Hajime no Ippo is the inverse of the Namida Bashi. Everytime a character crosses the bridge they are stronger than they were before.

Megalobox as a revamp of Ashita no Joe also has a bridge, and of course they have their ‘gym’ underneath it. The symbolism in Megalobox is missing however and the bridge takes on a different meaning. Joe Yabuki and his trainer Danpei are poor in a community of poor people and they have a community to help them make their gym a home. Gearless Joe and Gansaku Nanbu have no such community to help them and must toil essentially on their own. The bridge and the river are essentially signs of the reality of illegal squatting, evidence that they do not belong in the world they find themselves in. As Gearless Joe and Nanbu rock the boat in entirely different ways than Joe Yabuki, death at the hands of the corruption of the city is their motivating factor instead of prison and poverty. The bridge over their heads instead becomes a symbol of cover, of hiding in plain sight. Not unlike the nameless boxer’s decision to choose the anonymous name of ‘Joe’.

To my reckoning there are a lot of examples of symbolism in all three stories, but none are shared so visibly and with as great an impact as the bridges over the heads of heroes while they train and live life outside the ring. Plans are formed, strategies devised, and history is made under these bridges, while clueless people stroll above them not knowing what extreme determination and strength of will lies beneath.

[enchantingepics]

Story Prompt 100

Amidst the ruins of a once-grand kingdom, a figure stood tall, surveying the devastation below. The flames licked at the remnants of civilization, casting an eerie glow upon the scene. The one responsible for this chaos, the one they called the villain, reveled in the destruction that lay in their wake.

Down below, amidst the chaos, a lone figure struggled to rise. The hero, battered and bloodied, yet still defiant, met the villain's gaze with a mixture of defiance and resignation. The weight of their countless battles hung heavy between them.

With a twisted grin, the villain approached, their steps deliberate and filled with malice. They raised their sword, not to strike, but to mockingly lift the hero's chin, forcing them to meet their gaze.

"You see, it's not about good or evil," the villain remarked, their voice dripping with disdain. "It's about power. And I have all the power now."

The hero, barely able to speak through the pain, spat out words of defiance. "You're nothing but a monster," they hissed, their voice barely a whisper amidst the chaos.

The villain's laughter echoed across the desolate landscape, a sound devoid of remorse or mercy. "Monster, perhaps," they conceded, their eyes gleaming with a twisted sense of satisfaction. "But a necessary one."

As memories of past betrayals and conflicts flooded the hero's mind, the realization of their own sins washed over them like a tidal wave. Regret mingled with anger, a bitter taste that soured the hero's resolve.

In a final, desperate attempt to defy their fate, the hero uttered a plea for redemption. "Please," they whispered, their voice barely audible above the roar of the flames. "Forgive me."

[fallensfandomblog]

All those broken training dummies prepared him for this.

[ginevracosmos]

Maa'ra and Tamras.

[nm-mattuz]

Brother sister bonding!