In his father's absence, teenager Ippo Makunouchi works hard to help his mother run her fishing boat rental business. Ippo's timid nature, his lack of sleep, and the sea smell make him an easy target for relentless bullies who leave him bruised and beaten on a daily basis. Mamoru Takamura, an up-and-coming boxer, rescues Ippo from a violent after-school incident and takes him back to the Kamogawa Boxing Gym for recovery. Takamura and his fellow boxers, Masaru Aoki and Tatsuya Kimura, are stunned by Ippo's powerful punches—a result of strong muscles developed through years serving his physically taxing family business.
Following brief training under Takamura, Ippo impresses the other boxers in a practice match against prodigy Ichirou Miyata. He gains a rival in Miyata and a coach in Genji Kamogawa, the gym owner and a former boxer himself. As Ippo takes the first steps in his official boxing career, he faces off against a series of challenging opponents, each more powerful than the last. Victory, loss, and a cycle of dedicated training await Ippo on his journey to achieve greatness. With his tough body and unstoppable fighting spirit, the kind young man seeks to take on the world.
Learn how to draw anime & manga from Japanese pros🎨 Weiß Schwarz Lycoris Recoil Trivia Giveaway The results are in! Take a look through MAL's official 2023 anime yearbook
Hajime No Ippo 2: Victorious Road (japan) Ps2 Iso
There are many great sports anime that escaoe the shounen/spokkon formula like Ashita no Joe or many others that try to deconstruct it like Ping Pong the animation or Blue lock with great results. As well, there are other good ones following this structure without that many twists (Haikyuu, Kuroko no Basket...) but they usually tend to fall flat on certain aspects as the series go by, wasted supporting characters forgotten or reduced to gag characters, excessive focus on the main protagonists, and the infamous friendship boosts and plot armor.
However ... Hajime no Ippo, while following all of the genre's tropes, expands on each of the plot points with great care and gives this stereotypes a refreshing sense of depth and nuance. One of the many examples is Umezawa, who bullies Ippo throughout the first part of The FIghting, becoming Ippo's best friend as the series goes and arguably his greatest supportes, instead of dissapearing in frustration when realizing his strength, as many characters who share his archetype do. This comes with reflection on his mistakes and the development of his own dreams (becoming a mangaka). This is just one example of how HNI expands on these archetypes (and the one which spoils the least of the plot) making them into original much more nuanced iterations of these stereotypes. While not flawless (almost impossible due to it's length), I'd put Hajime No Ippo among the best shounen and spokkon anime without a doubt.
There are plenty of stories about a young man finding some sort of passion and following it to some sort of logical conclusion, and Hajime no Ippo chooses not to stray from that basic idea very far. Luckily for original creator Morikawa George, not straying far from this premise seems to be the recipe for a successful comic that has lasted more than 1000 chapters week after week since its original Shounen Magazine publishing in 1989. This adaptation by Madhouse and director Nishimura Satoshi is longer than your usual TV anime run, at 75 episodes, but it doesn't quite cover the incredible length of Nishimura's ... original comic. Instead, it opts for a sort complete story in itself, covering protagonist Makunouchi Ippo's career from its inception until his eventual championship. This works in the show's favor since, despite its length, not much time is wasted. The story progresses in a rather linear fashion from one fight to another, introducing Ippo's opponents one at a time and moving Ippo himself steadily up the ranks of a young boxer. However, since very little of the show is not about Ippo himself, the routine does become a bit stale quickly. By the second or third fight, it is already apparent what the formula Morikawa George is using consists of. Ippo's next enemy is stronger than his last, and he must somehow adapt to this, typically by learning some new technique. And when the fight itself comes, it all boils down to Ippo winning through his sheer tenacity - no matter what his opponents throw at him, he just doesn't give up, and you just know the spectators will feel the need to comment on his never ending stamina between every single round. In all truth, while simple, this is both tiring and unsatisfying, especially since Ippo's opponents are almost always significantly more interesting and endearing than Ippo himself. The narrative wants me to root for the hard working underdog Ippo, but it usually turns out that I want his opponent to win. This is because Ippo's enemies are fleshed out enough for the viewer to understand how they've trained for this day and what is at stake for them. These are typically much more convincing arguments for their victory than Ippo's, who is new to the boxing world and is on the losing side of the fight until it eventually comes down to, once again, Ippo simply lasting longer than his opponent despite an overwhelming disadvantage. In particular, I found myself rooting for the Russian boxer Alexander Volg Zangief. The emotional weight of his fights and career was more powerful than anything Ippo ever managed to achieve. Ippo's romantic life is also given some focus, but it seems more like an afterthought. His romantic interest, Kumi Mashiba, is your typical ideal domestic housewife and devoted fan. Her relationship with Ippo begins with a quick meeting at a flower shop very early in the show and, despite their insistent tendency to meet frequently, it never really progresses very far. Regardless of Ippo's boring fights, there are moments of interesting boxing action. Specifically, the writing and choreography of the fights seem to become levels better when Ippo is not one of the participants. This shows in two places in the show - a short arc about Ichiro Miyata training in Mexico, and the subplot about Takamura Mamoru earning and defending his title. In both of these the viewer finds more complex characters and detailed, well-thought out fights that capitalize on everything their respective subplots have to offer. If only there was more of these sorts of fights and less of Ippo winning not because he deserves it but because he has to win somehow for the plot to progress. The animation is a real highlight of the show, at least during the fights. The camera feels loose and free, not restrained by the cheap but easy to animate single angles that usually plague TV anime. The boxers' movements are accentuated by wind effects like they are kicking up dust every time they move, but it is used tastefully so that it only adds to the experience, something that can only be done reasonably in animation. Successful hits look painful, damage to the boxers accumulates as the fights go on. However, outside of fights, the animation becomes par for the course, though still not bad for an early 2000s TV anime. Madhouse pulled off a show that looks ahead of its time. The sounds are of similar quality, always tasteful and adding nicely to the experience. Hajime no Ippo has moments of brilliance, and it is rarely so extreme that it is unbelievable, but it is weighed down a great deal by a shallow and boring protagonist and a formualic progression.
Hajime No Ippo: The Fighting [はじめの一歩 The Fighting!] (video Game, Ps3, 2014) Reviews & Ratings
GOOD SHOW ASS CHARACTER DOESNT WANT TO BECDOME HOKAGE STUPID IDIOT AND IS SAKURA STAN GO DIE AND AAAA ITACHIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII here are plenty of stories about a young man finding some sort of passion and following it to some sort of logical conclusion, and Hajime no Ippo chooses not to stray from that basic idea very far. Luckily for original creator Morikawa George, not straying far from this premise seems to be the recipe for a successful comic that has lasted more than 1000 chapters week after week since its original Shounen Magazine publishing in 1989. This adaptation by Madhouse and director Nishimura Satoshi is ... longer than your usual TV anime run, at 75 episodes, but it doesn't quite cover the incredible length of Nishimura's original comic. Instead, it opts for a sort complete story in itself, covering protagonist Makunouchi Ippo's career from its inception until his eventual championship. This works in the show's favor since, despite its length, not much time is wasted. The story progresses in a rather linear fashion from one fight to another, introducing Ippo's opponents one at a time and moving Ippo himself steadily up the ranks of a young boxer. However, since very little of the show is not about Ippo himself, the routine does become a bit stale quickly. By the second or third fight, it is already apparent what the formula Morikawa George is using consists of. Ippo's next enemy is
There are many great sports anime that escaoe the shounen/spokkon formula like Ashita no Joe or many others that try to deconstruct it like Ping Pong the animation or Blue lock with great results. As well, there are other good ones following this structure without that many twists (Haikyuu, Kuroko no Basket...) but they usually tend to fall flat on certain aspects as the series go by, wasted supporting characters forgotten or reduced to gag characters, excessive focus on the main protagonists, and the infamous friendship boosts and plot armor.
However ... Hajime no Ippo, while following all of the genre's tropes, expands on each of the plot points with great care and gives this stereotypes a refreshing sense of depth and nuance. One of the many examples is Umezawa, who bullies Ippo throughout the first part of The FIghting, becoming Ippo's best friend as the series goes and arguably his greatest supportes, instead of dissapearing in frustration when realizing his strength, as many characters who share his archetype do. This comes with reflection on his mistakes and the development of his own dreams (becoming a mangaka). This is just one example of how HNI expands on these archetypes (and the one which spoils the least of the plot) making them into original much more nuanced iterations of these stereotypes. While not flawless (almost impossible due to it's length), I'd put Hajime No Ippo among the best shounen and spokkon anime without a doubt.
There are plenty of stories about a young man finding some sort of passion and following it to some sort of logical conclusion, and Hajime no Ippo chooses not to stray from that basic idea very far. Luckily for original creator Morikawa George, not straying far from this premise seems to be the recipe for a successful comic that has lasted more than 1000 chapters week after week since its original Shounen Magazine publishing in 1989. This adaptation by Madhouse and director Nishimura Satoshi is longer than your usual TV anime run, at 75 episodes, but it doesn't quite cover the incredible length of Nishimura's ... original comic. Instead, it opts for a sort complete story in itself, covering protagonist Makunouchi Ippo's career from its inception until his eventual championship. This works in the show's favor since, despite its length, not much time is wasted. The story progresses in a rather linear fashion from one fight to another, introducing Ippo's opponents one at a time and moving Ippo himself steadily up the ranks of a young boxer. However, since very little of the show is not about Ippo himself, the routine does become a bit stale quickly. By the second or third fight, it is already apparent what the formula Morikawa George is using consists of. Ippo's next enemy is stronger than his last, and he must somehow adapt to this, typically by learning some new technique. And when the fight itself comes, it all boils down to Ippo winning through his sheer tenacity - no matter what his opponents throw at him, he just doesn't give up, and you just know the spectators will feel the need to comment on his never ending stamina between every single round. In all truth, while simple, this is both tiring and unsatisfying, especially since Ippo's opponents are almost always significantly more interesting and endearing than Ippo himself. The narrative wants me to root for the hard working underdog Ippo, but it usually turns out that I want his opponent to win. This is because Ippo's enemies are fleshed out enough for the viewer to understand how they've trained for this day and what is at stake for them. These are typically much more convincing arguments for their victory than Ippo's, who is new to the boxing world and is on the losing side of the fight until it eventually comes down to, once again, Ippo simply lasting longer than his opponent despite an overwhelming disadvantage. In particular, I found myself rooting for the Russian boxer Alexander Volg Zangief. The emotional weight of his fights and career was more powerful than anything Ippo ever managed to achieve. Ippo's romantic life is also given some focus, but it seems more like an afterthought. His romantic interest, Kumi Mashiba, is your typical ideal domestic housewife and devoted fan. Her relationship with Ippo begins with a quick meeting at a flower shop very early in the show and, despite their insistent tendency to meet frequently, it never really progresses very far. Regardless of Ippo's boring fights, there are moments of interesting boxing action. Specifically, the writing and choreography of the fights seem to become levels better when Ippo is not one of the participants. This shows in two places in the show - a short arc about Ichiro Miyata training in Mexico, and the subplot about Takamura Mamoru earning and defending his title. In both of these the viewer finds more complex characters and detailed, well-thought out fights that capitalize on everything their respective subplots have to offer. If only there was more of these sorts of fights and less of Ippo winning not because he deserves it but because he has to win somehow for the plot to progress. The animation is a real highlight of the show, at least during the fights. The camera feels loose and free, not restrained by the cheap but easy to animate single angles that usually plague TV anime. The boxers' movements are accentuated by wind effects like they are kicking up dust every time they move, but it is used tastefully so that it only adds to the experience, something that can only be done reasonably in animation. Successful hits look painful, damage to the boxers accumulates as the fights go on. However, outside of fights, the animation becomes par for the course, though still not bad for an early 2000s TV anime. Madhouse pulled off a show that looks ahead of its time. The sounds are of similar quality, always tasteful and adding nicely to the experience. Hajime no Ippo has moments of brilliance, and it is rarely so extreme that it is unbelievable, but it is weighed down a great deal by a shallow and boring protagonist and a formualic progression.
Hajime No Ippo: The Fighting [はじめの一歩 The Fighting!] (video Game, Ps3, 2014) Reviews & Ratings
GOOD SHOW ASS CHARACTER DOESNT WANT TO BECDOME HOKAGE STUPID IDIOT AND IS SAKURA STAN GO DIE AND AAAA ITACHIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII here are plenty of stories about a young man finding some sort of passion and following it to some sort of logical conclusion, and Hajime no Ippo chooses not to stray from that basic idea very far. Luckily for original creator Morikawa George, not straying far from this premise seems to be the recipe for a successful comic that has lasted more than 1000 chapters week after week since its original Shounen Magazine publishing in 1989. This adaptation by Madhouse and director Nishimura Satoshi is ... longer than your usual TV anime run, at 75 episodes, but it doesn't quite cover the incredible length of Nishimura's original comic. Instead, it opts for a sort complete story in itself, covering protagonist Makunouchi Ippo's career from its inception until his eventual championship. This works in the show's favor since, despite its length, not much time is wasted. The story progresses in a rather linear fashion from one fight to another, introducing Ippo's opponents one at a time and moving Ippo himself steadily up the ranks of a young boxer. However, since very little of the show is not about Ippo himself, the routine does become a bit stale quickly. By the second or third fight, it is already apparent what the formula Morikawa George is using consists of. Ippo's next enemy is
There are many great sports anime that escaoe the shounen/spokkon formula like Ashita no Joe or many others that try to deconstruct it like Ping Pong the animation or Blue lock with great results. As well, there are other good ones following this structure without that many twists (Haikyuu, Kuroko no Basket...) but they usually tend to fall flat on certain aspects as the series go by, wasted supporting characters forgotten or reduced to gag characters, excessive focus on the main protagonists, and the infamous friendship boosts and plot armor.
However ... Hajime no Ippo, while following all of the genre's tropes, expands on each of the plot points with great care and gives this stereotypes a refreshing sense of depth and nuance. One of the many examples is Umezawa, who bullies Ippo throughout the first part of The FIghting, becoming Ippo's best friend as the series goes and arguably his greatest supportes, instead of dissapearing in frustration when realizing his strength, as many characters who share his archetype do. This comes with reflection on his mistakes and the development of his own dreams (becoming a mangaka). This is just one example of how HNI expands on these archetypes (and the one which spoils the least of the plot) making them into original much more nuanced iterations of these stereotypes. While not flawless (almost impossible due to it's length), I'd put Hajime No Ippo among the best shounen and spokkon anime without a doubt.
There are plenty of stories about a young man finding some sort of passion and following it to some sort of logical conclusion, and Hajime no Ippo chooses not to stray from that basic idea very far. Luckily for original creator Morikawa George, not straying far from this premise seems to be the recipe for a successful comic that has lasted more than 1000 chapters week after week since its original Shounen Magazine publishing in 1989. This adaptation by Madhouse and director Nishimura Satoshi is longer than your usual TV anime run, at 75 episodes, but it doesn't quite cover the incredible length of Nishimura's ... original comic. Instead, it opts for a sort complete story in itself, covering protagonist Makunouchi Ippo's career from its inception until his eventual championship. This works in the show's favor since, despite its length, not much time is wasted. The story progresses in a rather linear fashion from one fight to another, introducing Ippo's opponents one at a time and moving Ippo himself steadily up the ranks of a young boxer. However, since very little of the show is not about Ippo himself, the routine does become a bit stale quickly. By the second or third fight, it is already apparent what the formula Morikawa George is using consists of. Ippo's next enemy is stronger than his last, and he must somehow adapt to this, typically by learning some new technique. And when the fight itself comes, it all boils down to Ippo winning through his sheer tenacity - no matter what his opponents throw at him, he just doesn't give up, and you just know the spectators will feel the need to comment on his never ending stamina between every single round. In all truth, while simple, this is both tiring and unsatisfying, especially since Ippo's opponents are almost always significantly more interesting and endearing than Ippo himself. The narrative wants me to root for the hard working underdog Ippo, but it usually turns out that I want his opponent to win. This is because Ippo's enemies are fleshed out enough for the viewer to understand how they've trained for this day and what is at stake for them. These are typically much more convincing arguments for their victory than Ippo's, who is new to the boxing world and is on the losing side of the fight until it eventually comes down to, once again, Ippo simply lasting longer than his opponent despite an overwhelming disadvantage. In particular, I found myself rooting for the Russian boxer Alexander Volg Zangief. The emotional weight of his fights and career was more powerful than anything Ippo ever managed to achieve. Ippo's romantic life is also given some focus, but it seems more like an afterthought. His romantic interest, Kumi Mashiba, is your typical ideal domestic housewife and devoted fan. Her relationship with Ippo begins with a quick meeting at a flower shop very early in the show and, despite their insistent tendency to meet frequently, it never really progresses very far. Regardless of Ippo's boring fights, there are moments of interesting boxing action. Specifically, the writing and choreography of the fights seem to become levels better when Ippo is not one of the participants. This shows in two places in the show - a short arc about Ichiro Miyata training in Mexico, and the subplot about Takamura Mamoru earning and defending his title. In both of these the viewer finds more complex characters and detailed, well-thought out fights that capitalize on everything their respective subplots have to offer. If only there was more of these sorts of fights and less of Ippo winning not because he deserves it but because he has to win somehow for the plot to progress. The animation is a real highlight of the show, at least during the fights. The camera feels loose and free, not restrained by the cheap but easy to animate single angles that usually plague TV anime. The boxers' movements are accentuated by wind effects like they are kicking up dust every time they move, but it is used tastefully so that it only adds to the experience, something that can only be done reasonably in animation. Successful hits look painful, damage to the boxers accumulates as the fights go on. However, outside of fights, the animation becomes par for the course, though still not bad for an early 2000s TV anime. Madhouse pulled off a show that looks ahead of its time. The sounds are of similar quality, always tasteful and adding nicely to the experience. Hajime no Ippo has moments of brilliance, and it is rarely so extreme that it is unbelievable, but it is weighed down a great deal by a shallow and boring protagonist and a formualic progression.
Hajime No Ippo: The Fighting [はじめの一歩 The Fighting!] (video Game, Ps3, 2014) Reviews & Ratings
GOOD SHOW ASS CHARACTER DOESNT WANT TO BECDOME HOKAGE STUPID IDIOT AND IS SAKURA STAN GO DIE AND AAAA ITACHIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII here are plenty of stories about a young man finding some sort of passion and following it to some sort of logical conclusion, and Hajime no Ippo chooses not to stray from that basic idea very far. Luckily for original creator Morikawa George, not straying far from this premise seems to be the recipe for a successful comic that has lasted more than 1000 chapters week after week since its original Shounen Magazine publishing in 1989. This adaptation by Madhouse and director Nishimura Satoshi is ... longer than your usual TV anime run, at 75 episodes, but it doesn't quite cover the incredible length of Nishimura's original comic. Instead, it opts for a sort complete story in itself, covering protagonist Makunouchi Ippo's career from its inception until his eventual championship. This works in the show's favor since, despite its length, not much time is wasted. The story progresses in a rather linear fashion from one fight to another, introducing Ippo's opponents one at a time and moving Ippo himself steadily up the ranks of a young boxer. However, since very little of the show is not about Ippo himself, the routine does become a bit stale quickly. By the second or third fight, it is already apparent what the formula Morikawa George is using consists of. Ippo's next enemy is
0 Response to "Hajime No Ippo Rating"
Posting Komentar