Otoko Zaka (The Shonen Jump+ Run): 未完 No More

Previously on the Otoko Zaka Review:

"Masami Kurumada has so far taken his second chance at making Otoko Zaka, and given it the love & care he always planned for...After roughly 24 years, Masami Kurumada has finally returned home..."

'He's coming home, he's coming home; tell the world he's coming home.

Let the rain wash away all the pain of cancelling.

He knows Shonen Jump awaits, & he's forgiven their mistakes.

He's coming home, he's coming home; tell the world he's coming...home.'

On "November 16, 1992" (or thereabouts) the final weekly chapter of Silent Knight Sho was serialized in the pages of Weekly Shonen Jump, & with it marked the end of Masami Kurumada's 18-year run with the magazine. Aside from an irregular run in Super Jump for Akane-Iro no Kaze through 1993 & 1994, Kurumada wouldn't publish another new manga with Shueisha until 2000 with Ring ni Kakero 2, also through Super Jump. While he still allowed Shueisha to re-publish his old works throughout all this it seemed as though Kurumada was done with Shonen Jump & its "Jump Comics" label... until 2014. As part of his 40th Anniversary celebration Masami Kurumada decide to revive Otoko Zaka, the 1984 manga he intended to be his magnum opus but wound up seeing cancellation in 1985 after 30 weekly chapters, infamously using the kanji "未完/mikan", or "Incomplete", on the final page to emphasize his dissatisfaction at the time. While this revival would be serialized in the digital pages of Weekly PlayNews, the new physical tankouban for Otoko Zaka would still be published under the "Jump Comics" label, to maintain continuity with the initial three volumes that collected the original Shonen Jump run; similar treatment had previously been given to Bastard!!, Ninku, & JoJo's Bizarre Adventure.

However, the revival of Otoko Zaka would only be serialized through Weekly PlayNews from 2014 to 2016 across three chunks, which made up Volumes 4 to 6. That's because shortly after Otoko Zaka's return Shueisha debuted a new digital manga platform, and eventually it was seemingly decided that since Otoko Zaka debuted in "Shonen Jump" then it should end in "Shonen Jump".

Yeah, it's weird to make the literal final page the opening image...
But for a manga with history like this, it's only fitting.

Launched on September 22, 2014, Shonen Jump+ was created to replace Jump LIVE, a short-lived digital manga platform from Shueisha, and not only offered a digital version of each new issue of Weekly Shonen Jump for a fee but would also be the home of various manga serializations that were exclusive to Jump+, ones that would be allowed more relaxed restrictions than over at the magazine itself, similar to titles that run in Jump's monthly magazine counterpart, Jump Square. This is where titles like Spy x Family, Astra Lost in Space, Summer Time Rendering, Kaiju No. 8, Kindergarten Wars, Fire Punch, & the current run of Chainsaw Man all come from, and in 2023 Shueisha promised to simulpublish almost every new manga that debuts in Shonen Jump+ in English via its Manga Plus app; the only exceptions are manga based on licensed IP & ones labeled "Indies". Eventually it was decided that the revival of Otoko Zaka would get moved over to Shonen Jump+, and on July 14, 2017 the first chapter of what would later become Volume 7 of Otoko Zaka was published digitally on Jump+, marking the first time in roughly 25 years that a "new" Masami Kurumada manga was being serialized in "Shonen Jump"; however, all future volumes would continue to use the "Jump Comics" brand, instead of the "Jump Comics+" brand Jump+-exclusives use. After all this time, it felt as though Masami Kurumada had truly returned "home".

Masami Kurumada would publish Otoko Zaka via Shonen Jump+ across six chunks (in 2017, 2018, twice in 2020, & twice in 2023), and on November 11, 2023 the true final chapter of Otoko Zaka, fittingly titled Farewell, Jingi, was published on Jump+, bringing a definitive end to a manga Kurumada had first started back in July of 1984. It took Kurumada nearly 40 years, but the story of Jingi Kikukawa had finally come to an end, totaling 72 chapters (90, if you go off the original run's weekly chapter count) across 11 volumes, 60 of which came from the revival's eight new volumes of content between 2014 & 2023. I first reviewed Otoko Zaka back in 2015, where I covered "The Original Run", & then returned to it in 2018, where I covered "The Weekly PlayNews Run", so now it's finally time that I do like Kurumada & finish what I started. As part of this blog's year-long celebration of Masami Kurumada's 50th Anniversary in manga, let's go over Volumes 7 to 11 of Otoko Zaka, i.e. "The Shonen Jump+ Run".

Obscusion B-Side: Not-Quite-Limitless Potential: Playing Half-Life 1 & 2 on Comparative "Potato" Consoles

Normally, something like Half-Life would be the furthest thing from a subject I'd cover over here. After all, this series from Valve is one of the most influential video games of all time, both for the first-person shooter genre itself as well as gaming as a whole due to its revolutionary storytelling techniques via the exclusive usage of scripted sequences instead of cutscenes, its excellent gameplay that mixes together traditional FPS gameplay with a heavier focus on environmental puzzle solving & the like, and its habit of being on the cutting edge of technology via its game engines, whether it was GoldSrc for Half-Life in 1998, Source (& Havok, for the physics) for Half-Life 2 in 2004, or Source 2 (& VR, in general) for Half-Life: Alyx in 2020. Without a doubt, Half-Life is one of the most important video game franchises of all time, and the games themselves are some of the best I've ever played. These games have been picked apart to no end by countless other people online, so what can I possibly provide in that regard?

Well, as Stephen Colbert will sometimes joke on The Late Show, the answer... "is potato".

In tech speak, a "potato" is a piece of hardware that has much-too-low specs compared to what someone is trying to utilize it for. In terms of gaming that would equate to trying to play a game on a computer using hardware that likely isn't even quite up to snuff with the minimum requirements, but you're still curious about just what'll happen if you boot the game up regardless; I mean, there's a mod for Doom 3 that lets it run on Windows 98 & a Voodoo2 card... and it's amazing. This is because PC hardware is an ever-evolving thing, while their console brethren are (for the most part) fixed architecture, and it wasn't until the seventh generation in the mid-00s (at the very earliest) that the gap between the two truly lessened, as console manufacturers started to simply rely primarily on PC-based hardware to power their machines. Therefore, when a PC game from the 90s got ported to console at the time it was often a case of having it play on a comparative "potato" when put against the PC tech it was designed to work with. In that regard, Valve has been rather conservative when it comes to releasing its games on console, & that's doubly so when it comes to Half-Life, as the first game only saw one official console port released (for the PlayStation 2), while Half-Life 2 only saw "two" (for the Xbox, & later Xbox 360/PS3 via The Orange Box). Therefore, on this 20th Anniversary year of Half-Life 2's original release on PC, I want to see how well these amazing games still hold up when played in their most potato-y of forms.

For Half-Life 2 that means revisiting it on the original Xbox, which is actually how I first played the game back in the day, but before that we should revisit the original Half-Life & for that it means playing something that wasn't actually released... at least officially.

Obscusion B-Side: Prowling the Official Atari Jaguar Catalog: 1996 (Part 1)

Previously on Prowling the Official Atari Jaguar Catalog:

"While 1995 was easily the Jaguar's most prolific year in terms of releases, and in all honesty most of it was either excellent, good, or even just decent, the final four games released for Atari's flagging console in this year wound up being a pretty lackluster send off... but there's still another 12 games left to cover, and while 1996 won't exactly be anywhere near as prolific as 1995 was, it's going to be a bumpy ride, nonetheless."

The original Atari, Inc. was founded on June 27, 1972 by Nolan Bushnell & Ted Dabney. On May 17, 1984, ex-Commodore co-founder Jack Tramiel founded Tramiel Technology solely for the purpose of buying the home console & computer division of Atari, Inc. from current owner Warner Communications, renaming the company Atari Corporation on July 1. Over the course of the next 12 years Atari Corp. tried its best to stay relevant in the gaming industry, whether it was the various Atari 8-bit computers during most of the 80s, the Atari 7800 to combat the NES & Sega Master System (plus reviving the iconic 2600 as a budget-priced alternative), the Atari Lynx to combat Nintendo's Game Boy, and finally the Atari Jaguar to combat the Super Nintendo & Sega Genesis. It is now the start of 1996, and Atari Corp. is finally making its first public showing that it's leaving hardware behind entirely. Namely, during Winter CES, Atari Corp. announced the formation of Atari Interactive, a division which would focus on PC software, with ports of Tempest 2000, Highlander: The Last of the MacLeods, Baldies (an RTS game by Creative Edge Software that actually first launched on the Jaguar CD on January 3, the day after this announcement) and FlipOut! planned as the first releases from the division, while further releases were planned to include Missile Command 3D, Return to Crystal Castles, Interactive Rocky Horror Show, and Virtual War, the last three of which were games that had not been previously released before. Unfortunately, due to a certain event that we'll get to in a bit, Atari Interactive never actually released anything, though the name of the division itself would see actual use a couple of years later.

But none of this is about the Atari Jaguar, which still has some games scheduled for release, despite Atari Corp. being essentially done with the console by this point! Luckily, a week after Winter CES happened two new Jag games would see release... and, believe it or not, they're both ports of good games!

There are only two pairs of games released for the Jaguar left that saw release on the same day, and both happened in 1996. The first pair came out on January 10, so let's start with the obvious bigger name of the two: NBA Jam: Tournament Edition. Released in April of 1993, NBA Jam was an arcade cabinet developed & distributed by Midway that acted as a spiritual successor to 1989's Arch Rivals. Both were 2-on-2 full-court basketball games that emphasized rough play & wild action, but Jam differed by being a properly licensed NBA product, so it featured all of the teams seen in the 1992-1993 NBA season, though some major names were not included due to licensing rights, namely Michael Jordan & Gary Peyton (though Midway produced special cabs for those two that featured them as their own team), and after the initial arcade release Shaquille O'Neal, Dražen Petrović & Reggie Lewis were also removed, the former due to Shaq following Jordan's lead with licensing, while the latter two sadly passed away after the initial arcade cabs went out. NBA Jam would go on to be a massive success, becoming the most popular arcade machine that year & even outperforming Jurassic Park's box office. The game also singlehandedly turned voice actor Tim Kitzrow into a legend through his iconic announcing heard throughout. In February 1995 Midway released NBA Jam: T.E., which added in updated rosters & new ballers (including five "rookies" from the 1994 NBA draft, including future legends Jason Kidd & Grant Hill), some minor new mechanics (substitutions & more baller attributes), & the titular "Tournament Mode", among other things; I can't even go into any detail regarding the hidden characters, because it's just insane. Jam saw release on pretty much any console hardware it could at the time (with few exceptions, like the 3DO & Neo Geo), with the Jaguar port by High Voltage Software (the studio's final Jaguar game to see release) being one of the very last, alongside the PC port. How does it hold up, and does it at least start off the Jag's 1996 on a good note?

Silent Knight Sho: Never Say Never Again... Unless It's "NEVER END"

In Issue #49 of Weekly Shonen Jump in 1990 the final weekly chapter of Masami Kurumada's Saint Seiya was serialized, bringing an end to a 246-week run across a solid five years; the actual finale to the manga would appear in the December issue of V Jump the following month. Despite it being the biggest success in his entire career, becoming the first of his works to both get adapted to anime & released internationally, it still eventually suffered a loss in popularity & found itself cancelled before Kurumada could fully tell the entire story he had planned, though he was at least allowed to finish the story arc he was on. However, this now also meant that his past two works for Jump, Otoko Zaka & Saint Seiya, had both gotten cancelled, and with a career that dated back to the mid-70s it's arguable that Masami Kurumada was possibly feeling a bit outdated to the then-current Jump reader base.  After all, by the time Seiya got cancelled the only Weekly Jump mangaka still around in 1990 that dated back to the 70s, alongside Kurumada, were Osamu Akimoto, Akira Miyashita, & Yudetamago, and the latter two only just barely, as both made their serialized debuts in mid-1979. Therefore, instead of jumping straight into a new series Kurumada decided to instead take advantage of Jump's Seasonal Specials, publishing a baseball one-shot titled Aoi Tori no Shinwa in the 1991 Spring Special, before following it up three specials later with a continuation in the 1992 Winter Special. Despite seemingly wanting to make it into a proper serialization, Aoi Tori no Shinwa never went beyond those two connected one-shots... and here's where hearsay comes into play.

If you look around online, the general rumor is that after putting the kibosh on Saint Seiya Shueisha told Masami Kurumada to simply recreate Saint Seiya's success by making something like it, despite having just cancelled the series the publisher seemingly wanted Kurumada to replicate. However, that's generally worded as though Kurumada's next manga came right after Seiya, ignoring Aoi Tori no Shinwa's two-off existence & instead wanting to portray Shueisha as being incompetent. But, like any good rumor, there may still be a nugget of truth behind it, because Kurumada's next serialized manga would very much look immensely similar to his biggest hit. Therefore, it is entirely possible that Shueisha (or, at least, his editor at Jump) did request that Kurumada try to create a "new Saint Seiya", but instead of coming off like pure incompetence it likely would have been due to the fact that Kurumada was nearing a solid 1.75 years without any real/proper serialization, which would surpass his prior record of just slightly over a full year, that being the gap between Sukeban Arashi & Ring ni Kakero. This was close to the roughly two whole years between the end of Fuma no Kojirou (late 1983) & the start of Saint Seiya (early 1986), so it's entirely possible that Shueisha was thinking that a new generation of Jump readers would be around to enjoy a new take on what Kurumada had hit big with previously & make it their own, similar to how Kurumada had Saint Seiya reuse ideas, names, & terminology from his older works for that then-new generation. I mean, by mid-1992 Shonen Jump was filled with a new breed of manga that didn't even exist when Saint Seiya's final weekly chapter first appeared, with the only remnants of the 80s & earlier being Kochikame, Dragon Ball, Rokudenashi Blues, JoJo's Bizarre Adventure, & Magical Taruruuto-kun, and that last one was only five weeks from ending; Dragon Quest: The Adventure of Dai did debut in the tail end of 1989, but that's more a technicality. To be perfectly honest, if "Just make a new Saint Seiya for the 90s" truly was Shueisha's idea for Kurumada by mid-1992, I can actually see the logic in it.

Ring ni Kakero, in Masami Kurumada & Others' Words: The Author's Notes & Afterwords (feat. shmuplations) Part 2: Volumes 10-18

It's been a while, but shmuplations & I are finally back with the second round of author's notes & afterwords from the original 25-volume tankouban release of Ring ni Kakero, which came out between 1978 & 1983 in Japan. In the first round back in January we checked out what came with the first nine volumes, which included some of Masami Kurumada's earliest short messages to his readers & longer messages written mostly by professional boxers of the time, all of which had been WBC and/or WBA champions for their respective weight classes at one point or another, with three of Kurumada's fellow Jump mangaka pulling up the rear for that chunk. This time around, though, we'll be seeing the inverse as Volumes 10 to 18 will mostly be featuring Jump mangaka writing the afterwords, with only three being written by those from outside of the industry (& one of them isn't even a boxer!).

So let's not dawdle about any further & see what messages we have in store for this second chunk of volumes! Which mangaka will poke fun at Kurumada? Which boxers will get to tell their personal stories? Will Masami Kurumada himself retroactively put his foot in his mouth due to now-old-fashioned ideals?!

Volume 10 of Ring ni Kakero came out on February 15, 1980, right as the World Tournament had ended in Weekly Shonen Jump, which saw Kurumada essentially "kill off" all five members of Golden Japan Jr., despite the final page of that arc literally telling readers to look forward to a new chapter the following issue; weekly serialization can be a hoot. As for the author's note for the first double-digit volume of the manga, Kurumada thinks back to when Guts Ishimatsu (who wrote Volume 3's afterword) won the WBC Lightweight Championship in 1974 & something he had heard Ishimatsu did the moment he became champion: Telling off everyone who didn't believe in him:

"It's an old story, but I heard that when Guts Ishimatsu won the World Title, he turned to the audience and yelled, 'You idiots!!'. It was his way of paying back the world for not recognizing him. For a young man with no money, no education, and no parental support, such a moment where one can say that to the whole world must come rarely, if at all. Incidentally, I think a manga artist is one of the few professions where you get to say 'You Idiots!'"

As for Volume 10's afterword we have mangaka Mitsuyuki Takashina, better known in Japan by his pen name, Kontaro. While not really known at all abroad, Kontaro is known in Japan most for his gag manga, particularly his first big hit from Shonen Jump, 1975's 1・2 no Ahho!!, which was a nonsensical comedic baseball series. By early 1980 Kontaro was actually more or less done with Shonen Jump, as neither of his later works (1978's Ruse! Ruse! & 1979's Kuroki Taka) made it beyond short runs, and in 1981 he'd debut his other well known work, the salaryman manga Isshokenmei Hajime-kun, in Young Jump. Kontaro is also known in Japan for being the man that Tadashi Sato (Moeru! Onii-san) & Tomokazu Sato (Ghost Mama Sousasen), no seeming relation, were assistants for, & Kontaro is also the uncle to modern-day J-pop/rock singer Saasa. Kontaro is still making manga to this day, most recently reviving his first hit in 2020 with Kaettekita 1・2 no Ahho!! as an online serialization for Comic Gakuen. For Volume 10 of RnK Kontaro, as a member of the "Daimanzoku" baseball team he, Kurumada, Osamu Akimoto, & Satoshi Ikezawa formed (see Part 1 for more details), recalls when he first met Kurumada back in 1975, how Kurumada's physical demeanor shattered his preconceptions of what a mangaka looked like, and how Kurumada himself slowly achieved the "major" success he was experiencing come 1980... as well as making a playful jab at Kurumada's own physical stature, or slight lack thereof; this actually isn't the only time we'll see that last one, too: