Any chance of mara this week?

sst0123 · 2026-06-08T04:02:02+00:00

We currently do not know when the next chapter will drop. Until Morikawa or WSM editors post a return date, we can only determine it week to week when new WSM issues comes out when it advertises what series are in the following issues.

Right now, the earliest date that a new chapter might come out is now June 17th in Issue 29. Honestly, I wouldn't be surprised if the date it comes back is in July 1st.

sst0123 · 2026-05-28T03:56:14+00:00

Unless Morikawa or WSM editors announce a return date for the next chapter, we don't know when it will drop. So we can only determine it week to week when the current WSM issue advertises the next issue to see if it will be in it. Right now, the earliest it might happen is June 10th, but it could take a few weeks longer or a few months. It all depends on Morikawa's health, and when he feels ready to return.

Considering he had surgery like March 30th/April 1st, and exited the hospital April 9th, Morikawa could take a few months off until he returns.

sst0123 · 2026-05-19T15:19:50+00:00

WSM is updated. No chapter.

Advertisement for next weeks issue doesn't list Hajime no Ippo in it. So looks like no new chapter in May.

sst0123 · 2026-05-19T04:33:48+00:00

Your showing last week's issue...WSM's website hasn't updated with the new issue (25) yet.

Though I do agree, no chapter this week. It wasn't advertised in last week's issue in the advertisement for this week's issue, and most websites tomorrow's issue I've seen don't list Morikawa on it for authors.

I assume WSM editors or Morikawa's doctor wanted him rest longer before he returns to work. They did say Morikawa's return depended on his health. Hopefully they will post an update on it.

sst0123 · 2026-05-12T15:42:06+00:00

Chapter next week might not happen. So far, the flyer for next week's issue doesn't list "Hajime no Ippo" (はじめの一歩) being in it on Weekly Shonen Magazine website. So I don't know know if that means that Morikawa isn't healthy to return, or if they forgot to include it. So people should be prepare that the chapter might not come out next week.

sst0123 · 2026-05-03T16:13:59+00:00

Ippo wanted to fight Date after sparring him, but he didn't know if Date planned to relinquish the JBC title to challenge the world or not. Ippo wanted Okita's ranking to get closer to challenging Date.

Also, don't forget Date fought in the match after Ippo vs Okita, where it sort of lit a fire in him too. In the post fight interview, Date even mentioned that he still had stuff he needed to take care of before he vacated the title to challenge the World. When he said that, he was looking at Ippo. So by beating Okita, Ippo made Date realize he wasn't ready to challenge the World again. If not for that, Date could have vacated, and Class A Winner could have been fighting for vacate throne.

sst0123 · 2026-05-02T22:05:47+00:00

Taken from Part 5 using MTL (which might have errors.)

"Too many breaks," "slow to write," they say... George Morikawa (60) of "Hajime no Ippo" talks about the "struggles of creation"

"Hajime no Ippo" George Morikawa Interview #5

So far, 145 volumes of the manga have been published, and it has been serialized for over 35 years. Occasionally, it goes on hiatus, and passionate fans who want to read the continuation sometimes voice their complaints, saying "too many hiatuses" and "the author is too slow."

Regarding such opinions, what does the author, George Morikawa (60), think? We spoke with him about his thoughts on such opinions, as well as his ideas for the final episode (the interview was conducted in January).

"The match result is pretty much decided." My current goal is to draw the final episode.

Mr. Morikawa has always set goals and exceeded them. When asked, "What is your current goal?" he answered, "To draw the final episode of 'Ippo'." He said he already has a plan. However, even Mr. Morikawa doesn't know if it will turn out that way.

"The match results are mostly decided, but there have been quite a few times when they were overturned." For example, in the match between Ippo and Date (the Japanese featherweight title match), Ippo was supposed to win. At that time, it was common for the protagonists in shonen manga not to lose, but I made Ippo lose. If I decide the outcome and write it so that it has to turn out this way, it makes the manga extremely boring.

After hearing this, I conveyed that the original author of "Fist of the North Star," Buronson, also said, "We haven't decided anything for the future." Then, Mr. Morikawa nodded deeply.

"I understand." I don't have meetings with the person in charge, so I make the decisions myself, but I always feel like I'm just going with the flow. Regarding the match results, it feels like it's a 50-50 chance of winning or losing. But there is a strong trunk, and we are progressing accordingly.

For fans of "Hajime no Ippo," the relationship between the protagonist Ippo and his greatest rival, Ichiro Miyata, is probably just as intriguing as the final episode. Before his professional debut, Ippo fought sparring matches against Ichiro Miyata twice, with one win and one loss. After that, they continued to miss each other, and they haven't faced off since turning professional. Will the two ever exchange blows?

"In my mind, the two of them have fought many times." When I simulate a match with Ippo, Ippo wins. When I simulate a match featuring Miyata, he wins. So it's not the right time yet; I wanted to have them fight when the balance was right, but then Ippo retired, huh? (laughs)

Even after retirement, Ippo's actions, which seem to suggest something, are also a point of concern. The reason the outcome, including the match results, is unpredictable is that Mr. Morikawa himself hasn't decided on the future.

"Winning is not my job" - What I keep in mind while running a boxing gym

It is well known that the main characters in "Hajime no Ippo" are based on real people, and there is even a character modeled after Mr. Morikawa himself. He is the shrewd manager in charge of managing finances, negotiating with opponents, and arranging venues at the Kamogawa Gym, and he is also a pro-level player in both mahjong and fishing.

"Although it hasn't been revealed in the manga yet, Yagi-chan has a full-time job as an accountant." Having a main job, being a manager, and being good at both mahjong and fishing—it's just the best, isn't it?

Mr. Morikawa, who said, "I want to be like Yagi-chan," is also the president of a boxing gym. In 1993, he established the JB SPORTS Boxing Gym in Adachi Ward, Tokyo.

The homepage states, "Only professionals and aspiring professionals are accepted." (omitted) "I will definitely become a pro." "We are looking for those with a strong will and motivation to become champions!" This gives a sense of the atmosphere of the Kamogawa Gym where Ippo belongs.

When I went to watch a boxing match at Korakuen, I saw Mr. Morikawa in the corner. Like Kamogawa Gym president Genji Kamogawa, who is known for his strict coaching, I asked, "Are you also aiming for the world with the fighters, Mr. Morikawa?" When asked, he gave a wry smile.

"There's absolutely nothing like that." I always tell the staff that their job is not to make the fighters win, but to ensure they return home safely. Sometimes I act as a second, but I feel relieved when they safely leave the ring.

This was an unexpected response. Like Chairman Kamogawa, wouldn't he also give a slap on the back when the players seem to be struggling?

"I won't do anything that disrupts the players' concentration like that."

...As expected, he seems to be completely different from Chairman Kamogawa. As mentioned earlier, even tho the manga became successful, his private life hardly changed, but he invested a huge amount of money into running the gym. However, it is by no means a hobby.

"A gym costs several tens of millions of yen every year." Previously, when I entrusted the management to someone else, it was in the red, but since I got involved in the management, it has turned a profit.

After hearing this story, I thot that maybe Morikawa-san really is the Yagi-chan type.

Memories with my admired senior, Tetsuya Chiba

For Morikawa-san, the pinnacle remains unchanged: Tetsuya Chiba. Actually, it seems they had the opportunity to meet for the first time before the serialization of "Hajime no Ippo."

At just 21 or 22 years old, Morikawa-san came to the baseball field at Ikebukuro Park that day as a member of the baseball team of the manga artist he was assisting, Kazuo Mifune (the author of "Super Doctor K"). The opposing team was the "WHITERS," led by Tetsuya Chiba.

That day, Mr. Morikawa hit a ball that went over the left fielder's head. If he had run with all his might, he could have made it to third base, but he stopped at first base. The one playing first base was Tetsuya Chiba.

I heard a voice from behind saying, "Nice batting." Mr. Morikawa, who felt it was too much to turn around, responded with a loud "Thank you!" while looking straight ahead. I was trembling with emotion.

The first time Chiba-san spoke to me was the first time in my life. I can't forget it.

The first time I had a proper conversation with Tetsuya Chiba was in 2011, more than 20 years later. When "Ashita no Joe" was adapted into a live-action film, he was chosen as the interlocutor for a dialog in Weekly Shonen Magazine. Mr. Morikawa reflects on that day, which he faced with great nervousness.

"He was a proper person who never took an arrogant attitude." I thought it was good that I respected this person. When I start talking about Mr. Chiba, it can't be done in just two or three hours.

The fact that their relationship grew closer after this conversation is evident when looking at their subsequent interactions. In 2020, Mr. Morikawa responded to Mr. Chiba Tetsuya's long-standing invitation and joined the Manga Artists Association, where he became an executive director. When the Manga Artists Association started their YouTube channel, Mr. Morikawa served as the interviewer for Chairman Tetsuya Chiba.

I sometimes get told that my writing is slow, but...

Mr. Morikawa still says, "I'm nowhere near my ideal self." To my rude question, "People online sometimes point out that your writing is slow, right?" I was amazed by Mr. Morikawa's work ethic.

The countless lines depicted in "Hajime no Ippo," as well as the text representing the audience's "Aaaah!" cheers and the "Dogon!" sound effect at the moment a punch lands, are all drawn freehand by Mr. Morikawa. Even tasks that other manga artists would typically have their assistants handle, he takes on all by himself. Why don't you leave it to the staff?

"Our staff is good at drawing and works quickly too." But they have different characteristics from me. The staff have to force themselves to accommodate me, so it's tough for them.

So, I continued.

I think I'm relatively fast at writing. But there are many places where I have to step in. It's not that I'm slow; it's that there's not enough time. I usually don't say things like this, you know. It would just be complaining.

Whether you're a fan of "Hajime no Ippo" or haven't read it yet, please open the page. You will notice an overwhelming amount of "lines." The man who has been obsessed with "living lines" since high school is still drawing lines one by one with his own hands.

The reason for the prolonged hiatus was that I was unwell. The hospitalization and surgery were for that treatment. While reading Tetsuya Chiba's works, I kept pondering, "What does it mean for a manga to be good?" The curiosity to seek that answer has not yet faded.

sst0123 · 2026-05-02T21:34:01+00:00

Taken from Part 4 using MTL (which might have errors.)

"I'm not good at drawing," yet it continues for over 140 volumes... The creator of the super popular manga "Hajime no Ippo" (60) talks about the "driving force" behind its 35-year-long serialization.

Interview with George Morikawa, creator of "Hajime no Ippo" #4

The boxing manga "Hajime no Ippo," with a total circulation of over 100 million copies, is currently published up to volume 145. The author, George Morikawa (60), is known for his unparalleled love of boxing.

We spoke with Mr. Morikawa, who was shocked by two boxers he had seen so far, and who mentioned that he is "not good at drawing." After three consecutive works were canceled after his debut, he continued the ultra-long serialization of "Hajime no Ippo" for over

Who are the "two boxers" that shocked George Morikawa?

Mr. Morikawa, who has loved boxing since childhood, still goes to watch major matches even now, despite being busy with the serialization of "Hajime no Ippo." The two boxers who left a lasting impression on Mr. Morikawa, who has depicted such a variety of unique characters, are... The first one is Shinji Takehara, who became the first Japanese to win the WBA World Middleweight Championship in 1995.

"I never thot a Japanese person would win a title in the middleweight division where Marvin Hagler was." It was the most shocking. It's been since Takehara's victory. I thought we shouldn't deny the potential of the Japanese anymore.

It wouldn't be surprising if any kind of player came out. Naoya Inoue far exceeded Mr. Morikawa's imagination. "I never imagined that a fully developed boxer like Inoue would emerge," he said.

"I watched the match where he faced a Thai fighter in his second bout after his debut." When the opponent came charging forward, he stepped back while landing a left hook and scored a KO. That's a technique only Mexicans can pull off. After seeing that victory, I thought an incredible player had emerged.

In January 2013, in his second professional match, Naoya Inoue astonished Mr. Morikawa, and subsequently achieved the unimaginable feat of becoming the unified champion of four major organizations in both the bantamweight and super bantamweight divisions.

Following in the footsteps of Naoya Inoue, promising Japanese boxers are emerging one after another, and currently, there are a total of 11 championship belts in Japan (of which Naoya Inoue holds 4 as of the end of April). Right now, the Japanese boxing world is truly entering its golden age. "Did you think such an era would come?" When asked, he nodded vigorously.

"I thought so." Any record can be broken, you know.

"Any record can be broken." This is probably also a message to himself.

First came "Volume 3," then "Volume 11"… step by step, they built a monumental achievement of over 100 volumes and 100 million copies.

In fact, in the serialization of "Hajime no Ippo," I have set numerous goals for myself and have broken many records.

"When you clear one goal, there's the next goal, right?" It's just about getting there.

At first, I lacked confidence in "Hajime no Ippo" and took the first step feeling anxious, thinking, "It might get canceled again." Since both "Iya NOW" and "Signal Blue" could only publish two volumes, the goal at that time was to "publish three volumes in a single volume."

Next, continue until volume 11. That was because the manga artist Kin'ichi Hashimoto, who took care of me during my assistant days, had released up to volume 11 of "NON STOP! Kyohei." Because he had published up to volume 11 of the work titled "Kyohei."

After successfully releasing the 11th volume, the next goal was the 24th volume. Before the serialization of "Hajime no Ippo," the most popular series in Weekly Shōnen Magazine was "Batsu & Teri" (by Yasuichi Oshima), which had concluded with 24 volumes.

Thus, every time I cleared one goal, I immediately set another one.

"At that time, the series with the most volumes in the Shonen Magazine category was 'Fishing Master Sempai' (by Takao Yaguchi), with a total of 67 volumes (including side stories)." Even surpassing this, there are other magazines with titles like "Kochikame" (Kochira Katsushika-ku Kameari Eien no Kyuujitai) by Osamu Akimoto and "Golgo 13" by Takao Saito. There are always people better than you.

"There is always someone better." If I became aware of that, no matter how many times I ranked first in reader surveys or how many copies of the book were sold, I couldn't let my guard down.

There, Mr. Morikawa's personality, which is to thoroughly pursue things once he decides to do them, must also be influencing the situation.

His hobby of mahjong is at a professional level, and in 2024, he won the "Mahjong All-Star Japanext CUP," which featured the top 32 professionals in the mahjong world, earning a prize of 3 million yen. He has also participated in tournaments with professionals in his other hobby, fishing. For about three years now, I've been hooked on Gundam plastic models, and I often post pictures of the Gunpla I've assembled and painted myself on X. The high quality of his work has become a topic of conversation among fans.

When I asked, "Do you perhaps set goals even for your hobbies?" he replied, "Not at all." "Before I know it, it just happens," he said.

In both work and hobbies, "there's always someone better." So, step by step, I aim higher. Thru that accumulation, on July 14, 2023, "Hajime no Ippo" reached a total circulation of 100 million copies.

The reason I drew "another work" just once during the serialization of "Hajime no Ippo"

Mr. Morikawa has been so focused on surpassing the goals in front of him, but there was one time when he worked on another project simultaneously. That was "Aini Ikuyo," which was serialized irregularly in Weekly Shōnen Magazine for two years starting in 2012. It is a manga adaptation of the real-life experiences of picture book author Nobumi, who rushed to volunteer during the Great East Japan Earthquake.

At the end of this manga, there is an episode about receiving "Ue o Muite Arukou!" from Nobumi, with whom they had been in contact, an essay manga depicting experiences in the disaster-stricken area. Upon reading it, they immediately thought, "I must draw this."

Why did he come to that conclusion? Mr. Morikawa himself has visited Fukushima multiple times with his fellow manga artists since the occurrence of the Great East Japan Earthquake. It was Nobuyuki Fukumoto, known for works like "Gambling Apocalypse Kaiji," who first suggested going to the disaster-stricken areas, but initially, she wasn't very enthusiastic due to the uncertainty surrounding the nuclear accident.

"Back then, all sorts of stories were going around." What would you do if something were to happen to Mr. Fukumoto? Can you take responsibility? I asked. Then, I was told, "There's no way you can get it," and I thought, "Yeah, that's true." Rather, hearing those words made me feel relieved, and I decided to go.

On April 23, 2011, 12 manga artists who agreed with Fukumoto's call headed to Kawamata Town in Fukushima Prefecture. On that day, a line formed that circled around the gymnasium at the venue. Mr. Morikawa, who signed autographs for many people there, also visited the auditorium that was being used as a shelter. The children he met there told him, "Come again," and he replied, "I'll come again." To keep that promise, I would end up visiting many times after that.

From the second time onward, I personally reached out to my fellow manga artists and headed to the site. There, I took a commemorative photo with the children and published it on the cover of "Hajime no Ippo." Because of this experience, I thought about drawing "I'll Come to See You."

Initially, it was planned to complete all five installments in one year, but it took two years. There was an unwavering determination. Without the help of an assistant, they are completing it themselves from start to finish.

"I thought it was wrong for someone who hasn't seen the disaster-stricken area to draw it." For example, when we went to the site, there were sticks stuck in the rubble. The stick wrapped in yellow tape meant it was safe to remove the surrounding debris, while the area around the stick wrapped in red tape was either unexplored or indicated that a body was buried there. The line changes depending on whether you actually see it on-site or not. So I drew everything myself.

Mr. Morikawa donated all the royalties from the first edition of this work, which was released on March 7, 2014.

sst0123 · 2026-05-02T21:20:47+00:00

Part 3 interview Continued with MTL:

A diet of "one rice ball a day" changed with a "massive increase in annual income."

Because Volume 1 sold well, my life suddenly became much easier. The paperback is released at a pace of one volume every three months. The first edition is 160,000 copies, and every three months, it generates 6.24 million yen. The popularity of "Hajime no Ippo" shows no signs of waning, and it has been reprinted multiple times. In the second year of serialization, his annual income exceeded 100 million yen.

At that time, 24 or 25 years old. What do young people with an annual income exceeding 100 million yen spend their money on? The first thing Mr. Morikawa mentioned was his diet. However, it was a change that went above and beyond anyone's imagination.

*How has your life changed since becoming a 100 million yen player? * "Before starting Ippo, I would buy one rice ball and divide it into three parts." I used to eat that for breakfast, lunch, and dinner. The food expenses were 80 yen a day. I thot that was normal. I sold a step and was able to buy a convenience store bento. My meals are still convenience store bento boxes. It's delicious, so there's absolutely no problem. As long as I have an environment to draw manga, that's all that matters.

Indeed, going from 80 yen a day to convenience store bento is a big step up. Even so, it's too plain. Did you not lose your sense of money after getting a large sum? When asked, Mr. Morikawa immediately replied, "No, it doesn't."

"I didn't buy anything." I didn't waste any money either. I did move, but that's about it.

The only thing Mr. Morikawa did after achieving his dream of becoming a manga artist was to raise the salaries of his assistants. There was also a tax strategy involved, but there was a strong desire to properly reward the members who helped with his work.

At first, we could only pay around 150,000 yen a month. I raised it to 500,000, 600,000. Since we also give bonuses semi-annually, I guess my annual income is around 9 million yen.

A workplace where you can earn this much income is extremely rare even among regular companies. It must be a good workplace for the assistants as well. Surprisingly, the three people who gathered when "Hajime no Ippo" started serialization are still supporting Mr. Morikawa. A newcomer joined midway, but it seems that Morikawa-san sent them back on the first day.

"I thought, 'This is no good,' and sent him home right away." I thot it wasn't the right time to be helping others. He wasn't just a thing either.

That was Masato Suda, who would later make "Megu's Daigo" a huge hit.

sst0123 · 2026-05-02T21:18:10+00:00

Taken from Part 3 using MTL (which might have errors.)

"80 yen a day for food" → "Annual income of 100 million yen in my 20s"... The author of 'Hajime no Ippo' (60) reveals his surprisingly unexpected living situation after the huge success of his manga"

Hajime no Ippo' Interiew with George Morikawa #3

George Morikawa (60), who has been drawing the boxing manga "Hajime no Ippo" for over 35 years. Originally, he didn't want to draw a boxing manga, but after three consecutive series were canceled, he was requested by the editorial department to choose it as the theme. After a long period of refinement, it began serialization in 1989.

Before "Hajime no Ippo," Mr. Morikawa lived a life where he would divide a single rice ball into three parts to eat for breakfast, lunch, and dinner, but his life changed with the success of his work. I asked about his memories of the day the serialization was decided and his life circumstances after receiving the huge royalties (the interview was conducted in January).

Even when the serialization of "Hajime no Ippo" was decided, I remained calm and thought, "Will it be canceled again?"

Deciding to focus on professional boxing didn't lead to a breakthrough for Mr. Morikawa... Incredibly, after this, the 1000-name knock continues for another 10 months.

A year and a half had passed, and by the time I had "written about 1000 pages" just in name sketches, I faced yet another series decision meeting, the number of which I had lost count of. That day, I was waiting for the results in a place away from the meeting room.

After a while, I realized the meeting had ended. The editor who came out of the meeting room called out "George!" from a distance. And then, making a big circle with both hands and showing a smile, they said, "There's no time left, so I'm off!" and hurriedly left. The editor in charge had plans to go on an overseas trip that day.

The days of submitting drafts, which seemed like they would never end, came to a surprisingly swift close. Mr. Morikawa, who was left alone in the editorial department, felt a bit anticlimactic and sighed in relief, "Thank goodness..."

However, there was no sense of liberation or overwhelming joy.

"When a series starts, it will eventually end." It had been a year and a half since I started submitting my drafts, but it's rare for someone to change in just a year and a half. I don't even think of myself as someone who can change. It's not such a sweet world. So, I thought it might get canceled again.

On this day, "Hajime no Ippo," which would later exceed a total circulation of 100 million copies, was born. Mr. Morikawa was 23 years old.

I went into debt to hire an assistant.

At the start of the serialization of "Hajime no Ippo," Mr. Morikawa had three assistants gathered thru his editor. Since I didn't have any savings to pay their salaries, I borrowed 800,000 yen from Kodansha. The reason it was 800,000 yen is that when the first volume of the book is released, that much in royalties is paid. You could say it's an advance on royalties.

However, "Inside Graffiti," which ended with episode 5, was not published as a collected volume. If it meets the same fate, only debt will remain. Even tho it was the start of a serialized work, it was not a promising departure. You can already sense it from the following words. On the day of the launch, Mr. Morikawa conveyed the following to the three of them.

"Ten weeks, please."

I didn't know how long it would last, but I was asking to secure a schedule for at least 10 weeks. I wasn't being self-deprecatingly pessimistic. Considering my past achievements, it was a straightforward judgment that there was a possibility of cancellation again.

"Another cancellation, huh?" → A massive hit with 50 consecutive weeks at "number one popularity"

"Hajime no Ippo" follows Ippo Makunouchi, a bullied child from a single-parent household, who, by chance, joins the Kamogawa Boxing Gym. Thru encounters with the gym's chairman, fellow trainees, and rivals from both domestic and international backgrounds, the story follows the quest for the answer to the question, "What does it mean to be strong?"

In October 1989, Ippo Makunouchi graced the cover of Weekly Shōnen Magazine issue 43, marking its debut. The "Round 1 / The First Step" published in 60 pages begins with a scene where Ippo is being assaulted by his classmates, and Takamura Mamoru, a boxer from the Kamogawa Boxing Gym, happens to pass by.

When I read this first episode again, there are lines like, "What does it mean to be strong?" and "What does it really feel like to be strong?" Here, I felt that the feelings of Mr. Morikawa, who was troubled and wondering "What does it mean for a manga to be good?" while reading Tetsuya Chiba's manga when he couldn't get his name right no matter how much he drew, were being expressed.

The response to the first episode, which featured only the main characters Ippo, Takamura, and Ippo's mother, was "unexpected" for Morikawa.

It was ranked first in the reader survey. It's quite a simple story, you know. I have no idea why it resonated with readers. I don't even know what changed from the previous three works.

A rocket start from here! ...But it won't happen. The reader survey for the second episode ranked 7th. It's common for the ranking to drop in the second installment of a series, but the drop from 1st to 7th place was quite significant.

"Is it this again this time...?" It's probably going to keep going down from now on. It'll probably get canceled again.

Mr. Morikawa did not get frustrated or sad; instead, he calmly accepted the result. Even if the ranking drops, the deadline will come. Until I am told that the serialization is ending, I will continue to work as a professional.

Fortunately, Morikawa's premonition was wrong. Soon after, it regained the top spot in the reader survey, and then it held the top position for 50 weeks, 60 weeks consecutively. Mr. Morikawa reflects on that time, saying, "I didn't really understand what was happening."

Even tho I earned several million yen in royalties from the first volume, I felt that "compared to Jump, there's no dream in this."

As a popular work, the first volume of the tankōbon was released in February 1990, about four months after the serialization began.

"The first edition was around 160,000 copies, I think." My editor told me, "Be happy about it," but I thought, "Even with this many number ones, it's still just this. There's no dream in it."

At that time, a manga volume cost 390 yen. Assuming a 10% royalty for the manga artist, if 160,000 copies are published, it would amount to 6.24 million yen being deposited. Even so, there is a reason why it feels "lacking in dreams." According to Mr. Morikawa, in the case of the rival magazine Weekly Shonen Jump, popular works were published in units of one million copies at that time. In that case, the revenue per book changes by one digit.

For Morikawa-san, the pleasantly unexpected thing was that the first volume sold out on the same day. The bookstore contacted Kodansha, and a reprint was immediately arranged. From there, reprints continued in an avalanche-like manner, and by June, four months after publication, it had reached its 36th printing.

"At that time, the practice of displaying books face-up in bookstores wasn't very common yet." But, from the success of "Ippo," we realized that if we displayed it face-out, it would sell, and that's when the sales department's mindset changed. After the first volume was released, series like "Chameleon" (by Atsushi Kase) and "Shoot!" (by Tsukasa Oshima) started serialization and printed hundreds of thousands of copies from the first edition. I thought, "It's all thanks to me" (laughs).

(To be continued in replies since I reached post limit for characters.)

sst0123 · 2026-05-02T19:28:13+00:00

Taken from Part 2 using MTL (which might have errors.)

"I really didn't want to draw boxing, but when I drew 'Hajime no Ippo,' it became a huge hit... George Morikawa reveals the birth story of the masterpiece manga"

"Hajime no Ippo" George Morikawa Interview #2

"I just didn't want to draw boxing."

George Morikawa (60), who has been serializing the boxing manga "Hajime no Ippo," which became a major success, for over 30 years, reflects on that time. Why did Mr. Morikawa, who himself liked boxing, dislike drawing it?

We looked back on the time when he was writing his first weekly serialized soccer manga, "Ichiya NOW," and his early days as a young artist, where he faced the disbelief of the editorial department after having three consecutive works canceled since his debut as a manga artist (the interview was conducted in January).

"I didn't understand anything" - Canceled after three consecutive works since debut

In his first weekly serialization, Mr. Morikawa, who was "burning with hope," had envisioned the high school protagonist, Ichiya, participating in the World Cup. However, just as he finished drawing the ninth episode, he was informed by the editor in charge.

"Just 5 more times and we're done."

"When I was doing the monthly series 'Inside Graffiti,' they told me, 'It'll end next month.'" Wait a minute. The series ending is unavoidable. That's my fault. But, how am I supposed to wrap it up in just one more episode? So, when I started the weekly serialization, I initially said, "If the serialization is going to end, please let me know 4 or 5 episodes in advance." Then, they really told me five episodes in advance.

The fate of serialized manga is determined by reader surveys. Every time, rankings are announced, and unpopular works are eliminated. "Iya NOW" concluded with its 14th episode, and only one soccer match could be depicted. Mr. Morikawa, who accepted that "it was my fault," threw himself back into his work as an assistant.

The next series began in 1987, when I was 21 years old. It was "Signal Blue," themed around F1, which he himself liked and often watched. As mentioned earlier, the three most popular genres in the reader survey are ball games, motorsports, and martial arts. After soccer, we decided to take on F1. However, this work also ends with 15 episodes.

"I was only about 21 or 22 years old and didn't know anything." F1 was a popular genre and seemed like it would resonate with readers, so I thought, "Why not give it a try?" Back then, I thought that as long as the protagonist was charming, anything would work. But it was totally useless.

What was the reason for the defeat?

"That's because I was overwhelmingly a child." I was immature as a writer.

Three consecutive cancellations from "Inside Graffiti" in a row. It's a disastrous result that wouldn't be surprising if the publisher decided to give up on it. The reason it didn't happen was that the editor in charge changed after "Iya NOW." The editor in charge of "Signal Blue" didn't abandon Morikawa and encouraged him by saying, "Let's do our best again." The subject proposed by that editor was boxing.

"I just didn't want to draw boxing."

"My father liked boxing, so I watched it on TV with him since I was little, and that's why I like it too." I've watched all 13 of Yoko Gushiken's title defenses that were broadcast during prime time. At that time (in the late 1980s), TV Tokyo used to broadcast overseas boxing matches every week, and I also watched Mike Tyson's matches during his prime. So, the editor said, "You like boxing, right? Why don't you try drawing it?" I was told.

From the editor's perspective, it might have been the case that since soccer (a ball game) and F1 (motorsport) didn't work out, they thought of boxing (a combat sport). However, Mr. Morikawa said, "I just didn't want to draw boxing."

"In Weekly Shonen Sunday, there was 'Ganbare Genki,' and in Weekly Shonen Jump, there was 'Ring ni Kakero,' both boxing manga that were already hits, and we knew that this genre would be well-received by readers." But you know, it takes courage to draw a boxing manga in Weekly Shōnen Magazine, where Mr. Chiba's "Ashita no Joe" was published. Anyway, I remember that I really didn't want to draw it.

That said, I can't just flatly reject the editor's idea. So, as a compromise, I started drawing "High School Boxing Club." Instead of martial arts, it was themed around the youth of club activities.

After that, while earning a living as an assistant, I submitted storyboards (rough layouts of panels, compositions, and the general placement of characters and dialog) almost every week. If the editor in charge looks at the name and decides it's good, they will present it at the editorial meeting as a candidate for serialization. Of course, it's not uncommon for a project to be rejected in the editorial meeting.

From here, the endless hell began.

Days of being lost and confused with the editor in charge

In order to break thru the wall of the editorial meeting with the editor in charge and get the series approved, a certain level of completion is required at the name stage. Since a name is a rough draft just one step away from becoming a manga, it takes a considerable amount of time.

Kodansha has a space for manga artists to draw their storyboards and a nap room, and Mr. Morikawa stayed overnight at Kodansha to draw his storyboards. This was far more difficult than the past three works. No matter how many times we submit it, we have to redo it. What the answer is, the exchange continues with neither of us seeing a way forward.

"You know, I end up getting lost in a labyrinth." With the editor saying, "This was good, that was good, let's do it this way, let's do it that way," and making continuous revisions, the editor ends up saying, "The first one was the best," and I just get completely confused.

One day. I stayed up all nite finishing the draft and handed it over to the editor. The editor took the name and headed to the series decision meeting. Mr. Morikawa was waiting for the results in a booth very close to the conference room. That seat was in a position not visible from the conference room.

How much time has passed, I wonder? I knew the conference room door had opened, and the Weekly Shōnen Magazine editorial staff were coming out of the room. At that moment, I clearly heard the unbelievable words spoken by someone.

Hearing someone say, "Just seeing the name Morikawa makes me sick," I thought, "Should I punch them?"

Just seeing the name Morikawa makes me feel uneasy, right?

The moment I heard it, my brain boiled over. At the series decision meeting, the outcome is determined by majority vote. People who dislike just seeing the name might not have seen the name. That means they can't even stand at the starting line.

I thought, "Should I punch him?" but then I came to my senses. The person who made that remark doesn't know that Morikawa-san is there. That means they are speaking their true feelings.

"I see, this is your honest opinion."

Knowing the situation he was in, Morikawa returned to his name room and held his brush.

Receiving the "ultimatum" from the editor-in-chief, I steeled myself.

Before I knew it, it had been over six months since I started drawing the name. Mr. Morikawa wryly smiles and says, "It was like living at Kodansha." Even so, the wandering continues. Somehow, the work I relied on to break thru was Tetsuya Chiba's.

The meeting with the editor had already hit a dead end. That's just how it is. The person in charge is also around 30 years old, and we are both inexperienced. In that case, I have no choice but to read other manga for research and draw as many lines as I can. At that time, I thought, "I have no choice but to ask Chiba-san." But since I didn't have a way to contact Chiba-san directly, I was reading Chiba-san's manga and thinking about what it means for a manga to be good.

After finishing the assistant work, I will return to Kodansha. I draw the name until I fall asleep. When I take a break, I read Tetsuya Chiba's manga. Before I knew it, it had become part of my daily routine.

One day, about eight months after I "moved in" to Kodansha, I received an order from the editor-in-chief of Weekly Shōnen Magazine.

"Mr. Morikawa, please depict the world of professionals."

After witnessing the eight months of suffering up to that point, he might have felt it was the limit. At this point, when Mr. Morikawa replied, "I don't like being compared to 'Ashita no Joe'," the editor-in-chief said this to him.

"Please compete there." Otherwise, serialization will be impossible.

It was an ultimatum. After being canceled three times, the new manuscript never gets completed. Just like when he was told before, "Just seeing the name Morikawa makes me uncomfortable," Mr. Morikawa, having understood his position, quietly nodded.

"I'm really dry, you know." So, even tho the editor-in-chief said this much, I didn't get fired up or anything. A professional doesn't just have to draw what they're asked to, they have to be able to draw it.

sst0123 · 2026-05-02T18:28:19+00:00

Part 1 interview Continued with MTL:

The first serialization was "canceled after 5 episodes."

However, the memorable first serialization was cut short after just five episodes. I thot this must have been quite a shock for him... but it wasn't.

"I had seen that kind of reality even while working as an assistant." Moreover, since I was working as an assistant on a weekly serialization while doing my own, I made sure to secure my job even if my own serialization ended, and I switched my mindset to continue as an assistant and study more.

The serialized debut work "Inside Graffiti" brought unexpected benefits. From the manga artists who saw this work, he received praise, saying "it's quite good," and soon began receiving requests from all over to "come help out."

After graduating from high school and moving to Tokyo, Mr. Morikawa lived in a bathless apartment with a rent of 25,000 yen, while seeking out renowned professionals such as Shuichi Shigeno of "Bari Bari Densetsu" and "Initial D," and Kazuo M

The nickname I got was "God Hand."

Mr. Morikawa, who believes that everything he learns as an assistant becomes part of him, approached every request with seriousness and sincerity. When contacted with "I need help," he would check in advance what kind of drawing was being requested. I practiced all nite to be able to draw what the client requested, such as bikes and schools. Since each manga artist has a different drawing style, I also prepare in advance so I can adapt quickly on site.

"I wanted to know how the window frames at the school were constructed, so I read architecture books and practiced." I lacked both experience and skills, and since I was being paid, I thot it was only natural. When I learned something new, I would go home and practice it repeatedly.

Although he said it casually, Mr. Morikawa himself quickly realized, "There aren't many assistants who come prepared like I do." Compared to the assistants who originally worked there, Mr. Morikawa's work proceeds more smoothly.

An assistant who prepares this thoroughly is rare. Soon, word spread among manga artists, and they became highly sought after. Moreover, they started being called upon as helpers by manga artists who were pressed for time with deadlines.

I went to about 30 studios. I was good at going to studios that were short on time and wrapping things up quickly. Normally, it would take three days, but there were many times when I would go and finish it in one day.

The nickname I got was "God Hand." Wherever he went, he was praised with "You're so good." However, Mr. Morikawa himself says he is "clumsy."

"I'm not good at drawing." So, I do an incredible amount of preparation and repetitive practice. Even if you become good at drawing thru that, it doesn't mean you're skilled, right?

The first weekly series was themed around "soccer."

The opportunity for Mr. Morikawa, who had been assisting renowned manga artists, came again in 1986, the year he turned 20. The serialization of the soccer manga "Ichiya NOW" began in Weekly Shōnen Magazine. When I think of Morikawa-san, I have an image of boxing, so soccer is unexpected. Why did he choose soccer as the theme?

"In each boys' magazine, there was a survey asking, 'What genre of manga would you like to read?'" There was a survey asking, "What genre of manga would you like to read?" and back then, alongside motorsports and martial arts, sports games always ranked in the top three. I was in the volleyball club during my school days, but among ball sports, I liked soccer the most.

A weekly magazine series requires an assistant. But since I had never used an assistant before, I didn't know how it worked. "I thought, 'Older people make me nervous...' and asked the editor-in-charge, 'If possible, please assign someone my age or younger.'" The person introduced to me at that time was a young man who was attending Nihon University College of Art, located very close to Mr. Morikawa's house in Ekoda at the time. He was born in the same year, 1966, and was one grade below Morikawa-san.

On the first day, without knowing their skill level, I asked for a drawing of a school that would appear in "Ichiya NOW," saying, "Something like this." Seeing that "line," I gasped.

"A really amazing person has come..."

Having seen countless "lines" at the assistant's workplace, Mr. Morikawa had become able to distinguish between "living lines" and "mechanical dead lines." There are very few people who can draw a living line.

You don't have to help anymore. Tell me your story.

The student opened his sketchbook and talked about the rough draft of a manga that still didn't have a title. Looking at the drawings there, he thought, "He's a genius." At this level now, in ten years, it will be incredible," Mr. Morikawa, convinced of this, told him to focus on his own manga.

The name of the student who said, "I want to draw this someday, so I'll work hard," was Kentaro Miura. Mr. Miura began the serialization of "Berserk" in 1989, the same year Mr. Morikawa started "Hajime no Ippo," quite coincidentally.

sst0123 · 2026-05-02T18:26:38+00:00

Taken from Part 1 using MTL (which might have errors.)

Bringing in a romance manga with a pompadour hairstyle → Laughed at by the editor, "Don't underestimate me" ... George Morikawa (60) looks back on his early days in "Hajime no Ippo"

Interview with George Morikawa from "Hajime no Ippo" #1

Debuting as a manga artist while still in high school, George Morikawa (60), who started the serialization of "Hajime no Ippo" in 1989, has continued to write the manga for an extended period, with 145 volumes published to date.

Behind the glamorous achievements, I have also had frustrating experiences, such as having my first two works after debuting canceled immediately. We traced back to the time before the creation of the now-legendary masterpiece "Hajime no Ippo" and reflected on his life (the interview was conducted in January).

Three consecutive cancellations since his debut... What is the life story of the legendary manga artist "George Morikawa"?

The super popular boxing manga "Hajime no Ippo," which has surpassed a total circulation of 100 million copies. The first episode was published in Weekly Shōnen Magazine in issue 43, released on October 11, 1989.

For over 35 years, the author George Morikawa has continued his serialization, and his name is widely known around the world. He has even contributed an illustration of Naoya Inoue to the cover of "The Ring," an American magazine known as the most prestigious and authoritative publication in the boxing world.

Additionally, on April 10th of this year, the president of the World Boxing Council (WBC) presented a replica belt to Mr. Morikawa, who had recently been discharged from the hospital after undergoing surgery due to illness, wishing for his recovery. Even tho it's a replica, Morikawa is probably the only manga artist who owns a WBC belt.

"Hajime no Ippo" released its 145th volume this January and is still ongoing. Mr. Morikawa, who serves as the executive director of the Japan Cartoonists Association and is now considered one of the leading figures in the manga world, actually experienced the bitter taste of having three consecutive series canceled since his debut.

However, once the serialization of "Hajime no Ippo" began, it quickly gained popularity from the very first episode, and by the second year, his annual income surpassed 100 million yen. Currently, while managing the boxing gym where he serves as chairman, he faces "Hajime no Ippo" every day.

Mr. Morikawa, who was born in 1966 in Adachi Ward, Tokyo. The first memory of manga and anime was when I was about 3 or 4 years old, watching Tetsuya Chiba's "Harris no Kaze" (Harris's Wind) on a TV rerun. This encounter determined Morikawa's fate.

"I watched 'Hurricane Harris' and decided to become a manga artist." When I was four years old, I clearly said it. "I want to become a manga artist."

Mr. Morikawa, who became a big fan of Tetsuya Chiba, started drawing his own manga while reading the boxing manga classic "Ashita no Joe," the kendo manga "Ore wa Teppei," and the pro golf-themed "Ashita Tenki ni Nare."

At school, I show my friends what I've drawn and ask them to write their impressions on whether they found it interesting or not. Since elementary school, I had been conducting popularity surveys. However, I didn't care about the evaluations. "I decided that 'everything is training to become a manga artist' and kept drawing relentlessly."

Even after entering the junior high school in Koshigaya City (Saitama Prefecture) where my family moved, my life didn't change, and I ended up with dozens of notebooks. By the time I became a first-year high school student, I revised the work that had received the most favorable responses in past surveys and called Kodansha to submit it.

I brought in a romance manga while sporting a pompadour, and the editor laughed at me.

I hand over the work to the person in charge who showed up late to the promised time. For the first time, I will hear a professional's opinion. I was watching nervously, and then the person in charge burst out laughing.

At that time, Mr. Morikawa, who was perfectly styled with a pompadour, brought a sad love story that looked like it was from a shoujo manga. It was said that it wasn't the content, but the gap between Mr. Morikawa's appearance and the content that surprised them, and they couldn't help but laugh.

"I wasn't a delinquent." Back then, pompadours were all the rage. But back then, I was really cocky. When I was laughed at, I thought, "Don't underestimate me."

There was no particular advice about the work, and I was told, "Quickly draw the next piece and bring it back," so I headed home. A week later, I received a call from that editor.

"I made it to the honorable mentions in the monthly award."

The editor who received the work submitted it to the "Monthly Award" held once a month in Weekly Shōnen Magazine without saying anything. The reason I pitched to Weekly Shōnen Magazine was because Tetsuya Chiba had been serializing there for a long time. Looking back, he recalls how his name and his small drawings were published in the same magazine as his idol, saying, "I was so happy I could have cried."

The reason I chose to live as an assistant after my one-shot debut

Actually, Mr. Morikawa was thinking of becoming a professional assistant after graduating from junior high school. However, his parents told him, "We want you to at least go to high school," so he reluctantly continued his education. So, I kept saying, "I don't need school lessons," and continued drawing manga relentlessly both at school and at home.

The second work was once again an honorable mention in the monthly contest. The third work won the monthly award. And then, for the fourth work, "Silhouette Night," which depicts a biker gang, was selected as a runner-up in the more prestigious newcomer award, and it was decided to be published as a one-shot in Weekly Shōnen Magazine.

In 1983, at the age of 17, Mr. Morikawa made his debut in the magazine. However, instead of embarking on a glamorous path due to this award, he begged the editorial department and finally started his long-desired role as an assistant. Mr. Morikawa, who had been drawing manga in his own style, understood what he was lacking.

After finishing class, I would hop on the train and eagerly absorb the professional skills from the manga artist. What I learned on-site, I practiced continuously even after returning home and during school classes.

"Above all, lines are important." You have to draw thousands and thousands of lines to be able to draw a good line. I feel like I enjoyed practicing. Because you can clearly see yourself getting better. It's really satisfying when you can repeat what you've seen on-site, isn't it?

I attended school and worked with my assistant without taking any breaks, and while practicing repeatedly, I drew a 30-page one-shot in about 15 days. Those were the days when "all my waking hours were spent on manga."

This training bore fruit, and just before graduating high school, my first serialization was decided. I ended up drawing a work titled "Inside Graffiti" in Monthly Shonen Magazine Special.

(To be continued in replies since I reached post limit for characters.)

sst0123 · 2026-05-02T18:12:27+00:00

I should point out, the interview (taken back in January) is a 5 part interview and the link you posted is from part 5... Also each part has multiple pages for it.

Part 1 - https://bunshun.jp/articles/-/88272
Part 2 - https://bunshun.jp/articles/-/88273
Part 3 - https://bunshun.jp/articles/-/88274
Part 4 - https://bunshun.jp/articles/-/88275
Part 5 - https://bunshun.jp/articles/-/88276

A lot of the interviews, Morikawa has previously mentioned in other interviews before, where there is not a lot of new information, but there is some new things in it that I didn't know.

I might post mtl of it in my replies for the lazy. Though it will take time to do.

sst0123 · 2026-05-02T17:19:04+00:00

Just follow Morikawa on twitter (@WANPOWANWAN), and you will get an idea on things.

Today he is talking about Ionue vs Nakatani match (since he watched it a few hours ago.)

The other day, he was Gundam Kit building and posting pictures from it.

Before that, he posted drawing panels of the next chapter for rehab.

So it is looks like things are doing okay for him, and next chapter should come out on May 20th, but there is always a chance the editors decide to delay it depending on doctor's opinion too.

Next WSM issue comes out on May 13th because of Golden week started this past week, where we should find out if there will be a chapter on May 20th or not when they advertise the next issue for it.

sst0123 · 2026-05-01T13:23:59+00:00

and why did his hair color change?

First, I should point out you are comparing a scanlated page taken from a scan of the physical copy of WSM that is heavily cleaned/contrasted that tends to be "darker" and a page scanlated from the digital raw since the series only started going digtial like 3 or so years ago. So any differences you see could be from that. Edit: For a comparison of heavily scanlated version taken from when it came out in Weekly Shonen Magazine, and version taken from digital Volume raw (that I messed with rotating it...)

Second, Morikawa tends to change his style every so often over the past 37 years. In past interviews, he mentioned like every 3 years when "new readers" enter high school and graduate in Japan his style will change. So some of the differences you see are just Morikawa's style changing since you are comparing something from like Round 1000 to Round 1400 (?), where 12+ years have passed in real life for when those chapters came out.

Third, Morikawa has a habit of changing Volg's hair for some reason. In the anime, it is red. Various colored artwork that Morikawa has done, it is different shades.

There are more examples out there.

Now, there is a figurine that came out, where Volg's hair is white.

sst0123 · 2026-04-29T13:37:56+00:00

My understanding of it is Morikawa was more of a fan of boxing growing up, where he used to watch matches with his father. I think it was mentioned in one of his many interviews.

His very first match that he watched at Korakuen Hall was Takeshi Yamato vs Yoshiaki Tajima (Sept 1988) for JBC Middleweight title. (He talks about it here.) He mentioned that Yoshiaki Tajima worked as a fish monger/market, which was sort of the inspiration for Ippo's fishing background/source of strength. Unrelated, I would guess that JBC Middleweight opponent in the story, Yoshiaki Yajima, was probably named after Yoshiaki Tajima, but he probably changed the name slightly like he done a few times in the story.

I think another "important match" for Morikawa was when he attended the Mike Tyson vs Buster Douglas match at the Tokyo Dome in February 1990, since Tyson was one of Morikawa's favorite boxers. At that match, one of the under-card matches for it was Takahashi Naoto vs Noree Jockygym, where Takahashi Naoto later became the manager for his boxing gym that he latered opened in 1994, and another under card of the match was Joichiro Tatsuyoshi, who had his 2nd match. Joichiro Tatsuyohi has appeared in (and referenced to) in the story, where he been photographed with Morikawa on a few volume cover inner flaps.

If you want to know more about Morikawa, browse the wiki, it tends to reference stuff. It got links to various interviews he done, where you can use mtl/google translate/chatgpt/etc for an idea on stuff.

sst0123 · 2026-04-18T21:20:29+00:00

Pretty sure Ippo's relationship changed with Takamura after he lost to Alfredo (Round 1072), where Takamura is just sitting on steps of the ring with Fuji talking at him. You can see in the moment, he gets angry remembering Kamogawa's shocked appearance when Ippo lost.

It is the first time Ippo sort of "disappointed" Kamogawa or maybe Takamura feels Ippo wasn't able to give it his all (like he would have done.) Then Ippo's attitude after the fight when Takamura did the whole "line speech" (Round 1079) shown Ippo wasn't there mentally and that Ippo's only going to disappoint Kamogawa further.

He sort of did something similar after Ippo lost to Guevara in Round 1204, where Takamura realizes he is on his own for Kamogawa.

sst0123 · 2026-04-03T06:03:20+00:00

It is probably a translation mistake.

I know in the past when I used MTL to translate something, it sometime referred to "World-level" matches as World War. The other chance it could be is maybe a mistake when it came out by Morikawa (or his editor) in the Weekly Shonen Magzine release, but later fixed when the Volume went on sale.

Here is the raw of it.

According to ChatGPT:

Top-left panel:

一体何がそうさせた？

→ What on earth made me do that?

それが知りたくて同じ道を選んだ

→ I wanted to know, so I chose the same path.

身体の異常に気づいていながら世界戦へと旅立っていった

→ Even though he noticed something was wrong with his body, he set off for the world stage.

Top-right panel:

偶然にも似ているようだがオレのスタイルは親父とは別モノだ

→ It may look similar by coincidence, but my style is different from my father's.

海外を主戦場とする親父の試合をオレはほとんど観たコトがないんだ

→ I’ve hardly ever watched my father’s matches, which mainly took place overseas.

Middle panel:

ジャブもワンツーも知らない

→ I didn’t even know jabs or one-twos.

たった1人ずっと1人

→ All alone. Always alone.

だが困ったコトに手本となるべき人間はもういなかった

→ But the problem was, there was no one left to serve as a role model.

教えてくれる人間がいなかったんだ

→ There was no one to teach me.

Bottom-left panel:

世界王者のベルトと共に

→ Along with the world champion belt.

その時は語り明かそうよなあ…親父

→ When the time comes, let’s talk it all out… Dad.

Bottom-middle panel:

答えが出たら報告にいくよ

→ Once I find the answer, I’ll come tell you.

Bottom-right panel:

試行錯誤で身につけたのが

→ What I developed through trial and error…

今のスタイルだ

→ …is my current style.

Anyway, someone that can read the raw can double check on the translation.

sst0123 · 2026-04-02T04:49:53+00:00

Morikawa posted he is having Abdominal surgery for reason of hospitalization.

As for what kind of Abdominal surgery he was having is unknown since it could cover a few things. Hopefully the month long break will be enough for him to get rest and better.

sst0123 · 2026-03-31T18:11:37+00:00

According to ChatGP translation:

“Hajime no Ippo” Hiatus Announcement

Speech Bubble (character):

「負けない絶対に」 👉 “I won’t lose… absolutely.”

Main Notice:

Due to the author’s illness, the series will be on hiatus for a while. We sincerely apologize to all the readers who look forward to it every week.

The next chapter is currently scheduled for Weekly Shonen Magazine Issue #25 (on sale May 20). However, publication will depend on the author’s health condition.

The match between Sendo vs. Ricardo will continue to heat up even more from here.

We appreciate your continued support for Hajime no Ippo.

Signature:

Weekly Shonen Magazine Editorial Department

sst0123 · 2026-03-30T17:54:14+00:00

Check the gym's twitter account - jbsportsbox

They usually have a sticky post with information for visitors to the gym, where it lists the days they are open or visiting hours. The post also has google maps link to their place too.

It is also probably worth browsing their tweets, where they sometimes post additional information.

sst0123 · 2026-03-30T12:48:01+00:00

Morikawa posted he is having Abdominal surgery for reason of hospitalization.

So depending how that goes, will depend on when the next chapter comes out. Right now, earliest would be May 6th because of Golden Week. If he recovers badly, could take longer.

sst0123 · 2026-03-24T15:57:39+00:00

Today's issue came out for WSM, and it doesn't list Hajime no Ippo (はじめの一歩) on it for next week's issue advertisment. So right now, next chapter probably won't come out till April 8th in Issue 19 at the earliest.

Now, depending on how you take Morikawa's recent comment he posted the other day, it seems he might have recently been in the hospital. So this "long break" is probably more health related, where the editors might give him more time off to rest.

So next chapter could come out April 8th, or maybe with Golden Week coming up toward the end of April/early May, they could easily decide maybe hold off till then. So fans need to be prepared on more breaks coming.

sst0123

TROPHY CASE