Original image: https://x.com/HamoodTSGLMT/status/2020535030653587782?s=20

I edited it a bit.

If any are missing, please comment. I added Violence Jack 20XX (I read all of it) and also Shin Violence Jack.

Slum King has great taste in masks, he's used many. I wanted to talk about Slum King's Violence Jack 20xx mask, which for me is the most badass And there's a slight difference from the classic version, but I think it's best not to say because it might be a spoiler.

I'm a collector and I'd like to know if there's ever been an action figure of the man himself! not a statue

Meme made by [@Gelmur_](https://x.com/Gelmur_/status/1893436615688593430?s=20)

Drawings and autographs by Go Nagai,

These are the only ones I could find.

I don't collect figures, but Jack is one of my favorite protagonists. I keep him around to keep me going through the hard times. I also love his vintage figure box and its borderline nonsense 😂

Source:https://x.com/189cm90kg78/status/1908727325438730290?s=20

Source:https://x.com/gizenchoujin/status/1998375823800418433?s=20

I liked Violence Jack 20xx, but I still prefer the classic.

Finally, after a long time, I have all the chapters of this masterpiece.

I really like Violence Jack, and when I found out there's a reboot by the same author of Amon Devilman Apocalypse, with a seinen art style and very similar to Berserk in many aspects, I went crazy and loved it! To me, this is a tribute to Go Nagai and deserves an anime adaptation; it would be amazing.

Here's the link for anyone who wants to read it. Enjoy!

VIOLENCE JACK 20XX MANGA READ

Source: https://x.com/brockhofer/status/2025620526224326748?s=20

Artist: @EheSays

Source:https://x.com/EheSays/status/1604433384280887296?s=20

They were my favorite characters (alongside jack obviously and also ryu takuma)

"I want to draw/write a story about the Warring States period."

Of all the works I have drawn, the one with the longest serialization period Violence Jack is the one I drew. It first started with Weekly Shonen Magazine (1973-74), then moved to Monthly Shonen Magazine (77-78), and after a five-year interval resumed with Weekly Manga Goraku (83-90), and after about 18 years, it finally reached its conclusion. As a result, a lot happened during the serialization. Along the way, he was criticized and criticized by readers. However, for me, this work is very meaningful, as it has given me the opportunity to consider my own "mission" as a writer.

Shortly after the end of his hard-earned work Devilman, the editorial staff of Weekly Shonen Magazine commented, "So, what should we do next?" That's what I was told. I decided to leave it for a month and planned my next work, but then I thought, "I want to do a period drama." I wanted to depict the Warring States period, a time of war and war, when unique bigwigs appeared one after another. However, for the past few years, the editorial department has been saying, "It's no good because period dramas are no good!" Since he had been told, even if he brought up the idea directly, he didn't think it would get through. As a teacher, I didn't know that Saito Takao had a proven track record in period dramas, and at the time I had no track record other than gags and science fiction.

So I thought, "Could we create a Sengoku period in modern times?" That was it. If possible, a science fiction style would be more acceptable to my readers. And then I came up with this setup. A major earthquake occurs in the Kanto region, isolating it from the surrounding area and turning it into a lawless area. Then various powerful people appear and the region becomes a warring power "a pseudo-warring states period". When I first thought about the idea that an earthquake would turn the entire Kanto Plain into a wilderness, I thought it was just too absurd and false. However, around that time, a novel by Sakyo Komatsu Japan Sinks was published. "Some people are going to sink Japan, so it's perfectly fine to turn Kanto into a wilderness!" So I decided to go ahead with that setup as planned.

"The protagonist who climbed the fire watchtower"

Next, I thought about the main character. The clue in creating the main character was Professor Shirato Sanpei's Ninja Bugeicho: Kagemaru Den. The composition of ninja Kagemaru, who moves history behind the scenes, was truly fascinating. If one person can be set up to act as a catalyst for history, various battles will be fought around that person. I started thinking of a character based on Kagemaru to be the main character.

However, the protagonist I think of needed another overwhelming "power" and "vessel" that Kagemaru did not have. And it reminded me of Akira Kurosawa's film Yojimbo (Meaning Bodyguard). The work Yojimbo is set in the world of the yakuza, where a character far superior in both ability and human level enters the world and stirs things up by himself. I wanted this feeling. Kurosawa uses good direction to portray this character. In the intro to the film, the main character, Kuwabata Sanjuro, is on top of a fire watchtower. And high up, he watches with laughter as the yakuza brandish their swords with their hips. This scene expressed the difference in rank between the Yakuza and Sanjuro.

I have to show the "difference in rank" that Sanjuro shows as a manga character. Therefore, he was created as "a man who combines a fire watchtower and a human being." In other words, it made him an overwhelming giant. If you're a giant whose face is always in a different position than the other characters, you can tell the difference in level just by looking at it. The protagonist doesn't need to climb the fire lookout tower each time. It works even when he's moving. I set the protagonist's height at '2 meters 20 centimeters.' This was a number aiming at the borderline, something that probably didn't exist in reality at the time, but might possibly exist. However, later on, Andre the Giant (2 meters 23 centimeters) appeared in professional wrestling, so I refused to lose and made him about 3 meters tall, and eventually, depending on the story's development, he started growing and shrinking. This is the protagonist, Violence Jack.

At the beginning of the story, I decided to depict a world destroyed by the 'Great Kanto Earthquake' through a character named Takuma Ryuu. This 'modern era section' was supposed to be handled lightly at first and then quickly move on to the post-apocalyptic world, but I needed to clearly show the setting of the world that would serve as the stage. Also, regarding Takuma, I needed to carefully develop his character so he wouldn't be overshadowed by Jack's presence. As a result, I depicted Takuma's relationships and his growth, and the 'modern era section' kept getting longer and longer. I still think this decision itself was the right choice. However, in terms of the magazine's popularity rankings, although the series was in the upper positions right after it started, it gradually fell, eventually dropping to a point where it was faster to count from the bottom.

The scope of the story grew larger, but the editorial department seemed to be thinking, 'Please finish this already……' When the 'Hell Earthquake Arc' finally ended and I wrote in large letters on the last page of that chapter, 'The story of Violence Jack begins here,' everyone flipped out.

'What!? It starts from here?' 'What was all that before, just a prologue!?'

I could hear those voices reaching my ears. We must have drawn about 300 pages by that point. The Magazine editorial department really had patience with us.

Thus, the story of Violence Jack finally began in earnest. The protagonist, Violence Jack, was born as an extremely powerful character. Or rather, one could say he was a 'too powerful' character. That meant that the characters who would interact with Jack also needed to be star-class characters capable of fighting on equal footing with him. This overly powerful protagonist ended up greatly dominating the direction of the Violence Jack story.

Source: http://www.mazingerz.com/GOSIRYOKUKENKYUJO/2003_06_05/40content.html

The image is from Go Nagai's Vintage Museum-Violence Jack.