Baoh the Visitor

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His touch signifies death! This is... Baoh!

Baoh the Visitor (バオー来訪者, Baō Raihōsha) is a manga written and illustrated by Hirohiko Araki. It was originally serialized in Weekly Shonen Jump with seventeen chapters from October 1984 to February 1985. In September 1985, it was compiled into two tankōbon volumes with nine chapters. It later released as one bunkoban volume on June 16, 2000.[2]

The manga was licensed in English and released in monthly chapter issues by VIZ Media in 1990. As it was financially unsuccessful, it was not until 1995 that it was re-released in a volume format.[3] An OVA adaptation of the series by Studio Pierrot released on September 16, 1989.

Seventeen-year-old Ikuro Hashizawa can transform into the parasitical bio-weapon, Baoh, gaining superhuman strength and other abilities such as emitting corrosive substances and discharging electricity. He escapes from the secret Dress Organization along with a young psychic girl, Sumire, and the two must face various assassins sent by the organization to kill him.

Summary

Prologue

The mysterious bioweapon "Baoh" appears

One day, the mangled corpse of a woman washes up on a northeastern shore of Rikuchu, Japan. The dead woman is revealed to have been on a certain train several days earlier.

On said train, Dr. Kasuminome of the Dress Organization, a covert government group responsible for creating secret weapons, escorts one of his latest creations, Baoh, kept dormant in a tank. Meanwhile, a little psychic girl named Sumire, who was kidnapped to be studied, escapes from her room. During her escape, she releases Baoh, revealed to be a young man with superhuman abilities. Baoh and Sumire subsequently escape the train, and Kasuminome fears that he may have unleashed a terrible weapon on the world before its prime.

Ikuro on the Run

Ikuro battles various assassins and monsters

Kasuminome immediately calls for an assassin to kill Baoh. Later, the boy and Sumire try to bond with each other, but a knife wielding assassin named 22nd Man stabs the former, forcing the duo to steal a motorbike and flee. The assassin reports his failure, and is ordered to gather more of his comrades to finish off Baoh before his power fully awakens. It is revealed that the boy, Ikuro Hashizawa, doesn't remember how he obtained his uncanny strength and regeneration. 22nd Man soon attempts a second murder, slicing Ikuro's throat, but it only awakens Baoh, who dissolves the assassin before returning to human form.

Later, a death squad is already searching for Ikuro and Sumire, who are busy betting on horse races to acquire money. Meanwhile, Kasuminome explains to his sponsors the Baoh parasite, which grants supernatural strength and abilities to its host, growing in power the longer it stays within them. To demonstrate its potential, he pits a little Baoh dog against a tiger, a battle which the dog handily wins before being put down. If the parasite within Ikuro were to reach its imago stage, it would lay its eggs within his body and threaten to spread across the world. Meanwhile, Ikuro and Sumire have settled inside an abandoned building, Ikuro sensing that something inside of him is changing. The death squad attacks the duo, but Ikuro transforms again into Baoh, decimating the squad. Unbeknownst to him, he is observed by another assassin.

Baoh senses the assassin, who reveals himself as a beastmaster commanding a heavily modfied giant mandrill named Martin. Due to its strength and many weapons hidden inside his body, Martin is more than a match for Baoh. Sumire, having sensed that Ikuro's humanity is still intact inside of Baoh, tries to stop the assassin from controlling Martin, only to be hurt. Enraged, Baoh finally overpowers Martin and kills both the beast and his master, healing and turning back into Ikuro.

Sumire Taken Hostage

Sumire is taken hostage by Dress

Walking through the mountains, Ikuro explains to Sumire that after a deadly car collision, Ikuro and his parents were heavily injured and taken to the hospital six months ago. Unfortunately, the doctor was linked to Dress, looking for guinea pigs at the time. Kasuminome callously killed Ikuro's parents under his eyes and took him away to inject the Baoh parasite inside of him. Back to the present, an old couple living in the area gives Ikuro and Sumire shelter and food. But during a moment the old man, Rokusuke, is isolated, Dress's Lieutenant-Colonel Dordo hypnotizes the old man into shooting Ikuro in the head with his hunting rifle at the stroke of midnight.

Dordo watches the house until midnight strikes. Rokusuke wakes up and tries to shoot Ikuro, who transforms into Baoh but senses that the old man is not his true enemy. Jumping through the roof, Baoh confronts Dordo, who disables all of his sensory organs through chemicals released by a swarm of Aroma Bats. Thankfully, Rokusuke has come to his senses and, guided by Sumire, shoots down the bats despite taking a bullet. Baoh confronts Dordo and mortally wounds him, only to reveal his heavily-modified cyborg body. The unharmed Dordo kidnaps Sumire to use her as bait, and escapes with a delta plane to one of Dress's headquarters near Sanriku. Ikuro is determined to free Sumire, but risks unleashing the beast inside of him for good.

Going away on a motorcycle given by the couple, Ikuro deems it necessary to learn to control his power first to have a chance to save Sumire. Meanwhile, Kasuminome chastises Dordo for his perceived failure and the danger of giving Baoh time to grow stronger. Meanwhile, Ikuro is forced to save a trapped girl from a speeding train and is pushed into managing to activate his acid touch without fully transforming. Humiliated by his hierarchy, Dordo goes out to snipe Ikuro, but his attempt is foiled when Ikuro harnesses Baoh's super senses and strength to evade the bullets without transforming. Meanwhile, Sumire is experimented on, but the scientists cannot make her cooperate. Sumire is terrifed at the sight of a hulking Native American named Walken, however—Walken's extraordinary psychic powers allow him to manipulate and destroy objects at a molecular level, making him one of the most dangerous men in the world.

Ikuro vs. Walken

Baoh with a laser weapon

Taken back to the headquarters, Dordo is executed by Walken for his failure, being atomized into dust. To lure Baoh, Kasuminome purposefully tortures Sumire, whose distress is detected by Ikuro. Transforming into Baoh once more, Ikuro scales the seaside cliff leading to a vulnerable side of the facility and rampages through the security staff and Kasuminome's deadly traps. He is soon confronted by Walken, who corners Baoh by trapping his arm within a wall. Nonetheless, Baoh manages to stab Walken's brain by slicing off his trapped arm and launching one of his arm blades, tearing the warrior's limiter headband in two in the process.

With Walken defeated, Baoh finally reaches Sumire, only to be welcomed by a flurry of laser beams targeted at Sumire. Baoh rescues Sumire, healing her wounds from the attack with his blood. Seeing that Baoh is cornered, Kasuminome sets the facility's self-destruct sequence in motion. As Kasuminome rushes to his escape pod, the other scientists encounter Walken during their escape, his power and thirst for revenge now beyond measure. As Sumire awakens, Walken finds her and Baoh, destroying the floor beneath them. All three of them, as well as Kasuminome within his escape pod, fall into the limestone cavern beneath the facility. After telling Sumire to flee, Baoh uses one of the lasers from her torture chamber to slice Walken in two, fatally wounding Kasuminome with a fallen stalactite in the process. The cavern then collapses as the facility self-destructs, putting an end to both Dress and its final creation.

Naturally, the explosion received little attention on the news, the cause being attributed to a pharmaceutical company's mishandling of materials. The Dress Organization was never mentioned. Some time later, an older Sumire has been taken in by the old couple and given a new, happier life. She senses that Ikuro is dormant, but alive, waiting at the bottom of the sea. When she turns seventeen, Sumire confidently predicts, he will reawaken and return to her.

Characters

Characters from Baoh the Visitor

IkuroAv.png IkurohAvOVA.png

Main Protagonist

Sumire Av.jpg SumireAvOVA.png

Ally

KasuminomeAv.jpeg KasuminoneAvOVA.png

Main Antagonist

SophineAv.jpeg SophineAvOVA.png

Antagonist

No22Av.jpeg 22AvOVA.png

Antagonist
Martin's Master
Antagonist
Martin
Antagonist

DordoAv.jpeg DorudoAvOVA.png

Antagonist
Aroma Bats
Antagonists

BaohCainAv.jpeg BaohCainAvOVA.png

Antagonist

BoahBloodyAv.jpeg BoahBloodyAvOVA.png

Antagonist

Walken Av.jpg WalkenAvOVA.png

Antagonist

MaskedMenBaohAv.jpeg BaohMaskedMenAvOVA.gif

Neutral

BaohDogAv.png BaohDogAvOVA.png

Neutral
Shirasawa
Neutral
Aya (Baoh)
Neutral

BaohMotherAv.jpeg BaohMotherAvOVA.png

(Flashback)

BaohFatherAv.jpeg BaohFatherAvOVA.png

(Flashback)

Volumes

FrontBack
Baoh Volume 001.png
Baoh Volume 1 Back.jpg
Release Date
ISBN
Japan September 10, 1985[4]
Chapter Titles
Revised TitlesWeekly Shonen Jump Titles
  1. Baoh, the Ultimate Weapon (最終兵器バオー, Saishū Heiki Baō)
  2. The Extermination Order! (抹殺指令!, Massatsu Shirei!)
  3. Baoh, the Invincible Body (無敵の肉体バオー, Muteki no Nikutai Baō)
  4. Evil Beast Martin (凶獣マーチン, Kyōjū Māchin)
  5. Grandpa Rokusuke (六助じいさん, Rokusuke-jīsan)
  1. Baoh, the Ultimate Weapon (最終兵器バオー, Saishū Heiki Baō)
  2. The Extermination Order! (抹殺指令!, Massatsu Shirei!)
  3. Baoh Dog (バオー(ドッグ), Baō Doggu)
  4. The Invincible Body (無敵の肉体, Muteki no Nikutai)
  5. The Odor of Murder (殺意のにおい(、、、), Satsui no Nioi)
  6. Evil Beast Martin (凶獣マーチン, Kyōjū Māchin)
  7. Artificial Evolution (人工進化, Jinkō Shinka)
  8. Grandpa Rokusuke (六助じいさん, Rokusuke-jiisan)
FrontBack
Baoh Volume 002.png
Baoh Volume 2 Back.jpg
Release Date
ISBN
Japan November 8, 1985[4]
Chapter Titles
Revised TitlesWeekly Shonen Jump Titles
  1. Aroma Bat (アロマ・バット, Aroma Batto)
  2. Come Out, Baoh (怪物(バオー)よ出でよ, Baō yo Ide yo)
  3. Cyborg Lieutenant Colonel Dordo (サイボーグ・ドルド中佐, Saibōgu Dorudo-chūsa)
  4. Demon Walken (魔人ウォーケン, Majin Wōken)
  1. Aroma Bat (アロマ・バット, Aroma Batto)
  2. Cyborg Lieutenant Colonel Dordo (サイボーグ・ドルド中佐, Saibōgu Dorudo-chūsa)
  3. Come Out, Baoh (怪物(バオー)よ出でよ, Baō yo Ide yo)
  4. Demon Walken (魔人ウォーケン, Majin Wōken)
  5. Molecular Vibration! (分子振動!, Bunshi Shindō!)
  6. The Nepenthes Trap (ネペンテスの罠, Nepentesu no Wana)
  7. The Warrior's Warpaint (戦士の化粧, Senshi no Keshō)
  8. The Last Trump Card (最後の切り札, Saigo no Kirifuda)
  9. Submerged in the Darkness! (闇に沈め!, Yami ni Shizume!)

Adaptations

OVA

The series was adapted into a single-episode original video animation (OVA) by Studio Pierrot in 1989; licensed for an English DVD release by AnimEigo in 2000, delayed until finally released in 2002.

Author's Note

Volume 1

Author's NoteAfterword
Link to this sectionAuthor's Note
Araki Baoh Vol 1 Note.png
TranslationTranscript
I was once asked, "If you could have a superpower, what would it be?" I immediately answered, "Transform!" because with transformation, you can be anything you want. I think one would eventually get bored of precognition and telekinesis after a while, but transforming would always be fun. You could mess with other people and go to different places... I'm sure you'd be able to enjoy yourself forever without ever getting tired, which is why I'd like everyone to check out Baoh the Visitor. It's a cool story, but also a sad one at the same time.
超能力を持てるとしたら何? と聞かれ、ぼくは即「変身!」と答えました。何にでもなれるからです。
予知とか念力とかは、ある程度やると飽きてしまうと思います。でも変身はきっと楽しいよ。他人をからかったり、いろいろな所へ行ったり……。きっと一生飽きずに遊べると思うな。そんなわけで『バオー来訪者』をどうぞ。カッコイイけど悲しいお話なんです。
Link to this sectionAfterword
Terasawa Baoh Vol 1 Afterword.jpg
TranslationTranscript
I think my first contact with Araki was when I read his submission for the Tezuka Awards. Looking at his manuscripts, I was surprised and delighted at how similar our "scents" were. Araki is very meticulous with how he crafts his story, going over it several times before putting pen to paper. He's the type of person who only starts writing once he has a complete grasp of the dynamics of his characters, the circumstances they face, their outlook on the world, and so on. This method is the same one used by novelists and screenwriters, but for a serial manga artist is very detrimental.

Many readers expect direct stimulation every week, and only want to see the results of the main character's actions, so the science fiction sensibilities sprinkled throughout the work and the calculated sense of wonder created by the main character are usually overlooked as part of the atmosphere. Nonetheless, this is precisely where a science fiction writer gets to put their skills to the test, trying to visualize what we can only see in our wildest dreams. I mentioned earlier that our "scents" were similar. That's because I felt that his approach to drawing manga was very close to mine. There are very few artists who can make sci-fi manga entertaining without compromising the overall quality of their work, and Araki is one of them. I think that he'll continue to grow as a manga artist in the future while retaining his distinctive "scent."

It's important to recognize that science fiction manga isn't the same as novels or films. At first, this seems obvious, but I think it's something necessary to keep in mind. I hope the both of us will continue drawing science fiction manga until we truly understand what it means.
荒木さんの作品とのファースト・コンタクト(はじめてのふれあい)は、彼が出した手塚賞の応募原稿を読んだ時だったと思う。驚きそして喜んだ。なぜなら、彼は僕と同じにおい(・・・)がしたからだ。

彼は何よりもまず、ストーリー展開を何度も緻密に練りあげてから構成していく。人間関係はもちろん、それを取り巻く状況、センス・オブ・ワンダーをどこに置くかなど、すべてを完壁に把握した上でなければ語り出さないタイプだ。とはいっても、これは小説や脚本を書くのと同じ手法であって、連載マンガ家としては非常に不利な一面を持っている。
多くの読者は毎週の直接的な刺激を期待し、主人公の行動結果のみを求めるあまり、画面の中にちりばめられたSF的感性や主人公の中にある計算されたワンダーに、すべては大気のように気づかれず読み落とされる場合が多い。
しかし、SF作家はそこにこそ自らの資質をつぎ込み、自分の白中夢を映像化しようとこころみる。
先に、彼と僕は同じにおい(・・・)がしたといったが、それは彼の求める作品の方向が、僕のそれと非常に近しいと感じたからだ。
SF漫画において、作品の質を低下させずになおかつ、エンターテイメントであろうとする作家は数少ない。彼はもちろんその中のひとりであり、今後、今のにおい(・・・)を持ったまま成熟してゆくと思う。
SF漫画にSF小説でもSF映画でもない。あたりまえのことのように思えるが、SF漫画を描く上ではこの認識が最も重要であり、難しいものだと思う。

お互いそれを意識し、SF漫画というものが何者であるかを知るまで描き続けていきたいものだ。

Volume 2

Author's NoteAfterword
Link to this sectionAuthor's Note
Araki Baoh Vol 2 Note.png
TranslationTranscript
I love almond-shaped eyes; they feel mysterious with an intense ghostly air and loneliness to them. The eyes of Sting (the musician), Madonna, Nastassja Kinski, Joe Asakura, and Kamui are full of mystery, and that's why I love them. They're all very attractive! With that in mind, please enjoy volume two of Baoh the Visitor. Ikuro's eyes are also full of loneliness...
ぼくは吊りあがった目が大好きで、謎と熱い妖気と孤独を感じます。

スティング(ミュージシャン)、マドンナ、ナスターシャ・キンスキー、ガッチャマンのジョー、カムイらの目は特に謎めいていて、大好きです。みんなカッコイイ!

……と、あこがれて『バオー来訪者』第2巻をお楽しみください。育朗の目も孤独でいっぱいです……。
Link to this sectionAfterword
Yumemakura Baoh Vol 2 Afterword.jpg
TranslationTranscript
I have been reading this unusually-powerful story with my undivided attention since its serialization in Shonen Jump. I appreciated that the artist didn't hold back in his drawings or in the storyline. Perhaps this is because what the author has been waiting to do for years boiled over all at once in this work.

If the persuasive power of a novel comes from its style, the persuasive power of a manga comes from its drawings. It's all about what kind of pictures you can present before the reader's eyes. The persuasiveness of those drawings is the persuasiveness of the manga itself. The small details fade away.

In that regard, when I laid eyes on the drawing of the Baoh parasite, I was struck by its eeriness—in other words, its persuasive power. When the reader is presented with such a drawing, they simply have to trust the author. Masaki Yamada once wrote that "science fiction is description," and I believe that manga is a form of description as well.

A sequel to this story will undoubtedly have to be drawn before long.
この異様な迫力を持った物語を、ぼくは少年ジャンプ連載時から注目して読んでいた。絵柄もストーリーも遠慮がないのがよかった。おそらくは、この作者が何年もあたためていたものが、この作品でいちどに噴き出したからであるう。

小説の説得力が"文体"によって生まれるのなら、漫画の説得力は"絵"であると思う。どのような"絵"を読者の目の前に差し出せるかである。その"絵"の説得力が、そのまま、その漫画の持つ説得力になる。小さな理屈はどこかに消えてしまう。
そういう意味で、寄生虫であるバオーの"絵"を見た時、その不気味さ、つまり説得力にぼくはうなってしまった。このような"絵"を見せられれば、読者はその作家信用してしまうのである。「SFは描写だ」と、山田正紀氏(SF作家)が何かに書いていたが、漫画も描写であるとぼくは思う。

この物語の続編は、やがて必ず描かれねばならないものであろう。


Afterword

Link to this sectionBaoh the Visitor Paperback Edition Afterword
TranslationTranscript
When I started writing Baoh the Visitor, I moved my workplace from my hometown of Sendai to Tokyo. Up until that point, I had been working alone, drawing at my own house. If I had a fax machine and an efficient photocopier like I do now, and could get to the editorial department in about two hours via bullet train, perhaps I wouldn’t have moved.

However, at the time Baoh began serialization in 1984, courier services had barely been established in Sendai, so my work schedule was already constrained. I didn't want to move to Tokyo in the summer because of the hot and humid weather, as well as the small size of the place (which I'm still not used to), but after some encouragement I took the plunge. And now, looking back, I can only remember the positives of coming to Tokyo.

Firstly, the people there were human, too. I got to know people with different ideas and information, and was shocked at the different ways of looking at things, and being able to see and hear new things was the biggest plus in terms of studying. There were books on sale by painters and designers I had never seen before, and I became obsessed with food I had never eaten before. I really admired the painters Frank Frazetta, Enki Bilal, and Antonio Lopez. I was surprised by the beauty and fashion sense of designer stores like Missoni and Versace. I also watched MTV shows late at night, and I got to see performances of Madonna and African American rap music for the first time. I brought the question I had been pondering since my previous work, Cool Shock B.T., with me to Tokyo: "How can I develop my own art style?" As I studied, I realized I had a lot of work to do.

The idea for Baoh the Visitor came to me while I was working in Sendai. Since I had depicted an "intellectual conflict" in Cool Shock B.T., I thought about creating a setting and protagonist based on the theme of "the body" for my next work. I wanted to write a story about the topic of creating biological weapons using the cloning and genetic engineering techniques already available in 1984. The abilities used by the protagonist had to be sufficiently biological and logical, even if they were exaggerated. I also wanted to depict the story's progression with a similar rhythm to rock music. That's what it felt like to me, anyway. It had to be like the groove I'd seen on MTV since I came to Tokyo, full of the shrieks, the crescendos, the "Barubarubarubaru!" of life.

Once serialization began and the story progressed, I began to feel that, while genes could be a strange and wonderful concept, there's also something sad about them. Perhaps something like fate exists within one's own genes. For around ten years after its conclusion, I was often asked whether I would continue Baoh the Visitor. However, I think it's best to keep the end of Baoh here. The heroine, a young girl, grows up with a sense of hope for the future. I drew the last chapter with the feeling that the future is driven by hope, and I believe this "ode to life" was inherited by a work I started two years later, JoJo's Bizarre Adventure. In regard to that art style challenge I had during my Cool Shock B.T. days, I wonder if I'll continue to study and hone my skills from here on? In that regard, I'm hopeful for the future.

I lost the manuscript for the full-color illustration of this book at some point, probably when the Shueisha building was being renovated, and I haven't been able to find it since. That's why I decided to use a magazine cover from the time of its publication. In other words, the original cover doesn't exist anymore...
本作品『バオー来訪者』執筆から、わたしは仕事場を故郷の仙台から東京に移した。それまでの作品は、故郷の自宅でひとりで描いていたわけだ。そして、現在のようにFAXや性能のいいコピー機があって、新幹線で約2時間で編集部まで行かれてたなら、仕事場をもしかしたら東京に移していなかったかもしれない、とも思う。

でも『バオー』連載時の一九八四年当時は、やっと宅配便のシステムが出来た程度で、故郷で仕事するのは、時間的にもう限界に来ていた。夏、あついのはヤだし、土地は狭そうだし(現在でもけっこう慣れてない)上京するのはいやだったけれど、背中をドンと押されて上京したというわけだ。 そして今、思い返すと、上京して良かったと思う点しかあがらない。

まず、やっぱり人間だ。いろんな考えや情報を持った人と知りあえて、いろんな物の見方にショックを受けて、見たり聞いたり出来たので、勉強という点では最大にプラスになっている。見た事もない画家やデザイナーの本が売ってるし、食べた事もない料理に夢中になった。

フランク・フラゼッタとかエンキ・ビラル、アントニオ・ロペスといった画家は、本当に好きになった。ミッソーニとかヴェルサーチといったデザイナーの店の美しさやセンスのよさにビックリした。それと、MTVのテレビ番組も深夜やってて、マドンナとか黒人ラップとかも初めて見た。 わたしの前作『魔少年ビーティー』からの作品的な課題で「自分なりの絵をどう描くか?」それをひきずって上京したわたしは、研究したり勉強したり「やる事がいっぱいあるなあ」と思った。

『バオー来訪者』のアイデア自体は、仙台の時からあって、「魔少年ビーティー』で「知力」の闘いを描いたから、次作は「肉体」をテーマにして設定と主人公をつくってみようと思っていた。一九八四年当時のし(・・)て来た、クローンだとか遺伝子操作の科学技術で、生物兵器を作ってる話にしよう。主人公が使うワザは、ちゃんと生物学的に、誇張はしてても筋道が通ったモノでなくてはいけない。そして、それをロックのリズムでストーリーが展開していく様に描こう。そう思った。東京に来てから見たMTVとかのノリ(・・)の様にギャアーーンだとかバルバルバルだとかドッバァァァァンとかいった、生命感あふれるノリ。

そして連載が始まり、どんどん話をすすめていくと、描いているうちに「遺伝子」ってなんて不思議でスバらしいメカニズムであると同時に、なんか悲しいところもあるなあと感じるようになって来た。たぶん、運命のようなものが遺伝子の中に存在するからかもしれない。 よく『バオー来訪者』の続きは描かないのですか?と、完結後10年くらい言われた。でも、『バオー』のラストは、ここで「終わり」を保っとくのが一番いいと、自分では思っている。主人公の女の子が、希望をいだきながら成長していく。未来のことは希望の中にこそあると、自分は描いている途中で感じ、そしてこのラストは、生命の讃歌として、この2年後の作品『ジョジョの奇妙な冒険』が受け継いでいると自分では思う。

最後に「自分なりの絵をどう描ーか?」という『魔少年ビーティー』からの課題も、これからもずっと研究して修業していくのかな? と希望の中に思っているというわけ。

本書のロ絵の4色カラーは、(たぶん集英社のビル建て直しの時だと思う)原稿が紛失してしまって、どうしても見つからない。しかし、だからあえて発表当時のジャンプの表紙として載せる事にした。という事で、もう存在しないわけ…。

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Trivia

  • Baoh was Araki's first successful manga series and allowed him to afford his first trip abroad, to England. However, Araki found the trip difficult as he didn't understand English and wasn't familiar with the food.
  • According to Araki, the name "Baoh" comes from the term "Bio" as in Biotechnology, which was a hot topic at the time of Baoh's publication.[6]
  • VIZ planned to bring JoJo's Bizarre Adventure to America in the early 1990s. They ran a blurb about it in their promo newsletter Viz-In under the name "The Strange Adventures of JoJo".[7] However, the plan collapsed when Baoh sold poorly in America.[3]
  • In June 1998, Akira Toriyama ranked Baoh the Visitor as his #2 Weekly Shonen Jump manga.[8][9]
  • Hiroyuki Takei, the manga artist of Shaman King, said that Baoh the Visitor was one of his favorite series along with JoJo's Bizarre Adventure in his youth.[10]

Cameos

Notes

  1. Some chapters were fused together for volumization.

References

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