wrestling / Columns
Universal Expansion: Wrestle Kingdom 9 Gives Fans a Choice
To put things in proper perspective – I have watched a LOT of professional wrestling in the over 30 years I have been a fan. I can’t pinpoint a full number but I probably have watched close to 55,000 hours of television in my lifetime and I honestly would not be surprised if 20,000 of those have been devoted to professional wrestling. I am a hopeless nerd. In the 20,000 hours of wrestling I have probably watched, I may have observed – maybe – 500 hours of what I may in my mind consider “perfection” in the wrestling world. Whether it was the birth of “Austin 3:16” or the birth of “Hulkamania”, the truly GREAT moments in professional wrestling have honestly been few and far between. Let’s be honest with ourselves: the wrestling fan is a masochist and addict. We slosh through the misery of the Dungeon of Doom, Uncle Elmer and “choppy choppy your pee pee” more often than not and suffer as fans because The Holy Trinity between Ric Flair and Ricky Steamboat enthralled us, or we lost our minds watching Mankind nearly commit suicide falling off Hell in a Cell. We know the high of that first hit: it is perfect, and whatever world we have just succumbed to is unlike anything we have ever experienced…but we have to accept some pretty low lows when the bottom falls out.
Wrestle Kingdom 9, New Japan Pro Wrestling’s superbowl from the Tokyo Dome brought a high within my love for this artform that I have experienced very, very, VERY few times. I had already felt an anticipation not lived since the minutes before WWE presented its 2011 edition of Money in the Bank. I was giddy, hyped and scared as shit – because what if the show failed? What if NJPW World, New Japan’s small-scale response to the WWE Network floundered? What if the talent roster – considered by some fans the absolute best in the world, could not live up to the lofty expectations set before us?
Then I heard Jim Ross’ voice at commentary and just like that, it was 0 to 100 miles an hour. I became immersed in what I truly believe in my heart is the goddamn future of professional wrestling. The chills I felt watching The Young Bucks, The Forever Hooligans, The Time Splitters and reDragon walk down the long WrestleMania XIX-like ramp at the start of the IWGP Junior World Tag Team Title match was a sensation I felt upon discovering ECW. Even though I have viewed a few New Japan shows in my time, and am even familiar with a good chunk of their roster, I admit that I have followed NJPW mainly through YouTube clips and reviews here at 411Mania. Being able to watch a New Japan Pay Per View in its entirety in the comfort of my home, and support another wrestling promotion with my money was a great feeling. New Japan has effectively proven that they are ready for prime-time; and has hammered home the one thing we fans have so desperately wanted since March of 2001 – a true choice and alternative to the juggernaut that is WWE.
This is not a knock on TNA, Ring of Honor, SHIMMER, CHIKARA or any other promotion one has grown attached to when they need to break away from Vince McMahon’s traveling circus – but simply an observation based upon where New Japan is on a global scale; its talent, revenue, viewer penetration, marketing, means of networking through the industry and reputation. New Japan has been the #2 promotion in the world logistically for some time. Wrestle Kingdom 9 just happened to emphasize it in a way that made it pretty undeniable.
A FAST PACE
The first thing a new fan to New Japan will notice is the fast pace of not just the in-ring action, but the show presentation itself. No meandering opening promos. Barely a breath between the end of one match and the start of another. Few video packages and the rare in-ring promo are some of the unique production decisions made by those who run New Japan. One has to appreciate what is a clear distinction away from the tropes of modern North American professional wrestling as performers in New Japan’s Junior Heavyweight division are given free rein to move at the quick pace expected of them. While WWE may have some of their smaller athletes utilize their speed during their matches, like Kalisto in NXT, we have become accustomed to stomps, punches and rest holds serving as a lull in action. Theoretically, this is to allow fans a chance to breathe between action; but this has become a noticeable trend in most of North American wrestling matches, and has created an air of predictability. The Junior Heavyweight Tag Title match demonstrated athletes could move at the speed of sound and not sacrifice a well-told story with breathtaking twists and turns during the action.
My wife watched Wrestle Kingdom with me (or at least browsed every once in a while between doing school work), and one of her first comments during the event was that the performers were moving at the pace of a pinball. The Young Bucks’ backflip off a Doomsday Device attempt blew our minds; in fact, for those who were never aware of Matt and Nick Jackson before Wrestle Kingdom, their work in a losing effort in the opening four-team tag title match was a star-making performance with their gymnastic-like feats and invitation to their Superkick Party. Ring of Honor and current IWGP Jr. Heavyweight Tag Champs, reDragon displayed their stiffness while the Time Splitters moved at a pace a Delorean rising to 88mph would appreciate. The Forever Hooligans evened things out nicely with their power and double-team acumen.
One of the absolute eye-roll inducing criticisms on the direction modern professional wrestling is going is the notion of “there is no one left that is larger than life.” The argument stems from the horrifically ignorant “vanilla midget” musings of disillusioned fans who take the “reality” of professional wrestling to what they feel is their logical conclusion. Bigger is stronger, which means bigger is better. What some of these fans fail to understand, or even remember are little facts like Bruce Lee in his prime was a mere 5’8” and 145lbs and at one time was considered the most dangerous man on the planet. Even if some believe that may have been more marketing (and not take into consideration his astounding feats of athleticism and fighting style), consider that a 35-0 Iron Mike Tyson was just 5’10” and 218lbs. I would actually pay money to see someone call Tyson that to his face. Or even Kurt Angle, who at 5’10” and 220lbs would win the Gold at the 1996 Olympics for freestyle wrestling (and did it with a broken freakin’ neck.) Cocaine issues aside, Jon Jones is considered by many to be the best pound-for-pound MMA fighter in the world and even though he stands 6’4”, he is only 205lbs. Floyd Mayweather’s 5’8”, 147lb frame has given him the ability to be 47-0.
What this all alludes to is that in the realm of combat fighting, whether real or choreographed – it is not size, but SKILL that matters. Also, placed within the context of suspending disbelief in professional wrestling – even going far back into the Territory Era, while some are impressed with girth and size, other fans clamor to see skilled grapplers take on the world. The New Japan performers, from the Junior Heavyweights to the Heavyweights place a greater emphasis on their skills in the ring to fight out of situations. It is the utilization of these skills that are the basis of what we call “psychology” – why a performer chooses to use the offense or counters they use. Seeing this form of psychology in glorious display at Wrestle Kingdom opened the eyes of those who grew accustomed to the “punch, kick, rest-hold, basic throw, finisher” style of professional wrestling. These athletes move quick, hit hard and never let up in the name of competing to be the best.
HAVE A STIFF SHOT ON ME
The tone of Wrestle Kingdom dramatically changed during the UWFI Rules Match between Minoru Suzuki and Kazushi Sakuraba. The unique match was the first taste of something truly different for new fans as the bout could end via submission, knockout or TKO. The MMA-inspired match implied that it was not unusual for the New Japan wrestlers to have a mixed martial arts fighting base, and added a level of drama and realism to professional wrestling that casual fans are either not used to, or had lost over the years.
Sakuraba, who is arguably the best MMA fighter-turned professional wrestler in history did his best to take down the wild-eyed and monstrous Suzuki with kicks that shot like cannons and submission maneuvers that would make Stu Hart proud. Suzuki retaliated in kind with palm strikes that made me wince. The greatness of New Japan’s strong style is the level of uncanny realism that comes into play, and this match went for the gusto as Sakuraba went for Suzuki’s arm at several stages. A great story was told as Suzuki dug deep and responded with basic adrenaline whenever Sakuraba took a shot at the Suzuki’s damaged arm. New Japan stars do not “Hulk Up”, but instead demonstrate a “fighting spirit” – and Suzuki’s spirit came out in full force as a rear-naked choke on Sakuraba later won him the match.
While Minoru Suzuki and Kazushi Sakuraba brought some MMA goodness for fans who clamor for professional wrestling to take notes from the style, the NEVER Open Heavyweight Title match between Togi Makabe and Tomohiro Ishii brought one thing only: pain. Ishii dominated the early moments of the match with DEVASTATING chops to Makabe’s throat before Makabe glanced up at his opponent with disdain and dared Ishii to continue the damage. Makabe would later dominate with stiff forearms before Ishii responded with the same look of disdain and similar to Makabe “no-selling” Ishii’s chops to drop some of his own, Ishii took all the forearm shots from Makabe he could take before absolutely ROCKING his foe with forearm shots of his own that could break a normal man’s neck.
One of my favorite moments of Wrestle Kingdom came at the near conclusion of the match when Ishii and Makabe battled on the top of the turnbuckle. Ishii knocked Makabe down to a Tree of Woe position, but Makabe pulled himself up with a fire in his eyes reminiscent of The Undertaker just before he would bring death. The final moments of the match saw the two men trade clubbing lariats, forearms, a Suplex buffet and headbutts that climaxed with both men talk some of the most glorious trash at each other, despite the language barrier. Togi Makabe would drop a hard knee on Ishii’s injured left shoulder and would win the NEVER Title. Watching the match, one could hear Jim Ross’ inner fan-child emerge as we felt a genuine appreciation for the action in the ring – appreciation stemming from these men giving their all and taking (and receiving) the shots needed to entertain their fanbase and not insult them.
TALK THE TALK
One of the selling points of Wrestle Kingdom 9 was the return of Jim Ross to professional wrestling commentary. He and Matt Striker obviously underwent a level of pressure going into the show and had something to prove – namely that Ross still had it and Striker was more capable than he had been recognized for. The beginning of Wrestle Kingdom saw Ross understandably knocking off commentary rust. The two struggled to discover a happy medium between explaining who the wrestlers were, their history and calling the match. As time wore one, New Japan’s gaijin commentary grew more comfortable.
Wrestle Kingdom 9’s commentary served as a damning indictment of mainstream pro wrestling commentary in the West. While listening to Monday Night RAW and listening to Michael Cole, JBL and Jerry Lawler openly mock their own product in the name of “entertainment”, it became evident that JR and Striker had already bolstered the New Japan show by simply treating what they viewed as something serious to consider. This wasn’t doom and gloom commentary – the banter between Ross’ old school ways and Striker’s “insider tropes” gave me a chuckle, but there was a very real enthusiasm and respect for the show they were calling. Nakamura vs. Ibushi and Okada vs. Tanahashi may be the best matches Ross had the opportunity to call since serving as the announcer for The Holy Trinity between Flair and Steamboat, and he did a phenomenal job keeping up with everything and relaying the simple story between the two: that each were fighting to be “the man” in New Japan.
Striker had been gaining considerable footing for his voice as the play-by-play man for Lucha Underground, and it prepared him for what is in my opinion, his best work as an announcer at Wrestle Kingdom. A huge concern of fans was that Striker may spend too much time in the booth acting like a “fan” and not utilizing his voice with the necessary level of professionalism. I felt Striker did a fabulous job assisting Ross and meshed tremendously well. This show definitely opened the door for Striker as a serious announcer in this business.
Their chemistry was obvious – the young up and comer giving the play by play to the grizzled veteran of the newer tropes in the artform, while the vet schooled the rookie on some of the more traditional facets of what makes a match and event memorable. This dynamic was a perfect example of mixing old school fundamental storytelling with modern sensibilities and was a highlight for me. Striker made it a point to inform new fans of why Japanese audiences would be silent at certain points of the match, even giving himself and Ross time to allow the atmosphere of the event to talk to fans instead of talking over it. Ross sold Okada’s dropkick as the very best in the world, so when we saw it unleashed for the first time (and it was jaw-droppingly beautiful), it was easier to believe it is the best damn dropkick in the world.
These are things we would never hear in current day WWE, where Cole would shell Twitter every ten minutes, JBL would scream “MAGGLE, I LOVE IT!” incessantly for no reason other to drop false enthusiasm and The King just meandering through the motions. While JR and Striker showed genuine emotion and happiness for Honma finally getting a victory (and using his signature unsuccessful move to boot), how sad is it that most would see Cole downplaying the victory and calling Honma “lucky”, or JBL and King arguing over some random outplayed pop culture reference thinking they are focusing on the danger of AJ Styles hitting the Styles Clash and not realizing they are really undermining the move’s importance in the context of the match. JR and Striker balanced the right blend of respect, enthusiasm and lightheartedness needed for a show of this magnitude.
IT.
As soon as Kenny Omega sauntered down the ramp, greasy hair, toothpick and sunglasses in tow in preparation for the IWGP Jr Heavyweight Title against Ryusuke Taguchi, he became one of my newest favorite performers. One of the amazing things on display at Wrestle Kingdom was the emergence of talent a good chunk of the world had never seen before and seeing who could translate well to Western audiences. My wife saw The “Cleaner” of the Bullet Club and INSTANTLY hated him. Score one for the bad guys.
Before, fans got a treat as Tomoaki Honma got a victory in a six-man tag with his teammates, Hiroyoshi Tenzan & Satoshi Kojima over Bad Luck Fale, Jeff Jarrett & Yujiro Takahashi of the Bullet Club. Poor Honma went 0-10 at New Japan’s G-1 Climax event and had attempted to use his head as a missile at opponents with disastrous results. Honma, whose wide-eyed exuberance and Little Engine That Could mentality effectively won NJPW fans over despite being on the losing end more often than not. When he finally dropped the Kokeshi headbutt – a move with a success rate of 0.01% for the victory, the jubilation and catharsis in the Tokyo Dome was infectious. Imagine that, the story of a man who rarely wins finally gets one and it pays off in spades. There was no 50/50 booking, here. If you win, you move up. If you lose, you move down. If you’re a loveable loser and people want to see you win, when that happens it means so much more.
One of the great challenges New Japan faced – and will continue to face – was showcasing their talent to fans who may not be able to get over the language barrier or who are used to pro wrestlers presented in a certain manner. Ric Flair, Randy Savage, Hulk Hogan, Steve Austin and The Rock set a benchmark and expectation for modern fans to become invested in larger than life characters with charisma that leaps out of the television screen. Catchphrases, appearances and action-hero like mannerisms have fueled the popularity of these men. Did New Japan have anyone that could fit that mold?
IWGP Intercontinental Champion Shinsuke Nakamura emphatically responded to that question as soon as he rose up from the top of the ramp in a glorious cape and crown. In many ways, “The King of Strong Style” instantly became the face of New Japan to the new audience – Jim Ross helped bridge the gap by informing us that the eccentric athlete is a die-hard fan of Freddie Mercury and Michael Jackson. We know those names, and can instantly identify with being fans of entertainers with a stage presence that is unmatched. Nakamura in his first few seconds on screen flashed more showmanship than the majority of performers in WWE, TNA and Ring of Honor combined. It was declared by nearly all fans watching Wrestle Kingdom for the first time almost unanimously: this man is a star.
I still do not know what to call this…but it is GLORIOUS.
It became apparent that upon discovering Nakamura, it was easier to decipher this elusive intangible we over here call “the IT factor”; while the reigning IWGP Intercontinental Champion has that in spades, I was able to go back and better understand the nuances the New Japan performers use to hook their fans. It is more than having a catchphrase, or SWAG. Having “IT” means that people believe you in the assigned role you are given at any moment and make it work. Nakamura’s challenger for his title, Kota Ibushi may have been seen as a clean cut babyface perhaps devoid of what we may define as “charisma” at first; sure, he looks great and can perform crisply in the ring, but does he have passion for what he does and can he make us believe in that passion? Having “IT” in professional wrestling means one is a master salesman – not just in a physical sense by understanding psychology and feigning injury – but in an emotional sense as well.
By the time the MOTYC between Nakamura and Ibushi ended, it was obvious that Ibushi had “IT” as well. This was a man who needed to display a clear mean streak, a want, need and desire to beat the champion to prove to the world – and himself that he was the better man. Even though Ibushi lost the match, by the final bell he had convinced the world that he could hang with the major players. He made fans believe what he was selling. Ibushi needed no catchphrases, an elaborate entrance or even a signature pose – there was a fire and intangible magnetism that was evident. As was stated in the commentary, this was Ibushi’s graduation from a Junior Heavyweight into the IWGP Heavyweight division. Having the ability to make others believe a moment out of thin air is a truly rare gift. The story of Nakamura and Ibushi was a delayed Christmas present to the world of professional wrestling that was more than appreciated. All for what some fans could consider upon first viewing as New Japan’s “secondary title”. But it is not, as last year the IWGP IC Title main evented Wrestle Kingdom 8. Being in a title match is prestige enough, not just the placement on the card.
PRESTIGE, CHOICE & THE EXPANSION OF THE UNIVERSE
The main event of Wrestle Kingdom 9 pitted IWGP Heavyweight Champion, Hiroshi Tanahashi against his longtime rival, Kazuchika Okada in another match that upon its end was deemed an all-time classic. While some boast over WrestleMania X’s awesomeness of having two legit 5-star matches, the reality is fans had to slog through a lot of filler to get from Bret vs. Owen to HBK vs. Razor – and neither of those closed the show. Wrestle Kingdom made an effective point to show that one great match does not need a “filler” in between to make the crowd breathe. We have now witnessed a promotion that has chosen not to manipulate the emotions of their fanbase through the pacing of their show, but via the show itself. In my opinion, the final two matches of Wrestle Kingdom 9 may be the best final two matches of any wrestling show I have witnessed.
The story of Tanahashi and Okada is one that is approaching the status of Steve Austin vs. The Rock and Ric Flair vs. Ricky Steamboat. Two forces of nature with opposite philosophies desire to be the crown jewel in the promotion they reside. Each sees the other as the necessary obstacle to reach that status. They know each other very well in the ring – there are counter holds for counter holds. One man has been established as the benchmark, while the other is hot on their heels – and in some ways, is outpacing their opponent. All of this is leading to an inevitable collision course where only one will stand tall at the end. There can be only one Champion.
There has not been this much emphasis placed on being a professional wrestling champion in the West for some time. In 2011, CM Punk clearly established that he had one goal: to be WWE Champion – if he had to go through WWE’s poster boy in John Cena to reach that status, so be it and the victory would be that much sweeter. While Punk’s victory in Chicago signified a (temporary) shift in the WWE landscape and provided a new main eventer to rise, the challenge would not have meant much if there was no title on the line. Bragging rights and a grudge match is fine and has its place in professional wrestling – but the logic that WWE has somehow lost focus of in the past few years is that no one competes simply to brag or to prove a point: unless that point is to brag that they are the BEST. Ohio State can beat Michigan or vice-versa in college football, but does it really matter if neither are in the BCS Championship? My Toronto Raptors can boast the best record in pro basketball, but it will mean a hill of beans to the city and those athletes if it does not translate to the NBA Championship. Being the best means simply BEING THE BEST – and one cannot claim to be so without a tangible title.
After Okada and Tanahashi took their best shots at each other and Tanahashi emerged the victor and successfully defended his title, Western fans witnessed something that has become too rare to digest: Okada, crushed under the weight of defeat fell to his knees and bawled. This was his opportunity to prove his worthiness and showcase himself as the top dog in New Japan and he failed. He threw Tanahashi his best shot: a RAINMAKER Lariat that had been built up as an absolute killer and STILL lost. Okada cried, his disappointment palpable, credible and real in the context of professional wrestling psychology. When one dedicates their entire lives to a profession and cannot reach their desired goal, it is heartbreaking. That is a humanistic fact. We have all felt it in one way or another. We have all failed.
The finale of Wrestle Kingdom drew a hard line in the sand for Western audiences, disillusioned with John Cena shrugging off losses like they mean nothing. New Japan made an emphatic statement to fans: This. Means. Something. Wrestling means something, not just to shareholders, sponsors, content providers and even the fans. The promotion itself has declared that everything they strive for to make it to this stage in the game where they are now a viable alternative in the global wrestling marketplace means something. The performers who have traveled the world, broken bones and bled with the understanding that they may end their final days in life with unimaginable pain born from their desire to be the best…means SOMETHING. This is an opportunity that cannot be passed up on, now. Too much groundwork has been laid. Too many sacrifices has been given. Too much money has been spent. The eyes of the entire wrestling world will now scrutinize every little decision that co-bookers Jado and Gedo will make. New Japan Pro Wrestling is now in the open, naked and vulnerable for criticism on a scale they never had before.
There is a commercial on Hulu Plus that acts as an advertising for WWE, where a fan declares that he is “not a wrestling fan, but a WWE fan.” We fans of professional wrestling as a whole must make peace with the fact that these individuals are the ones lining Vince McMahon’s pockets. While WWE has adopted a philosophy of “something for everyone” and “entertainment over sport”, there is a gross disconnect between that philosophy, what it really stands for and for whom that philosophy actually caters to. We are in the middle of a new golden age of television; it is nearly impossible to find a show from any genre that has not found some form of near unanimous critical acclaim from the industry and viewers. The reason that professional wrestling in the West has gained the reputation it has as base entertainment is simple: evolution. Sure, WWE is not going anywhere anytime soon. Given a massive catastrophe, WrestleMania C (or 100) will happen – but how it will get there and what shape the industry will be in at that time is ultimately…up to us.
There are few moments in the history of the professional wrestling industry where fans have a true tangible voice in how to change the landscape. Logically, there are only two ways to initiate this change: having a choice, and utilizing a voice. January 4, 2015 was a moment that we are still living in. New Japan World exists as an alternative to the WWE Network. Technology has given us the entire world at our fingertips to embrace new cultures, languages and customs. TNA has found a new television home, Ring of Honor has begun to make creative and financial turnarounds and Lucha Underground has dazzled audiences with their brand of Lucha Libre.
We are not only in a moment, but we fans are also at a crossroads. In a calculating manner, we have effectively segregated ourselves through “brand loyalty”. It is Coke vs. Pepsi, Democrat vs. Republican and National League vs. American League. It does not have to be this way. It is time that we cease to cannibalize each other with the lame “WWE-tard” and “TNA Defense Team” labels. Shunning other fans because they enjoy John Cena – or because they enjoy the antics that go on in CHIKARA does nobody any favors. Giving in to those who cannot appreciate SHIMMER because they only consider female competitors as eye candy or judging a fan who wishes Zack Ryder had a better opportunity harshly has pretty much given the McMahon family what they want; a divided fanbase that makes it easy for them to say, “we listen to our fans, so we give them a little of EVERYTHING”, not understanding that giving fans EVERYTHING just waters it all down. We NEED niche products. Wrestling NEEDS alternatives. Not for competition and not for WWE to “step their game up and bring us back to the glory days”, but for the simple survival of the artform itself. For that to happen, there needs to be a grand cosmic expansion away from the WWE Universe.
And it has happened, as New Japan has effectively expanded the entire galaxy of professional wrestling to a new slew of fans hungry from the monotony of the industry’s mainstream appeal. This needed to happen precisely when it did. We are all fans of professional wrestling in some way or another, and we should collectively embrace more options and avenues for us to celebrate our love for this artform. We now have a choice and we have a voice and dollars to choose what style of the art tickles our fancy. It is a major change – a shift in the underlying plates of the industry that could erupt at any moment if we allow the momentum to continue.
So now the fun begins, as we can look at new dream matches and fantasy book what talent could be successful from WWE to NJPW and vice-versa. The wrestling galaxy has expanded in a way that new fans to NJPW may have heard about Ring of Honor or NOAH for the first time. We can see that there is life after TNA and WWE for some stars and witness talents we never understood these performers had. We are on the precipice of an exciting time to be a wrestling fan, as we can look at Strong Style and visually define it to friends who would have no idea otherwise. Doors are opened for future performers to hone their craft on stages comparable to WrestleMania. We can now openly debate other promotions outside of WWE and encourage others to see what the fuss is about in AAA, CMLL and Lucha Underground. It is a little easier to express our appreciation of the more gleefully ridiculous aspects of wrestling like The Colony while opening ourselves up to Mia Yim and Ivelisse Velez as they show that women can be successful, serious grapplers as well. Wrestle Kingdom 9 and New Japan Pro Wrestling has opened up new roads to go down as a fan of the artform. Now the choice is ours: do we stay the course and continue to march to WrestleMania, or do we detour along the way and take a new, scenic route and appreciate all the new wonders that are just within our grasp? It is ultimately up to us to decide the course of professional wrestling history for the next 50 years.
Len Archibald is the former Executive Director of the Northwest Ohio Independent Film Festival, and is a current movie reviewer for WLIO in Lima, Ohio.
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