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etrangeres · 4 months ago

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The Curious Case of Kaitou Kid

(UPDATED 11/27 JST. Sections with significant new portions will be bracketed with a ☘️)

We love alliteration in this household.

To start with an anecdote, I went to the main Animate store in Ikebukuro some 2-3 weeks after M27 began showing in theaters. I had two reasons to be there: hopefully grab some copies of the Magic Kaito Treasured Editions, and grab what movie-related merch I could. The former I managed, but the latter was a lot harder. Despite them devoting nearly an entire wall on the right side of the first floor to Detective Conan merch, every single piece of non-blind box Kaitou Kid merch had been snatched up already. This trend of Kid’s merch being sold out seemed to continue for at least a couple weeks afterward, at least in and around Tokyo.

This demonstrates something I think we all already know: Kaitou Kid is a crazy popular Detective Conan character.

…Detective Conan character? Yes, but… No. But definitely yes. But… yes?

Kaitou Kid - real name Kaito Kuroba - is such a funny character if you think about him for more than a few seconds. So I chose to think about him for a few, uh. Days.

When I say he’s funny to think about, I don’t necessarily mean in terms of who he is as a character - which is admittedly also fun, because I think Gosho Aoyama is the king of gap moe - but more in terms of his placement in the greater DCMK canon. I mean, the fact that we have the “DCMK” acronym at all signifies the importance of tying these two series together. Even though they technically take place in different worlds. You know. Technically.

So I want to (mostly) chronologically go through Kid’s history in Detective Conan, how it relates to his origin as Kaito Kuroba in Magic Kaito, and amuse myself with the strange relationship he (and his source manga) has with the juggernaut that is Detective Conan.

Before we jump into this, some basic notes:

-I don’t mean for this to come across like some academic thesis. Nor did I actually think this would hit over 18k words. I’m just Like This.

-Any translations you see here are done by me, from the source Japanese.

-There will be concrete mentions of events from M27. They are comparatively trivial in terms of the mystery the film offers, but there will be spoilers for certain major parts of the plot as they relate to Magic Kaito elements. This will be clearly demarcated, should you wish to avoid those spoilers.

The MK to DC Pipeline

So I don’t know how many people actually need this information, but for completion’s sake:

Magic Kaito is Gosho Aoyama’s debut serialization (important distinction), and it began in June 1987. Though roughly the first two volumes’ worth of chapters were published at a fairly consistent monthly rate, it grew more and more irregular after that due to the popularity of both Yaiba and (more importantly for our discussion) Detective Conan. Due to it still technically being an ongoing series, it is currently Weekly Shonen Sunday’s longest running manga. This just so happens to be followed by Detective Conan, and they lead this particular ranking by a fairly wide margin.

The manga as it currently exists came out of the one-shot “Nonchalant Lupin,” which he submitted to Shonen Magazine’s manga contest after his editor told him to “draw the story you most want to draw” (Treasured Ed. V5). The one-shot won an honorable mention. His comment in Treasured Ed V1 also mentions that he “all but became a mangaka because I wanted to write about a high school kaitou,” so he’s clearly attached to the concept. He’s also clearly attached to Magic Kaito itself; a number of excerpts from the Gosho Aoyama 30th Anniversary Book, for example, talk about how a greedy part of him immediately thought of Kaitou Kid on the silver screen when he heard about the first movie being greenlit, or how he thinks Detective Conan will one day end but Magic Kaito may not because that’s what he really wants to be writing.

Back to our timeline: the Kindaichi Case Files were gaining steam in the early 1990s, and Weekly Shonen Sunday wanted its own version of the boom. Gosho himself was approached by the editorial team at Sunday to do a mystery series, and he accepted, not thinking it would last very long - not only because he wasn’t all that interested in the idea, but because he didn’t think there would be enough material to last more than three months.

It has lasted 30 years.

I say all this not to indulge in the depressing truth that Magic Kaito only has just shy of 40 chapters, but to specifically highlight the synergy Magic Kaito has with Detective Conan - despite the existence of magic in the former - due to their shared inspiration of Arsene Lupin. Things like Sherlock Holmes and Kogoro Akechi are pretty obvious inspirations for Detective Conan that I don’t need to go into in much depth, but the idea of a “high school kaitou” still very much bleeds into aspects of Conan’s character. Many of the things Kaito is either capable of naturally or has to deal with due to the inherent nature of his position are things that are also reflected in Shinichi.

Feats of physicality (Comes naturally to Kaito due to genetics and practice; enhanced for Conan via Agasa’s inventions)

Master of disguise (A practiced skill with makeup and voice changing for Kaito; use of a voice changer and aid from people in his life to deal with disguises)

Secret identity (a flipped perspective version: Kaito has a straightforward secret identity, while Shinichi has to keep his survival a secret)

The “bumbling police” (A good kaitou story will have a morally upstanding but kinda dumb detective that demonstrates the sheer skill of the kaitou in question while putting a contrast to their morals. Nakamori is this to Kaito; though not a one-to-one, characters like Megure or Kogoro serve similar roles to Shinichi to demonstrate his skills as a detective.)

“Why are you like this????” (Admittedly the most Vibes of the list, but there’s a level of gray morality. We root for the main character while knowing that what they’re doing is at times questionable. Kaito goes without saying, but Shinichi is more likely to engage in suspicious behavior like breaking into cars, bugging people’s houses, or even stealing evidence after becoming Conan.)

Motive (The most interesting - and sometimes the funniest - overlap is the fact that they’re both after a shifty organization. It’s a bit surface level at first, but there’s a suspicious level of overlap between not Shinichi and Kaito, but Shinichi and Toichi.)

All of this is to say that pushing DC and MK into DCMK is almost comically easy once you adjust for tone (and, uh. remove Akako, I guess) because Shinichi is BUILT from the kaitou framework and tweaked into a detective. So it’s no wonder Gosho decided to throw in a Kaitou Kid cameo that turned into the character asserting himself as a recurring sub character, as opposed to a quirky crossover character.

Even if he’s still both. And also a secret third thing.

The Last Wizard of the Black Star

So, there’s not much to mention about Magic Kaito’s early run. All chapters in the pre-DC era are stand-alone stories, with the plot starting and concluding within the span of a single chapter. It was a bit of an “anything goes” era, with the genre fluctuating all over the place and a lot of things we consider “standard” in any given Kaitou Kid story not yet being fully codified. Many of these weirder chapters have their own charm if you allow the gag manga energy to take you for a ride, but if gag manga isn’t your thing then it feels like these chapters are where Kaito himself is at his most…incongruous with the character that would eventually show up in Detective Conan. (Let it be known for the record that I personally find these early chapters SO silly and would kill for an animated adaptation of Clockwork Heart, the truly bonkers third chapter.)

The biggest “what do you MEAN that wasn’t there from the start?!” is by far Blue Birthday, which is the chapter of Magic Kaito that was published immediately before Detective Conan began serialization. It took about half of the currently released chapters to introduce Pandora, a now fundamental concept that is likely to be included in ANY one-paragraph summary of Magic Kaito’s plot. It isn’t the only thing, of course; though Kaito’s card gun debuts in the very first chapter, his hang glider doesn’t show up until Chapter 10.

The other major thing worth pointing out in the pre-Black Star era is the general pacing and fundamental makeup of the stories themselves. Very few case-only (or heist-only, as it were) characters show up in these chapters. When they do show up, they tend to be pretty flat, are often ridiculous, and are there to facilitate the hijinks of the day (the gun-crazy detective, the weird robot inventor, the irresponsible prime minister).

This changes with Green Dream, and it’s an immediate change. Detective Conan has been in serialization for over half a year by this point, and already its formula is bleeding into Magic Kaito. There are multiple new characters per heist, and multiple pages with two to three times more text than before are dedicated to setting up a fundamental conflict. Kaito is also more likely to take a stance in this fundamental conflict and use his talents and status as Kaitou Kid to lead it to a conclusion. Behind all of that, though, Kaito himself is still the cheeky little agent of chaos we all know and love throughout these chapters. (As an aside, the Kid mark used on his advanced notices debuted in this chapter!)

The big watershed moment is very obviously Black Star - the Detective Conan version, in this case. In both this and the Magic Lovers case (despite his very little screen time in the latter), readers of Detective Conan are introduced to a FAR more serious version of the Magic Kaito character. This is largely because what we’re seeing in Black Star specifically is a 100% outsider's perspective. Though we’ll very shortly find out this is not Shinichi’s first meeting with Kid chronologically, it is the first time he not only hears his name, but also has any real interactions with him. Kaito wears the mask of his father in his performance as Kid, and you could very much argue his guard is WAY up around probably the weirdest child he’s ever met. So in a story from Conan’s perspective, we have no way of seeing behind that mask.

Personally, I always put a bit of an asterisk next to DC’s Black Star. This is the case that feels the most like a “crossover” than any other Kid case after this, and of course it would. It’s the very first one! It’s the Kaito and Aoko cameos that really bring this vibe for me personally; great care is taken in Detective Conan not to pull much of anything from Kaito Kuroba’s personal life except in a few stand-out cases, and those almost never involve anyone in our core cast directly. And I don’t even mean in the “he’s only ever shown in his Kid costume” way, because there are plenty of times where he shows up not wearing that. They key for me is that Kaito is always “at work” as a disguised Kaitou Kid as opposed to as Kaito Kuroba - the hat, the darker clothes, the low-effort disguises as police or staff. That kinda thing. But the appearance of Kaito and Aoko in their casual wear or school uniforms here really makes this case stand out in a way that later cases simply don’t joke about.

Detective Conan shows us Kaito at work. It’s why he comes across as so difficult to grasp and almost intimidating in these earliest of appearances. Those vibes obviously continue into The Last Wizard of the Century, the third theatrical release and Kaitou Kid’s very first movie appearance! His grand total screen time is only a fraction of the movie’s full run, but the vibes have a heavy overlap with that first conversation Conan has with Kid on the roof in Black Star. Though there are debates regarding the movie’s canonicity, this also marks the point in at LEAST movie continuity where Kaito figures out Conan’s identity, so there’s that precedent set. (Put a pin in that, by the way.) This also marks the first time Kid disguises himself as Shinichi.

What’s more amusing to me is that Magic Kaito’s Black Star seems to have been published to coincide with the movie’s release. Magic Kaito’s very first chapter after Kaitou Kid’s appearance in Detective Conan brings Shinichi Kudo to Magic Kaito. This is his only appearance in Magic Kaito to date, whether it be as Shinichi or as Conan. Gosho mentioned in his note on the Yaiba vs Kaito chapter that he really likes crossovers (same hat), so I have to think that the limited run of Magic Kaito is likely why we don’t see more DC characters in MK. Though in a Q&A he did toy with the idea of Conan showing up in Magic Kaito one day, so…

All that said, every time I think of MK’s Black Star my brain shoots off in two directions. The first and easier to articulate direction involves Akako’s presence, but we will get to that in the next section. The second direction is the very existence of this chapter at all.

As I mentioned above, this is the first new heist for MK after Kid showed up in DC. It is also the first multi-chapter heist, which indicates even more influence is bleeding over. It was also published alongside the movie, probably as part of a promotional stunt. Something about it feels like a doubling down of sorts on the stapling of these two series together. Kid showing up in Detective Conan is a fun reference; Shinichi showing up in Magic Kaito instead of the more recognizable Conan feels like a statement of shared worlds, largely because of how it makes you think about the timeline. The Akako issue aside, it really feels like he wanted these worlds to collide. If you have your own Lupin analogue AND your own Sherlock analogue, why wouldn’t you want to pit them against each other?

Add More Staples!

It’s at this point that updates to Magic Kaito get… particularly sparse. But there’s a LOT of stuff going on across the DCMK space as a whole in these few years that feels like it’s trying to tie the two series together.

We start off with the Twilight Mansion case, which introduces Hakuba into Detective Conan. Which would be fascinating by itself, but this was also Hakuba’s first appearance in EITHER DC or MK in TEN YEARS if you don’t count his one-panel cameo in MK’s Black Star. The framing of his introduction in Detective Conan is interesting, because the paneling and composition very clearly tell the reader that the character that’s about to be introduced is either 1) important, or 2) already known. In Hakuba’s case it’s clearly the latter, but this would make very little sense to someone that isn’t as aware of his place in Magic Kaito.

Enter The Gathering of the Great Detectives, the animated adaptation of the Twilight Mansion case that was turned into a two hour special and opened with MK’s Black Star. There are ways in which it’s an odd choice, given Hakuba barely appears in Black Star at all. But I think Hakuba’s status as yet another Magic Kaito character being introduced into the narrative provided an opportunity for them to adapt a Magic Kaito heist for TV broadcast, and the chapters featuring Shinichi were the easy choice. The Yaiba vs Kaitou Kid vs Conan OVA had come out shortly before this, so it’s technically not the first time a Magic Kaito chapter had been adapted. But that was more of an altered gaiden OVA compared to this, and this TV adaptation seemed to hit you over the head even harder that there was merit to delving into Magic Kaito if you were a fan of Detective Conan.

☘️Between these two was the first of many OVAs, and the first of a couple of attempts to shove Conan into Magic Kaito material: Conan vs Kid vs Yaiba. This is an adaptation of an August 1993 chapter of Magic Kaito, and is the chapter that broke a roughly three year break in publication (it was then followed a few months later by Blue Birthday). Much of the main plot of the chapter is largely kept intact, with one fairly major (and obvious) difference: Detective Conan’s involvement. Much of the core DC cast has been dragged into the plot, which is at first a little odd considering the explicitly battle shounen-style magical flavor of Yaiba.

This OVA handles that incongruity with the “fever dream” solution. In Conan’s side of the story, things get increasingly more and more ridiculous until the final reveal that Conan had fallen asleep reading Yaiba. Which is to say that, plot wise, the OVA ultimately amounts to nothing. But that’s fine, because what’s more interesting is how early they display Kaito’s carousel of emotions in this OVA as compared to the “mainline” media (manga or movies). What’s also worth noting is that this is the first appearance of Akako in DC media, right before she gets a more mainline debut in EP219. She’s a one-scene wonder, bursting in with an ominous fortune and leaving in a very magical disappearing act.☘️

But the OVA, in the aforementioned fever dream context, excuses her existence. In the manga, though? Oh, Akako. Bane of the DCMK world. Sole reason we must argue that they take place in parallel worlds despite how ridiculous that sounds.

In the manga, Akako gives Kaito her premonition about the Demon of Light coming after the White Sinner. This is also in the episode, if memory serves. But in the episode as aired on TV, Akako features very little after that… because they fully cut the scene of her attempting to use magic at the base of the clock tower. Magic does not exist in Detective Conan, after all. It was eventually put into the episode another ten years later on the bonus DVD that came with certain versions of the Treasured Edition of Magic Kaito Volume 4.

More broadly, Akako is clearly a sticking point for the combining of these two “worlds” into one. Gosho himself takes the easy way out by ignoring Akako’s existence entirely in the Detective Conan canon, just as the TMS adaptation of Black Star did. He’s often brought up the concept of the two taking place in parallel worlds where the only major difference is the presence of magic in one and its lack in the other, as in his comment on Akako’s intro in Treasured Ed. V1: “In truth, the biggest bottleneck when it came to introducing Kaitou Kid into Detective Conan was the inheritor of Red Magic herself! So please just accept the two series as parallel worlds (lol).” He’s much more straightforward in his comment for Sun Halo in Volume 5: “You really gotta have Akako use Red Magic! (Please just assume Akako does not exist in the Conan world…lol)”

Despite this insistence she doesn’t exist, Sky Walk features an almost blink and you’ll miss it reference to her. Nakamori brings up the idea of Kid’s assistant being in play, to which Conan shows surprise at him having an assistant at all. Nakamori replies that there are multiple reports, some of an “old man” and others mentioning a “young woman.” The old man is obviously Jii, but the young woman is very likely meant to be a reference to the stunt Akako pulls in Akako’s Delivery Service, a very early Magic Kaito chapter.

As you’ll notice, Akako is still very much a practitioner of sorcery as of something as recent as Sun Halo, so it’s not as though Gosho has simply opted to phase her or her magic out of Magic Kaito. But considering there are MULTIPLE DC cases that deal with debunking the supernatural, her presence would most certainly complicate things. That being said, Magic Kaito’s world and plot do not seem to hinge on magic in an intrinsic manner (unless Pandora is literally a magic gem, as opposed to the tale of the gem being a metaphor for something), so I personally don’t see too much of an issue with magic being very rare, even in Detective Conan’s setting.

To keep with Magic Kaito for a little while longer, Golden Eye was the single heist released during this period. As far as its significance is concerned, I actually think Gosho said it best in his comment in the Treasured Edition: “Magic Kaito may be a thief story, but it’s also a magic story, so it was incredible to finally be able to mention the actual legend Harry Houdini. Even so, there’s an awful lot of deduction going on, so in this story you can also really feel how it’s been corrupted by Conan (lol).” It was a thought I had about Golden Eye even before reading his comment, so I’m a bit amused to find he actually called it out to be honest.

The following Detective Conan cases - Sky Walk, Three Instruments, and Four Masterpieces - and the movie Magician of the Silver Sky are all more along the lines of Black Star in terms of Conan and Kid’s relationship, but with an extra added pinch of “coming together for a common cause” in the movie. Sky Walk specifically also introduced Jirokichi to the mix, and he becomes the only Detective Conan character whose purpose in the narrative is tied exclusively to Kid. It’s in this way we begin to create a Detective Conan-exclusive environment for Kaitou Kid, which in turn establishes him more and more as simply “a Detective Conan recurring character” as opposed to the main character of another story that’s here for crossover shenanigans.

There’s a Pandora’s Box reference in Three Instruments that makes me want to pull my hair out because don’t say Pandora that word is important, and Four Masterpieces is a lot more “murder mystery involving Kid.” They happen very rarely in Detective Conan, but they happen basically NEVER in Magic Kaito (Dark Knight doesn’t count), so this lowkey feels like another way we’re shoving Kaitou Kid into the rules of Detective Conan.

In Magician of the Silver Sky, Conan expresses a level of shock when “Shinichi” passes the pinch test. This then marks the first time (in movie continuity, at least) that Conan is aware that Kid naturally resembles him.

But the funniest thing about this series of cases (and the movie) for me is the cracks in Kid’s mask, whether that be for Conan himself or for the reader. The final confrontation in Sky Walk ends on an almost comical note with Kaito being blasted off again via gasoline fire, and there’s a stinger at the end of Four Masterpieces showing a pathetic Kaito after Conan has just shot a mecha-powered soccer ball directly at his stomach. And that’s not even getting into the movie, whose entire first act drops us into a tense confrontation with a very suave Kaitou Kid before rewinding back to when he put on the least convincing act ever as a disguised Shinichi Kudo.

Have I mentioned he contains multitudes yet? King of gap moe.

But we aren’t truly there yet. He’s a little silly for sure, but there are still times where the mask is on about as tight as it can be in Conan’s presence.

☘️The last two OVAs from this era - Conan, Kid, and the Crystal Mother and Follow the Vanished Diamond - have varying levels of significance. The latter matters extremely little to this conversation on the whole except for Kid finally showing up toward the end. Heiji and Kid have only ever had cursory interaction in DC to this point, and this frankly continues that trend. It’s worth noting that its release right before Movie 10 is significant specifically in this regard, though.

No, what’s way more interesting is the extremely forced adaptation of Crystal Mother. The bare bones and much of the meat remains - it’s still very much recognizably Crystal Mother in every way that matters and then some - but we’ve once again stapled Detective Conan to an adaptation of a Magic Kaito chapter. To accomplish this, they find ways to make Magic Kaito fit the world view of Detective Conan, like with OVA 1… But this time, it requires many more changes that wind up feeling a little more forced.

These changes are largely focused on Pandora and MK’s organization. Though Kid still looks at the jewel through the moonlight, all mentions of Pandora are dropped. Snake being recognized by Conan under the code name “Jackal” as an international jewel thief also has some interesting implications. A more generous reading would be that he potentially had another, more general-use, code name before joining his organization and receiving the name Snake; a less generous reading would be that the OVA has recycled Snake into an otherwise original character for the OVA that has taken Snake’s place, thereby removing any implications of a Pandora plot existing at all. Regardless, Jackal seems to have had previous run-ins with Kid. Which of these readings you opt for greatly changes the implications of Kid’s own personal plot in DC. At this point, despite pulling a very real crossover this time around, they apparently aren’t ready to commit to Kid’s motives being the same across both series.

In addition to Jackal, an assassin by the name of Rose is introduced in this OVA. Though she’s working with Jackal, her purpose seems to be to give Conan someone to confront in a more tangible manner, since Conan and Kid’s paths can’t really cross without drastically changing the story. Otherwise, the last major note I have for this OVA is the final scene. Conan hearing Kid saying he’d come after the Jewel of Destiny next is a nod to the at-the-time upcoming movie, Movie 8.☘️

The last two stories mentioned here - Detective Koshien and the movie The Private Eyes’ Requiem - are actually a lot less about Kid and a lot more about Hakuba. So let’s talk about the cosplay detective for a little while.

Hakuba is interesting to me, for a couple different reasons. One is the cadence of his appearances in Magic Kaito. He is introduced late into the pre-Blue Birthday run and is in a total of three chapters. Those three chapters speedrun his discovery of Kid’s identity… and then he’s gone until his first Detective Conan appearance. Golden Eye is his return to Magic Kaito in a short but fairly significant scene that fills out the contours of his relationship with Kaito with regards to that identity, at which point he is in all but one case thereafter.

The other reason is that he seems to slip through the cracks of “significant Kaitou Kid relationships” unless you consider yourself a Magic Kaito fan. But I think this is largely due to the line in the sand we shall not cross: Kaito Kuroba’s personal life is off-limits in Detective Conan. As a result, Hakuba is framed far more often as a detective in his own right that just so happens to have some manner of connection to Kaitou Kid in his few Detective Conan appearances.

This connection is made fairly obvious in Twilight Mansion by both having him introduce Kid’s presence in the case, and having him and Conan highlighted as the two people that are after him at the end of that case. But his next appearance, Detective Koshien, only implies a connection in passing and chooses instead to focus on contrasting him with Heiji in preparation for the movie. In an interesting move, the plot developments of the case actually give Hakuba an excuse to avoid wearing a school uniform like the other students because he ultimately settles into the “foreign detective guest” role. There are, as a result, zero indications that he and Kaitou Kid’s civilian identity are actually classmates - or that he attends a Japanese school at all.

As for the movie itself, Hakuba was Kid in disguise the entire time, so there’s very little we can discuss when it comes to Hakuba himself. But after Kid’s frankly poor performance as Shinichi in M8, his performance as Hakuba in M10 is almost uncanny levels of spot-on (which admittedly turns into a very funny contrast with his Hakuba disguise in Green Dragon).

All in all, this selection of chapters, episodes, and movies pulled more of Magic Kaito into Detective Conan (when those details weren’t flying in the face of it), while Kid himself began to more closely resemble the Kid of Magic Kaito in the small moments. In Magic Kaito, meanwhile, we’re starting to see far more obvious influence from Detective Conan in the writing and pacing of its heists.

But the gates have not yet been thrown wide to truly allow the silly in.

Throw Wide The Gates That We May Sillie

The collection of chapters that start this portion of the list are, in a word, fascinating from a Magic Kaito perspective.

We start with Shinichi’s Childhood Adventure, which does a couple of notable things. First, it confirms that Toichi was the magician that taught Yukiko how to use disguise makeup for her acting career. It was implied to be him in a very “if you know, you know” fashion in the Golden Apple case over 200 chapters prior, but this makes it inarguably clear. The extension of this confirmation is that Toichi also taught Vermouth the art of disguise, which is a particularly interesting connection to think about. As obvious as it sounds to say, this chapter is also the start of confirming that many things we know of Magic Kaito’s plot and backstory remain consistent in Detective Conan as well. The case ensures you don’t need prior Magic Kaito knowledge to pick up on Toichi being the first Kaitou Kid. That he meets Yukiko with Kaito in tow also means (unless my memory is failing me) that this is the first and only time Kaito’s name is spoken within the Detective Conan manga. It also confirms that the author that named Kid was, in fact, Yusaku.

The big part of this case that people tend to bring up in the wake of the M27 reveal is the “I’m your younger brother” conversation from Toichi to a young Shinichi. Now, 2006 is earlier than what meager sources I’ve managed to find that seem to indicate he had the familial relationship in the back of his mind, so I’m personally not sure how much stock I place in this conversation as any form of foreshadowing. The other aspect people bring up with regards to the family terminology - the reversial of younger and older brother - is easily answered by the context the case is set in. Toichi is referring to the order in which Yusaku named them - Shinichi first, as Yusaku is his parent (親, oya), followed by the moniker "KID" for 1412 as Kid's name-giver (名付け親, nazuke oya, a term that can also mean "godparent" in certain contexts that more literally translates to "name-giving parent"). As such, Shinichi is the "older brother" between the two.

What the entire case does seem to indicate regardless, though, is that Toichi and Yusaku are aware of each other on more than a surface level. At the very least, we’re meant to take away a passing of the baton, from father to son, in their relationship as friendly rivals. It has, apparently, always run in the family.

All in all, this case is a far more intentional mixing of Magic Kaito with Detective Conan because it deals with past events. It says “these things were always here, intermingling” and concretely refutes the idea that the modern Kaitou Kid was the first point of contact, retroactively entrenching the character even more into the world of Detective Conan.

We switch back to Magic Kaito for a heist with Dark Knight, which Gosho acknowledges in his Treasured Edition comment is “another story with a strong mystery feel, and a dark conclusion that isn’t very Magic Kaito-esque.” This also happens to be the first Magic Kaito case to feature Superintendent Chaki, a Detective Conan character and Nakamori’s boss as introduced in Black Star.

The following series of four Detective Conan cases all look at slightly different aspects of Kid that haven’t really made themselves known in DC yet. First is Purple Nail, a personal favorite and the case that arguably leans the most into the idea of a magic show. The focus on having an audience and the employing (and challenging) of Thurston’s magic principles give it a slightly different vibe to other cases. In relation to Thurston, Kid actually opts to approach Conan ahead of the heist to personally challenge him. In the manga, it’s the first clear look at Jii in Detective Conan. But the thing that stands out to me is the sheer level of emotional expression on display from Kid. It’s not in a small moment at the end of a case anymore, but in various moments throughout. You see his panic when Conan shows up above the building, or his sense of satisfaction when running through the crowd in the middle of his trick. All of it combined makes it feel much more like, by this point, Conan and Kid are engaged in a game.

After that is Iron Tanuki, an amusing oddball of a case. That Jirokichi used a fake notice to send a secret message to Kid pleading for help is interesting enough, given it displays a level of begrudging trust the former has in the latter. But more amusing is Conan’s choice to facilitate this upon realizing the truth of the situation, as well as his choice to stay behind and ask Kid if there was anything he could do to help to open the titular safe. If Purple Nail was their first real game, then Iron Tanuki is the first time they really came together in anything resembling a cooperative stance.

Kirin’s Horn seems like an outlier at first - and it sort of is, since Kid thought a little shock and awe was in order - but the case also demonstrates a level of familiarity. Conan remains flat on the ground because he knows how Kid works, and knows figuring out why he’s chosen to knock him out this time is the key to the case. There’s also a level of gag to this case via Kid’s choice to disguise as Genta, and the stinger of Conan getting the last laugh via something as silly as a paper taped to his back.

The fourth case, Ryoma’s Gunbelt, is where the real fun starts. Despite the rather nonstandard premise of Kid opting to return stolen goods, the general flow of the case is fairly standard for a Kid case in Detective Conan. The standout of this case, in my opinion, is the final conversation between Conan and Kid. They speak of their respective mothers in a conversation that reveals key details about each other, and do so surprisingly candidly. There’s an argument to be made that Kid knew of Conan’s identity by this point; regardless of that argument, that Conan spoke of his mother with such identifying details once again indicates a level of trust. Kaito implying Phantom Lady is his mom, while not particularly identifying, returns that trust. And that’s not even getting into the fact that a Kid case in Detective Conan is introducing a pretty important fact about Kaito’s mom.

Skipping ahead a bit, what makes this case notable is not the case itself, but rather its pair: Phantom Lady, a Magic Kaito heist published a year later that serves as an immediate prequel to Ryoma’s Gunbelt. This is the first time since Black Star that Magic Kaito picks up on a Detective Conan case in any capacity, and arguably the first time at all it does so with such a direct connection. The mentions of the Black Star served as a vague framing story for the clock tower heist, but Phantom Lady ends with a shot of the three treasures that assumes you know exactly where things go from here.

All of these cases do much more to peel away the mysterious veneer from Kaitou Kid, and give him a more candid and open relationship with Conan.

But the big thing of this stretch, and a turning point as a whole for Kaitou Kid in the franchise in my opinion, is The Lost Ship in the Sky. Now this? THIS is a Sillie Movie. Kid is playing around with goats, smirking like a fool with Conan before jumping out of a helicopter, and making the most inappropriate sounds when Conan’s hand wanders a little too far. He and Conan are actively seeking each other’s help and indulging in silly banter, even as Kaito makes a fool of himself with Ran. Speaking of Ran, this is the movie where she first fully realizes that Kid naturally resembles Shinichi. And as a cherry on top, we also get a shot of Kaito Kuroba himself.

And the movie was far from the only thing happening in April 2010.

☘️First is the OVA that was released just a few days prior: Kid in Trap Island. What starts as a standard Kid heist gets utterly derailed when the Detective Boys shoot Kid out of the sky, and now he has to chaperone them back to safety. Despite Kaito not being named in any capacity, we get to see him out of (most of) his costume and even hear about his fear of fish for the first time in DC media. Heck, Jii is even mentioned by name as well!☘️

Then there’s what aired the very same day the movie came out: Secret Birth of Kaitou Kid, the first episode of TMS’s adaptation of Magic Kaito. After years of teasing the door open on who Kaitou Kid is behind the mask, TMS adapted the first chapter of Magic Kaito and aired it in the Detective Conan TV time slot. It, too, is an incredibly silly episode of an incredibly silly first chapter of an incredibly silly gag manga. THIS IS KAITO KUROBA, Detective Conan said. OBSERVE HOW SILLIE HE IS.

Testing the Waters

TMS eventually made 12 of these episodes. Based on the air dates, I can only assume Secret Birth of Kaitou Kid was meant to be a one-off, or at the very least it was a testing of the waters. Whatever the case, the remaining episodes got greenlit and were aired over 2011-2012. The most interesting change to the second half of these episodes is the addition of new plot points related to Magic Kaito’s organization, chiefly the new member Spider. They were introduced alongside Hakuba, who I imagine they wished to give a larger role in the episodes he did show up in. Another major takeaway from the TMS adaptation is their decision to animate Akako’s Delivery Service in The Witch, The Detective, and The Phantom Thief, albeit edited and extended to deal with the new anime-only plot points. In terms of Akako’s feelings for Kaito and Hakuba’s discovery of his identity, it’s a fairly significant chapter. Despite that, this is the only animated adaptation. I have some… complicated feelings regarding this, but now is not the time.

As for the manga, we have a major arc in Mystery Train. This is not, in all technicality, a Kid case. If anything, his presence is pure coincidence, given he was only there to stake out the train ahead of the actual heist. Though this is a purebred Detective Conan plot, with the Black Organization’s involvement, Kid winds up a key part of their plan to convince the Organization that Sherry is well and truly dead.

Though his appearance in this case would be referenced in the future, this would be the first and last time Kid was directly involved in a major Detective Conan plot beat. This chapter was released before I had an active interest in Detective Conan, so much of what I’ve seen are second- or third-hand accounts from Japanese fans who went through the arc’s release. In short, reception was very mixed to Kid being such a major part in the resolution of this conflict. While there are those who enjoy his inclusion, either because they’re fans of Kid or because they accept the manner in which he was dragged into the plot halfway through, there are also those who consider him a “cheat” character who taints the worldview of Detective Conan by his presence alone. Gosho himself has also mentioned that he won’t be involving Kid in Black Organization plots anymore, either, due to the backlash.

My personal view on Kid’s involvement in Mystery Train is that the arc felt very much like a capital-E Event, so I bought it. There was a clear amount of luck involved in his presence there, so I could see how some may think the entire thing contrived, but it’s that coincidence that sells it for me. It’s Conan needing to fly by the seat of his pants to ensure Haibara makes it out alive, and further impresses upon us that they were half a step away from potentially fatal consequences. Nevertheless, this seems to be a case of an attempt to integrate Kid into the greater Detective Conan narrative that ultimately failed, so he returns to being largely divorced from the overall plot.

Despite this, though, there appear to be multiple chapters after this that focus on systematically introducing Kid to members of the extended cast. This starts with Blush Mermaid, Sera’s first presence at a Kid heist. What’s also unique about this chapter is the small but significant scene at the end that actually does continue the overall main plot - in this case, Sera’s misgivings over the death of Akai. Though Kid will not be overly involved in the main plot from here on out, his chapters do start featuring B Plots that touch on said main narrative. It’s… a half victory, of sorts, in terms of integration.

The other major takeaway from this case is a continuation of Conan and Kid apparently keeping a score of sorts. Due to Kid’s assistance during Mystery Train and the lack of a real theft, Conan lets Kid go. We’re in real “friendly rival” hours now.

Twin Bets pits Kid against Kyogoku, a frankly long overdue confrontation considering he’s Sonoko’s boyfriend. There’s a half-argument to be had that this also involves Kid in a major B Plot for the series as a whole, since this is a romance plot with a major recurring character. There’s also a level of intrinsic amusement in a Kid vs Kyogoku confrontation, since it comes down to (to quote my girlfriend) “guy who is literally from another manga but feels like he belongs here vs guy who somehow belongs here but definitely should be in another manga.”

Twin Bets also serves as the very first time Kid looks at the gem of the day under the moonlight in a Detective Conan chapter. It's the first case post-TMS Magic Kaito where it's applicable for him to do so; he's a bit busy with other things in Mystery Train, and he calls out Blush Mermaid for being a fake. This trend would continue in every case afterward where the plot wasn't otherwise preventing him from doing so (like the murder in Azure Throne).

Normally, this particular stretch of chapters would include quite a few more due to how many of them follow this “Kid, meet [Character]” format. But some of you may have noticed that, despite all the ample opportunities I’ve had to speak of it, I’ve avoided mentioning a certain number…

1412

Thousands of words earlier in this retrospective, I mentioned that Detective Conan’s Black Star felt the most like a crossover chapter. What I didn’t mention at the time, however, was that it also feels like one of the most fundamentally necessary Kid cases in Detective Conan. Not because it’s Kid’s first appearance, but because it introduces a piece of information about Kaitou Kid that eventually becomes baked into his identity despite the fact that it was introduced outside of his source series.

1412, the Interpol criminal code assigned to the internationally renowned phantom thief that was subsequently transformed after an author misread a journalist’s hasty scrawl as “KID.”

It feels like no small coincidence that the A1 adaptation of Magic Kaito added “1412” to the end of its title not just to differentiate this adaptation from TMS’s Magic Kaito specials, but to also indicate that this version of Magic Kaito would be the marriage of its namesake manga and Detective Conan.

In this regard and more, Magic Kaito 1412 modernizes aspects of the original story.

Technology, for example, was updated to reflect what a high school student like Kaito would be doing. Instead of reading the news in the papers, he’s scrolling through news sites on his phone. This is the most common kind of update that you see across adaptations of all stripes, so it’s the less interesting change.

The anime also modernizes with regards to itself, looking inward to find out what people associate with Kid in the modern day and adjusting the story - and the order that story is told - to account for that. This is expressed in ways both large and small. Blue Birthday, for example, is pushed way up to episode 2 of 1412 to introduce Pandora to the audience as soon as possible. Given Blue Birthday is also an Aoko-centric episode, it’s equally fitting that she gets the second episode. Jii’s significance is heightened by reworking the scrapped chapter Hustler vs Magician, a chapter that also coincidentally focused on an aspect of Jii’s past, into episode 3. This focus on major characters continues into episodes 4-6, which introduce Hakuba (chapter 15), Akako (chapter 6), and Shinichi (chapter 23), in that order.

There are also minor changes, likely made for pacing or simply content reasons. One small but frankly fairly significant change involves Kaito’s card gun. He’s shown using it in the first chapter of the manga, which also means he’s using it in the first episode of TMS’s adaptation. Since it eventually comes to be a signature weapon for Kaitou Kid, 1412 prevents Kaito from using it while in his civilian identity (like when he’s panicking about the fish with Aoko). Due to moving Blue Birthday up to episode 2, heists that originally weren’t really bothered with holding the target up to the moon include scenes of Kaito doing just that. Jii is suspiciously absent for most chapters until Black Star, so 1412 inserts him into animated adaptations of older heists, such as helping Kaito prepare the fireworks for Blue Birthday or providing an anime-original explanation of magic vs sorcery. There are similar one-offs with other characters as well, like a short scene of Hakuba being inserted into Akako’s introductory episode.

As a proper series in its own right, as opposed to a series of animated specials, 1412 also had to decide on a unified tone. Though TMS’s adaptation fluctuates wildly, 1412’s tone is a bit more even across the board. It’s comedic and dips its toes in gag vibes without taking it to absurd levels. While TMS’s adaptation of the first episode includes an entire apparatus outside the classroom window in episode 1, Kaito simply jumps out the window and makes it to the ground after running around the classroom in 1412. Though it also pulls away from some of the more atmospheric moments of TMS’s adaptation, it pulls back far more from the gag energy.

As a result of the above two points, many chapters are shuffled around or cut entirely. Chapters like Clockwork Heart, Japan’s Most Irresponsible Prime Minister, or I Am The Master are a level of absurdity that doesn’t fit with modern Magic Kaito’s energy, so they were completely cut. The Police Are Everywhere (chapter 2) was pushed back and adapted as The Princess and the Thief’s Improv (episode 15), because the emotional core of Nakamori potentially getting removed from the police force simply doesn’t work that early in the story outside the gag context. Akako’s Delivery Service was also unfortunately cut… Whether it be because of Akako’s appearance as Kid and the subsequent punchline or because of the technology Hakuba used to ascertain Kid’s identity, they apparently determined it was either too outside the tone or too difficult to adapt. Hakuba’s call in Golden Eye truly comes out of nowhere as a result, though, and that’s one fewer episode for a character that already had a bit of a spotty appearance record early in the manga’s run.

When the anime was announced, there were 30 chapters out. Seven of these were ultimately not animated, and many of the two chapter cases could be easily adapted into a single episode. They needed more material to fill out the remaining episodes, so they did this in two main ways.

The first is by reaching into some key Detective Conan cases. Black Star is a bonafide Magic Kaito case, but shifting it and Shinichi’s appearance in this adaptation to episode six - right after a series of core cast introductions - is actually very telling. 1412 was not only concerned with adapting the manga for modern sensibilities, but also with adapting Detective Conan for a Magic Kaito audience and further strengthening the connection between the two. This “adaptation” resulted in anime-original retellings of Ryoma’s Gunbelt, Sky Walk, and Purple Nail from Kaito’s point of view. Personally, I wouldn’t be surprised if this was a decision early on in the anime’s development, and if it was their existence that necessitated the tone of 1412 be evened out via not adapting the more “out there” chapters of the source manga.

The second thing they did to fill the run time was for Gosho to write an entirely new heist to function as a finale for the anime. This was Midnight Crow, the first heist to really touch on the driving plot of Magic Kaito (outside of Snake showing up to be ineffective) since Blue Birthday. Gosho’s comment on this case in the Treasured Edition is… a lot.

After a standalone anime adaptation was greenlit, the topic of what we should do for the final episode came up at our first meeting, so I said “Why don’t I write the ‘Black Kaitou Kid’ story I have saved as a trump card in Sunday and use that in the final episode?” Thus I wrote Midnight Crow! I’ll never forget how surprised the members of staff looked when I bluntly told them that Toichi is actually still alive (lol). (…) Though Chikage made Kaito work as Kid in Phantom Lady, she tried to get him to quit in Midnight Crow because of everything that happened in Las Vegas… But that’s a story for another time (lol).

The story itself has plenty of hints that Kaitou Corbeau is a Toichi-Chikage tag-team, but actually seeing him spell it out so casually sure is something.

Speaking of spelling things out, though, I also want to take an aside to touch on the Magic Kaito 1412 novelizations. Six volumes were published roughly concurrently with the anime’s run, and though there isn’t anything drastically different from what we already know from either Magic Kaito or Detective Conan, sometimes the narration can be quite enlightening. For the purposes of this, though, I specifically want to touch on that pin from earlier.

In the movie continuity, there is very clearly a moment where Kaito figures out Conan’s identity in The Last Wizard of the Century. There is no concrete equivalent to this in either Detective Conan or Magic Kaito, and 1412 doesn’t really expand on this either. I mentioned the possibility that Ryoma’s Gunbelt would have given Kaito ammo to figure out who Conan might be, but it’s not the most compelling argument. I’ve heard tell that Gosho once implied Kaito may have simply come to this conclusion on his own outside of the movie continuity, and I’ve personally always taken this stance given he seems to recognize Conan as a “high school detective” in Fairy’s Lips - and simply DOES know, no arguments, by Azure Throne.

Taking novelizations like these as fully canon is always a bit of a risk, but there’s a very interesting expansion on this particular issue in Volume 3, during the Ryoma’s Gunbelt adaptation. After Kaito runs into Conan while under disguise at the museum, the novels go into a brief explanation of how Kaitou Kid came to be known as such (aka the 1412 thing), followed by a flashback to Kid and Conan’s first meeting in DC’s Black Star. The narration then turns to what happened after the fact. This is fairly long, but as far as I’m aware these novels aren’t available in English, legally or otherwise. As such…

***

Kaito investigated the child that was on the roof of the Beika hotel - the young boy who called himself a detective, and with whom Kaito fought during the Black Star incident.

His name was Conan Edogawa.

He was a distant relative of Hiroshi Agasa, inventor and scientist, and was currently freeloading at the house of Kogoro Mouri, the famous detective “The Sleeping Kogoro.”

…And that was all he really figured out about him.

Conan Edogawa was full of mysteries.

But there was one thing that bothered Kaito.

Kogoro Mouri had a high school daughter named Ran. And Ran Mouri was the childhood friend of Shinichi Kudo.

That Shinichi Kudo.

The very high school detective that cornered Kaito during the clock tower heist.

Before his run-in with Conan, Kaito had looked into the young man that had aided the Metropolitan Police Department.

At a certain point after that clock tower incident, he had apparently gone missing.

He was not officially registered as missing, nor did it become a massive incident. But he stopped attending Teitan High School and disappeared from his home. He was apparently gone because he was busy chasing after some case a client had requested of him, but…

The elementary schooler Conan Edogawa appeared before both Ran Mouri and Kaitou Kid as if taking his place.

Shinichi Kudo, and Conan Edogawa.

Due to their mysterious nature, the two detectives continued to fascinate Kaito.

By the way…

The certain young novelist who had given Kaitou Kid his name was currently a world-renowned mystery writer.

His name was Yusaku Kudo.

Shinichi Kudo’s father.

Then there’s his mother, Yukiko Kudo, who was an essayist. She was a former actress, and once studied under the magician Toichi Kuroba to prepare for a role. Kaito had even once met her alongside his father in his childhood.

A strange turn of fate connected the Kudo and Kuroba families across multiple generations.

Did Kaito realize…?

Did he know that Conan Edogawa was actually Shinichi Kudo, who turned into a child after being forced to take a strange medicine?!

Professor Agasa was aware that Conan Edogawa was actually Shinichi Kudo… and it was likely only a select few others knew this. Not even Ran Mouri, his childhood friend, knew.

If Shinichi Kudo was keeping his identity a secret… then the reason he became a child must be pretty dangerous. Something that involved crime and the underworld. Just knowing the truth could put your life in danger.

It was only obvious that Kaito kept his identity as Kaitou Kid hidden.

But Shinichi Kudo must be living an even more troublesome life.

***

The narration of these novels knocks on the fourth wall fairly often, explaining that middle bit of this particular excerpt. It never confirms for sure whether or not Kaito managed to connect the dots, but the aforementioned questionable canonicity of novelizations like this means that was probably the safe choice. That there’s extra information here at all about Kaito looking into both Shinichi AND Conan is a pleasant surprise, as far as I’m concerned. But it’s also a bit frustrating that we don’t yet have even a hint of how this occurred in the manga when we now have two potential sources of that knowledge in the movies and these novels.

Which you opt to take as the more likely canon is probably up to personal interpretation, but I think I’m personally a bit more willing to go with a version of the novel’s events. I prefer to include the movies as a level of canon unless they outright contradict the manga (like M10 does, tragically), but the novel’s versions of events is probably the safer option.

But it’s the inclusion of extra scenes like these that further connects Magic Kaito - especially this particular iteration - to Detective Conan. They are holding hands so tightly now.

This all eventually culminates in Sunflowers of Inferno. Though M14 is the more obvious turning point with regards to Kid’s general behavior and personality in Detective Conan movies, Sunflowers of Inferno is a slightly more interesting turning point: all three movies after 1412 airs involve aspects of Magic Kaito, whether it be in its story or in its theming.

For this movie, it’s a very obvious example of the former. I think the plot of M19 is… strictly okay, but Kid’s motivation throughout being related to Jii is something I really enjoyed about the film. You know, assuming you don’t think too hard about Jii’s age as it relates to the timing of the flashbacks. Outside of that, Kid’s behavior in the movie almost looks as though it’s walking back from M14, but that’s only because Kid is playing the villain for most of it. Once that facade is dealt with he’s fully cooperative with Conan, to the point that the latter trusts the former with Ran’s safety. The opening scene with Kaito in his dark heist garb is also a nice bonus.

All in all, I think 1412 airing actually has the biggest effect on the movies. I’m not sure if that was intentional - movies 23 and 27 have the same director, so it could just be that her artistic vision includes MK in it - but for Sunflowers of Inferno it was almost certainly intentional as a show of fireworks after the ending of the anime. As for the manga, 1412 airing actually seems to have had very little influence on the Detective Conan chapters featuring him. Though Kid is a lot more likely to resemble the version of the character from Magic Kaito now, the manga seems a bit more concerned with introducing him to the new guard.

Meet The Fam

The Detective Conan cases in this section continue the general trend from after Mystery Train of either 1) introducing Kid to a significant sub character, or 2) running parallel to a B Plot that is concerned with the main narrative.

Luna Memoria does a couple of interesting things. First, this is the first time Conan explicitly asks Kid about investigating the jewel of the heist, since he knows Kid is on the search for a “special jewel.” Kaito is very candid in his response, telling Conan he ran into the deceased owner as the readers get a small flashback to Kaito Kuroba reverse pickpocketing the necklace. It’s an interesting conversation to have in the first Kid case since 1412 aired, especially since this aspect of Kid’s MO hasn’t really been discussed in any concrete way in DC before this point.

The second thing it does is have a small but nonetheless amusing B Plot with Okiya. While taking pictures of potential targets for his disguise, Kaito inadvertently gets a picture of Okiya’s voice changer. So Okiya joins Conan in confronting Kid in the bathroom and Very Nicely requests they get that picture back. Kaito has an “oh shit” moment, gets the heck outta dodge, and the chapter ends on a comical note when Kid can’t escape because Nakamori refuses to stop looking for him.

The next DC chapter, Fairy’s Lips, does a little bit of 1 and a little bit of 2. Surprisingly enough, Heiji has not had a significant confrontation with Kid in the manga before, and now Kid is getting himself involved in his and Kazuha’s romance plot. This chapter is retroactively significant because it’s the key jumping-off point for Heiji and Kid’s relationship in M27. But it’s also surprisingly significant for the MAIN main plot of Detective Conan by bringing in Koumei as a secondary detective that’s working to capture Kid… because he’s in Tokyo to receive a mysterious envelope addressed to him. The truth of the envelope’s contents is an Extremely Big Deal, and though by this point in the manga I was fully aware that plot developments would often happen in otherwise standalone cases now, I was personally not ready for that in a Kid case. So there’s that.

Between these two cases is the Magic Kaito heist Sun Halo, which puts a focus on Aoko for the first time in a while. It’s also very minorly a Magic Kaito version of a suspicion arc - the first one since Kaitou Kid’s Busy Day Off - though it ends with a return to the status quo. This chapter, as mentioned way earlier, also features some magic shenanigans from Akako in a more concrete way than we’d seen in a while. There’s some stuff about these chapters that are more disturbing the longer you think about them (what do you Mean Kaito just carries some blood neutralizing spray around with him so people can’t figure out his identity based on his blood), and the general tone is a lot more somber because Kaito is suffering from both pain and blood loss. It feels like an extension of Midnight Crow’s tone, in that regard.

After these three chapters is our next Kid movie, Fist of Blue Sapphire. This movie features a romance subplot between Sonoko and Kyogoku, and thus brings Kid back into it via certain aspects of the movie plot. As a post-1412 movie, the major feature of this movie is not the plot, but the thematic underpinnings of said plot.

Many post-Blue Birthday Magic Kaito heists tend to overlap aspects of Kaito’s situation with that of the characters introduced in the heist. The feature character of Red Tear is a woman who has grown to hate magic after the untimely death of her parents. The titular Dark Knight lives a double life as a notorious criminal for his son’s sake, and Kaito works to make sure his son never finds out about that double life. The thief in Golden Eye is attempting to salvage her father’s legacy. If they aren’t straight parallels, then they present what-if scenarios or twists on what Kaito is going through.

Fist of Blue Sapphire pulls something similar with Rishi, one of the movie-original characters. He’s torn up enough by his father’s death that he chooses to dirty his hands in order to get his revenge. After Midnight Crow, where Toichi himself wants to ensure that revenge is not Kaito’s only driving force, this presents a what-if scenario - an alternate path that Kaito might have chosen, had his admiration for his father not won out over his grief at his death. It’s interesting to see this particular thematic through line in a Detective Conan movie because it’s never been shown in a Detective Conan manga case before, and it’s one of the reasons I’m particularly fond of Chika Nagaoka’s Kid movies.

Another major aspect of this movie is how the sheer amount of screen presence Kid has gives the movie ample time to show what more involved cooperation between Kid and Conan looks like. The second Kid is framed for the crime, he chooses to go to Conan; if Kid looks to be in genuine danger, Conan begrudgingly comes to his aid. They spend time talking over the aspects of the case, and work seamlessly together during the climax. It’s by far the most actively cooperative they’ve been before or since, but it doesn’t come out of nowhere (and the spirit doesn’t quite go away, either). The clearest indication of this change in relationship is the line spoken by Kaito after he’s dealt with his wounds on the roof: “A magician makes you believe he holds something within his clenched fist, and a detective guesses correctly what they hold before it’s ever revealed.” It’s a stark contrast to probably his most famous line from Black Star about phantom thieves being artists and detectives being no more than critics.

Fist of Blue Sapphire happens to be one of those movies that I personally have any concrete info about via things like guidebooks. I don’t want to bloat this more than it already is, so there’s only two things I read that I want to share.

The first is Kappei Yamaguchi’s seeming reaction to the script during recording, specifically in regards to his laugh. Normally, Kid in Detective Conan has had a sort of booming, open laugh, but twice during the recording for Fist of Blue Sapphire he opted to go for a version of the laugh as written out in Magic Kaito - an “ahaha” vs a “kekeke” kinda difference. He talks about this in the Kaitou Kid Secret Archives, but an online article on the movie from Movie Walker expands on this from Nagaoka’s point of view:

This time, we have a lot of aspects from “Magic Kaito” and Kaitou Kid’s true face in this movie. The moment I thought “This is just Kaito” was during ADR, when Yamguchi Kappei-san laughed like ‘hihi!’ Kappei-san said to me “I did it even though I thought it’d be struck out.” (lol) I could tell in those words that he met this movie with his own interpretation. I was impressed. We have a very cool Kid as a result.

It’s also in the Secret Archives interview that we get the “His speed may be at 100, but he has zero combat ability at all” comment from Gosho to Nagaoka, which is… extremely funny.

The other major thing from the Secret Archives interview (and elsewhere) is an anecdote about a certain regret. Nagaoka herself seems to be a big fan of Magic Kaito, but after M23 was released to theaters, Gosho lamented that he should have had Kid allude to Aoko. This was brought up again in a more recent Animage article: “Actually, back during Fist of Blue Sapphire, Aoyama-sensei had told me something akin to ‘We should have had Kid say “I have a better sapphire (Aoko) already” when he returns the blue sapphire,’ and I responded ‘You’re going to tell me that now, Sensei?!”

This is all to say that, despite the lack of any obvious elements akin to Jii in M19, they were clearly thinking of Magic Kaito while making M23.

☘️The next case on our list isn’t really a Kid case at all, but I consider it significant in the way it illustrates Kid and Conan’s developing relationship. Yusaku Kudo’s TV Show Case’s big twist is that Vermouth had been in disguise as Yusaku the entire time, but what’s important is that instead of being suspicious of his dad’s double showing up, Conan immediately assumes and trusts the double as being Kaitou Kid. “Kid” claims he’s here to help after Yusaku stated on the news that Kid wasn’t the culprit, and the following events snowball into interesting events and implications.

The first and most obvious is Conan’s implicit trust and expectations for Kid. He is visibly disappointed when “Kid” doesn’t respond to his deductions the way he assumed he would or didn’t pick up on details he was convinced Kid would immediately notice. It’s actually a staggering amount of trust, despite everything.

Then we have the fact that Vermouth was able to use this tactic at all. Her visiting the Kudo residence was a failsafe to ensure Yusaku really was out of the picture, so she needed a way in. Personally, I think it’s safe to assume she didn’t adjust after Conan thought it was Kid - she knew this would work from the start. Yusaku absolving Kid in the news is a perfect in for someone who was already fully aware that Kid had teamed up with her Silver Bullet before in Mystery Train. And she was right. Conan’s immediate assumption and subsequent display of trust blinded him to the possibility of the other infamous master of disguise on his list.

(What this does - or doesn't - say about Vermouth's knowledge of Kid, aka Kaito Kuroba, to the point that she so successfully tricked Conan in the first place is another matter entirely.)

That this particular case works as a prologue of sorts to the minor Black Organization arc that follows is also interesting to consider. Kid didn’t appear in the arc at all, but he certainly was used as a tool for it.☘️

The subsequent DC chapters continue the “Kid, meet [Character]” trend with Amuro (and Kazami) in Queen’s Bang. He’s a fairly active part of the process, not the least of which because Kid belittled his card trick skills as they were lining up to enter the museum. Though this chapter doesn’t have a relevant B Plot, it is the first reference to Kid’s presence in Mystery Train since Blush Mermaid - and a pretty significant one at that, since Amuro was the one that actually had to deal with “Sherry.” It's also one of the first real references to Magic Kaito itself, albeit still somewhat vague: Kazami mentions Queen Selizabeth from Ingram, a fake country in a series that does not normally deal with fake countries. (Selizabeth was also the name of the ship from Black Star, as it turns out, but that's less a hard reference and more of a reference with a wink.)

Siren Splash’s main character introduction is actually Azusa, which feels a bit like a follow up on the minor role she had in Queen’s Bang. This case has a couple of fun things that sort of cover the entire spectrum of ways in which a Kid case could be fun for our purposes. The least significant of these is Kid’s skates, which (if memory serves) haven’t been seen since chapter 10 of Magic Kaito. Gosho mentions wanting to use them again in his Treasured Edition comment on that case, so it’s a lot of fun to finally see them show up again.

Going up to slightly more significant, there’s a Very Ominous Comment from Kanenori about his left eye, which serves as foreshadowing to information we find out about him about a volume later. And then we have the end of the case, which is a little difficult to talk about because we don’t have any elucidating information yet. Regardless, I’ve always been amused that, despite Conan being the talk of the various police departments, he’s largely avoided being in the news… except where Kid is involved. It seems that’s finally coming to a head with the older gentleman that is none too pleased about the news story covering Conan’s victory. We don’t know what role this man has yet, but if this has ties to the main plot, then this is a very amusing way in which Kid has affected the main plot.

There’s not much else of note to say about this series of chapters, because it’s largely continuing the trends of the era that led to 1412’s release and codifying a less mysterious Kid, and an (at times) more cooperative Conan. But it’s also a comparatively sparse number of chapters; in the over seven years since 1412, Kid had only featured in four chapters here. You probably wouldn’t expect any major developments from a precedent like that, right?

…Right?

Erasing the Line in the Sand

We have now entered the modern era - specifically, the immediate lead-up to M27. Recency means some of these things are going to be a little bit harder to extrapolate on, largely because we have no idea if this is the start of something new, or perhaps just an outlier in the general trend. Regardless, some of this stuff fully makes my brain spin. Never mind brainworms - I have brain bees, and they will not stop buzzing.

We start with the most-recent Kid case in Detective Conan as of this writing, Azure Throne. This particular case is significant for multiple reasons, besides just being a good time. First, it’s Hakuba’s first appearance in Detective Conan since Detective Koshien, which means it’s been a whole seventeen years. Help. It’s arguably also the closest it comes to a proper Hakuba vs Kid case in Detective Conan, since Twilight Mansion is a little too busy with other aspects of its plot to spend much (if any) time on Hakuba’s relationship with Kid. Hakuba is also just a little insane, given his plan was to airlift the entire observation deck and sink it into a pool to trap Kid… There’s some minor Magic Kaito gag energy in that idea, and Hakuba’s never done things by halves.

Next, we have yet another reference to Kid’s presence in Mystery Train. Queen’s bang was only a couple years ago, and in Conan Publishing Time that’s no time at all considering Mystery Train was back in 2012. It’s interesting to get two references to that particular case so close together.

And speaking of references, my third point of interest for this case is that it straight up references Golden Eye. There’s even an illustration of Cartier, the security company manager that Nakamori is thinking about when he responds to Jirokichi’s comment. Magic Kaito has certainly referenced Detective Conan before, and 1412 itself pulls heists whole-sale from it to fill out its runtime. But this is the first time it’s gone the other way around in such a specific manner.

It’s also, somehow, the very first time Kid has assumed the Shinichi Kudo disguise in the manga. And even more surprisingly, it’s done so at Conan’s request. Sure, Kid was the one begging Conan to free him of suspicion for the murder that just happened, but “disguise yourself as me and make sure Ran doesn’t find out” was the condition Conan put forward for his cooperation.

This connects to the fifth and sixth points that I’m concerned with. The fifth point is Ran herself; she has a comment toward the end about how she can’t forgive Kid for “disguising as Shinichi every single time.” Which is, you know. Kinda weird, if all we’re considering is manga continuity. This is his very first time assuming this disguise in the manga! So in Gosho’s mind, at least, the movies aren’t not canon. Considering more recent movies are more likely to require “homework” to fully enjoy them, I wouldn’t be surprised if they were more carefully written to slot into canon more easily than early movies were.

The sixth and most hilarious point is a single aside in a conversation Kid and Conan have.

Actually, why do you look so similar to me?

Why would I know?! Maybe we have a shared ancestor or something. (To be honest… I’m not even changing my voice much, either…)

Now, the addition of that voice comment makes the whole thing sound like a gag - they do have the same seiyuu, after all - but their similarity has always been a bit of a gag… In the movies. Thinking back on it, I’m not sure it’s ever really been brought up in the manga, so this is a joke that feels almost necessary after Conan requested Kid to disguise himself as “Shinichi,” which Kid managed to do despite being not at all prepared for it.

And, you know. It’s also foreshadowing now. Not by much, considering the movie was only a few months out, but still.

tl;dr: There’s a lot going on in Azure Throne. It is probably the densest of the Kid cases in terms of its relationship to itself and its relationship to Magic Kaito. As a result of that, there’s something about this case that feels like the purest mix of Magic Kaito and Detective Conan. It also feels pretty clearly written with the movie in mind, considering it not only had the aforementioned foreshadowing, but also brought in ideas from previous movies into the manga to create synergy between them.

After that we have Green Dragon, a Magic Kaito heist that ran through M27’s theater release. Meeting Aoko’s mother is certainly a standout of this particular heist, but what I personally find more interesting is the tone. It eschews the steady creep of drama into the narrative by pulling back to something more comedic, and in some ways feels a little like a return to form. Kaito’s fear of fish is brought up again for the first time in ages, and Midoriko gets a whole host of muscle men to corner Kid.

The chapter also opens with a reference to the crimes (as Midoriko would prosecute them) Kid committed in Queen’s Bang. In terms of time, it’s been over ten years since the last MK heist referenced DC in any meaningful way. But in terms of heist count, Phantom Lady was only three heists ago.

It is at this point I must discuss the movie, The Million-dollar Pentagram. As the movie is not yet out on Blu-ray as of this writing and the international offerings were a bit spotty (especially outside of Asia), I want to give another spoiler warning for the information I’m about to go into. I mentioned earlier that later movies require a bit of “homework” for full enjoyment, and M27 is no exception. It has also turned into one of the more common complaints I see from casual DC movie enjoyers, at least on the Japanese side of things - because yes, there is a whole audience of people whose only exposure to the franchise is the yearly movie. While the most easily recognizable pieces of “homework” for this particular movie are clearly cases like Fairy’s Lips or even M21 for familiarity with Momiji and Heiji’s attempts to confess to Kazuha, it is also very much arguable that the second major pillar of this movie requires a working knowledge of Magic Kaito. Like, not just knowing who Kaitou Kid is, but knowing who Kaito Kuroba is.

Which means I’m going to be talking about a lot of this movie in concrete detail. The main thrust of the movie is, to put it very simply, a treasure hunt. What I discuss will give you very few clues as to how or why that mystery is solved, but it will end up touching on key events, motives, and emotional beats. If you’d rather keep yourself unspoiled so as to enjoy those aspects as well, please skip to my discussion on FILE.0. You can find that by scrolling to below the second horizontal line, or doing a Ctrl+F search on “FILE.0.” That being said, there will also be more concrete references to the post-credits scene everyone knows about by this point in the final section of this retrospective as well.

——

There’s a lot I want to discuss with regards to M27, but it’s frankly hard to conceive of how I’d go about it. Going through the movie chronologically would take far too long, so I think I largely just want to list up a few interesting elements and then dive into what significance I think those elements hold. For the curious, I saw this movie twice in theaters: once about a week after premier, and again when they were running English subtitles at certain locations.

Let’s start at the beginning, with the most amusing thing this movie did before it was even released: the lack of a pre-screening. Movies like these usually have a seiyuu event of some kind attached to an early screening of the movie that fans can attend via lottery a little while before the official release, but they used the framing device of Kid “stealing the pre-screening” to avoid holding one at all. This isn’t strictly related to anything I’ll discuss further, but it is amusing to think that they believed the information presented in this movie was important and significant enough that they didn’t want to risk people talking ahead of the official release. And, you know, it WAS, but we’re not getting into that just yet.

Also somewhat minorly was the cover of an-an being Shinichi and Kaito, as opposed to Conan and Kid or even Shinichi and Kid. There’s also been a handful of DC merch that includes both Kaito and Kid in the lineup, and I don’t think stuff like this has happened since 1412 aired. It’s clear in hindsight they were focusing on his civilian identity because of his motive in the film and the reveal in the stinger.

As for the movie itself, I want to start REALLY basic, and actually talk about the score of the movie. The Million-dollar Pentagram is the first Kid film since Yugo Kanno took over from Katsuo Ohno for the movie soundtracks. This normally wouldn’t matter too much, except for the fact that Kaitou Kid has utilized a variation on the same two themes since The Last Wizard of the Century. There was apparently quite a bit of back and forth as to how to handle this aspect of the soundtrack, but in the end they went with a completely new theme: The Grand Circus (華麗なるサーカス). If you’re reading this and somehow haven’t heard it before, I highly recommend you give it a listen. It serves as his calling card throughout the movie and is a much more playful tune. I can’t help thinking about Toichi’s conversation with Kaito in Hustler vs Magician about how the pierrot is the most important member of the circus (yet another reason I’m glad this chapter got salvaged in the 1412 adaptation). I definitely don’t dislike his old themes, but I do enjoy that the vibe of this one expresses a side of Kid in Detective Conan that has seen more screen time lately, but has until now had no musical motif to express it.

Another amusing part of this soundtrack is a certain melody, only a couple bars long, that repeats throughout the entire score. This melody just so happens to play during the final major reveal of the movie: that Toichi had been disguised as Yoshihisa Kawazoe the entire time. Kawazoe is a local detective that is in and out of the movie for almost its entire runtime. Toichi was, in essence, with us the entire time. Just like this melody was, weaved in and out of the soundtrack. It’s a nice touch. Kanno mentions in the Toho Cinemas guidebook that there’s very little impact to a melody introduced in the final moments, and that he wanted to inspire a sense of deja vu alongside surprise by accompanying that final reveal alongside a melody that had played the entire time. It’s kinda neat.

As for Kid’s behavior in this movie, it’s informed entirely by his desire to discover why his dad apparently went after this “potentially world-destroying” treasure, found it, and then left it alone. There’s an overlap between this and his motive in M19, considering both are more personal in nature, but M27’s motive is also far more fundamental to Magic Kaito. Kid is mentioned multiple times to have an assistant of some kind in Detective Conan chapters, but the only mention of his dad is that 1) he exists, and 2) he was the previous Kid. He’s not at all connected to Kid’s search for Pandora or his reason to be the second Kid in the first place, so bringing his dad into things as a motive feels more poignant if you know Kaito’s always been chasing him. Which is to say, it relies a bit more on knowing Kaito’s personal story from Magic Kaito.

The plot leans into this “if you know, you know” vibe by having Kaito only ever indirectly refer to his dad. When he explains why he’s searching for these swords to Conan and Heiji, he only refers to “a certain thief.” In a moment of respite, he only just barely gets to say the first sounds of “dad” before he’s interrupted by one of our culprits. It’s not said in any capacity until the very end of the movie, when the treasure is found alongside Toichi’s glove and a notice from Kid the first: “Wake not a sleeping lion.”

Going back to Heiji and Conan, he’s not openly cooperative with them until they save him from near death. It’s at that point they share info and Kid ropes them into solving this puzzle because it’s what they do best. The rest of their cooperation in the movie usually takes the shape of a “2+1” format. Conan and Heiji are obviously working together while Kid comes in and out via a number of disguises. There’s a comedy to his disguises in this film, since they’re almost too easy to see through. It’s likely in part so Heiji and Conan can be aware of his presence, since they’re technically working together. Minami Takayama also picks up on this in her movie pamphlet interview, adding that he “seems more open and honest this time, probably because that’s just how badly he wants to solve this mystery” and that it feels more like “Kaito Kuroba and Shinichi Kudo have taken a step closer” as opposed to it just being Kid and Conan this time around. Kappei Yamaguchi in the same set of interviews says he’s “basically Kaito” with Conan, even if he still mostly behaves as Kid with Heiji.

To summarize, Kid’s behavior in this movie is far more open due to the goal being tied to his dad, and with Conan specifically the mask is basically off. Add this to the comedic touch of his disguises throughout, and you’ve got some good Magic Kaito vibes despite his reduced screen time compared to M23.

But that only lays the foundation for those vibes. There are plenty of other reasons why it feels more Magic Kaito-y, given key aspects of this movie bring in more aspects of Kaito’s civilian life - and certain emotional beats rely on your knowledge of that.

To start with a more minor beat that wraps up things mentioned above: Toichi’s glove. Kaito takes it with him after discovering the treasure, and there’s a short scene while he’s flying through the sky (after a more significant moment we’ll discuss later) that sees him looking at the glove with a frankly mixed expression. The novelization of the movie mentions him smiling happily as he soars through the sky, but that is not the expression we actually see in the movie. He has Thoughts about finding his dad’s glove there, but the audience is left to guess what they may be. It’s a hole that’s nearly impossible to fill without knowing Kaito’s backstory (and, arguably, without knowing about Midnight Crow).

And we’ll get to Midnight Crow’s significance, just you wait.

The second beat I want to talk about is Nakamori. First (and more minorly) is his engagement in some true gag Magic Kaito energy. A short scene with a disguised Kaito at a hotel alongside Conan and Heiji ends with Nakamori up against the window, looking in with multiple police officers behind him, as he realizes he’s found Kid. Kid then runs, and Nakamori and his officers run across the screen as Conan and Heiji continue their conversation. Real goofy hours.

But the actual most important story beat with Nakamori is him getting shot by one of our antagonists. He’s shot while on duty and escorting another principle character, and the framing of the movie puts us in Kid’s shoes as he discovers a gun aimed at the both of them just a little too late. This decision carries with it a couple of interesting tidbits, whether they be for our purposes or for how it seemed to affect the people that worked on it.

I want to do the latter first, since the snowballing is less extreme. Yamaguchi has talked about this scene a number of times, whether it be in interviews or during seiyuu events. As a voice actor, he was surprised at his own performance as Kid yells out Nakamori’s name. It was desperate and loud in a way he’d never been before, but it still felt natural to him; he thought it was indicative of just how important Nakamori is to Kaito, and that this was less Detective Conan’s Kid and more Magic Kaito’s Kaito Kuroba.

Related to this is a comment he made at a stage event that in his heart, he’d wanted to say “ojisan” instead of “Inspector Nakamori.” But he felt that it would be too difficult to display their relationship that way, so he went with the latter. There’s a lot of character interpretation you can do with regards to what Kaito chose to say in the moment, but I also can’t deny the possibility that it simply comes down to the “Kaito and Nakamori” dynamic not appearing in Detective Conan at all. Well, at least in part.

The other major ramification of this narrative decision is actually Aoko’s appearance in the movie. Nagaoka recounts in multiple interviews, such as in Febri or Animage, that she originally felt the tension in the movie was a little too slow-going, so she suggested someone get shot. The original plan suggested shooting Nishimura, the Hokkaido police detective, but Gosho said Kid wouldn’t save him if that was the case. It was here Nagaoka suggested Nakamori, to which Gosho agreed. He then added, though, that if he was in the hospital, then Aoko would likely show up.

Thus we have Aoko’s first theatrical appearance, and her first appearance in Detective Conan at all since Black Star. Her appearance in this movie grounds Kid’s emotional narrative in Magic Kaito; it implies the existence of Kaito Kuroba in ways Hakuba or Nakamori never could, because her significance rests entirely in his civilian identity. There are scenes dedicated to Kaito watching over her in disguise as she waits for her father to wake up, only leaving once she seems to be okay. He’s on the phone with her in one of the last scenes in the movie, and his smile when he ends the call is the softest it’s ever been in Detective Conan.

That’s not all, though. In a cute example of the movie affecting the manga, Gosho told Nagaoka later on that a gesture Aoko performs - a two-handed clap to the face that helps her psych herself up - was brought back into Magic Kaito for his April serialization. We see Midoriko do the very same gesture when she wakes up after her quick nap, as it turns out.

There’s something else I want to mention about Aoko, but that fits better elsewhere. So before we talk about the elephant in the room, I want to mention the theme of the movie. Both Nagaoka and Takahiro Okura, the script writer, have described the movie as dealing with “parent-child relationships” and “inheritance.” All of the antagonists follow after their forefathers in some way, but it’s an idea most obviously expressed by Hijiri Fukushiro, the main movie-original character. The complicated feelings he has about following in his father’s footsteps, and the things he does as a result, can all too easily be compared to Kaito’s own struggles. As I mentioned earlier, Nagaoka does something similar with M23, but it’s even more powerful here because Kaito is just as determined to chase after his dad as the many other characters in the narrative are to deal with the legacies their forefathers left them.

So.

Elephant in the room.

The ship-breaking shot heard round the world.

Shinichi Kudo and Kaito Kuroba are cousins, and their fathers are twins.

I want to just trace this thread throughout the movie, in as brief a form as possible.

It starts with the very first confrontation between Kid and Heiji. When Heiji gets the upper hand and knocks Kid’s monocle off, cutting through the brim of his hat in the process, the moon peeks through the clouds and gives Heiji a clear view of Kid’s face. He’s immediately shocked to discover he resembles Shinichi.

Heiji has a couple of moments following that clearly illustrates he’s ruminating on this. When he first sees Conan, he crouches down and takes Conan’s face by the chin, examining him. When Kid and Conan banter on the train, Heiji sits behind them, a confused but thoughtful look on his face.

Shortly after the above, Heiji confronts Conan: “Do you have any siblings?” He brings up the physical and vocal resemblance Kid has to Shinichi, but Conan brushes it off. “It’s a coincidental resemblance. It happened by chance.” Heiji drops the subject, but there’s an argument to be had that the way Conan says that last line sure is suspicious.

The movie follows the main plot until Aoko’s introduction. In one scene with her, Heiji, and Conan, she watches the latter two talk with interest. She crouches to the ground and stares at Conan, telling him that she’s reminded of her childhood friend’s younger years when she sees him. This is the first time their resemblance has ever been phrased as “You look like Kid/Kaito,” as opposed to the more common reverse. Nagaoka remarks in an interview that Aoko’s presence in this movie presented the perfect chance to further thread the foreshadowing of their resemblance throughout the film, and personally I rather enjoy that one aspect of this foreshadowing comes from the Magic Kaito angle.

Post-credits. Yukiko is surprised to discover Yusaku has an older twin brother. Yusaku is a little…cagey, in my opinion. He expresses mild surprise he hasn’t mentioned it before, says they keep in regular contact despite not seeing each other in over 20 years, mentions he receives gifts every once in a while (including the extremely plot-relevant missing sword) and hints to Yukiko that she’s likely met him before. As she continues to guess who it might be, Yusaku attempts to change the subject to his new book; he wants her opinions on it. This is when he receives a text praising his most recent novel, signed by “TK,” and Yusaku smiles. The scene cuts to a skyline view and Kawasoe standing atop a tower of some kind. He looks at his phone: “Thank you, Nii-san! YK.” He laughs, and the disguise comes off, revealing a smiling Kaitou Corbeau.

Now, I mentioned Midnight Crow earlier, so I want to recover that pin now. Midnight Crow is a Magic Kaito case. It is the case that very strongly implies Toichi’s survival. Absolutely none of this is brought up in Detective Conan in any capacity whatsoever. Not even a REFERENCE to a “Kaitou Kid in black.” I’ve seen multiple stories, whether they be about themselves or about others they went with or saw in the theater, about people that were simply confused as to why THIS was the stinger in this film. I even have a personal anecdote myself, given I dragged my roommate with me to the movie and what surface knowledge she had did not do anything to help her understand what the heck was going on in the post-credits scene.

Within the film, in the vacuum of this one movie, the connection between Kawazoe and “the guy that wears a monocle like Kid who seems vaguely threatening” is actually really well foreshadowed! It’s even BETTER foreshadowed if you know Magic Kaito, because the relationship between Hijiri and his dad has parallels to Kaito and his dad. Because Kaito’s first disguise in the movie and Toichi’s disguise throughout used the exact same method: taking advantage of someone’s vacation, and thus their absence. Because you know this man is Kaito’s dad, the thief who found this treasure before and chose not to steal it, and is now taking advantage of Kawazoe’s klutzy nature to give Heiji and Conan information so they can find and protect it.

As far as Kaito and Shinichi’s resemblance is concerned, it was always used as a joke in previous films. Considering how long this running joke went, I imagine that made their blood relationship that much harder to accept. It was clear they were doing something different with it from the very start of this movie, though, when Heiji’s reaction to the resemblance isn’t played for laughs and it just kept coming up.

This also doesn’t necessarily come out of nowhere. The earliest piece of info that I can personally confirm is from a six-page interview with Gosho in a 2011 issue of Hayakawa Mystery Magazine celebrating the release of M15. After the interviewer implies that the similarity between Kid and Shinichi may be due to Kid being written first as a protagonist (further implying it’s a stylistic “protagonist” thing), Gosho replied, “Their resemblance is not just because of the order they were written in, but because there’s a secret backstory. There’s no way someone that looks so similar exists, you know? (lol) As for why, look forward to it, I suppose.” In the No. 22-23 2024 issue of Shonen Sunday, Gosho also has a little cheeky comment saying he’s relieved he was finally able to talk about Kid’s secret…

The other comment complicating the timing of when Gosho would have first considered this is a comment from Yamaguchi during a later screening of M27 alongside the seiyuu. According to fan reports, he mentioned being told that Kid had a “secret backstory” when he was given the offer to voice him. Combined with the fact that Gosho had apparently specifically chosen Yamaguchi despite the latter already being onboard as Shinichi, and Gosho choosing to go with a Kid cameo in DC in the first place because he wanted to introduce a regular rival… Maybe the idea of them being related existed well before that 2011 interview.

You might be able to tell, given how much I have written about M27 alone, that I think it’s a very interesting movie from a Magic Kaito perspective. It borrows from it the most by far, and I have to agree with the Febri interviewer when they said this movie has the biggest crossover between the worlds of Magic Kaito and Detective Conan by far. Because aspects of the theme, Kid’s motivations, and the entire post-credits scene are frankly lost on you if you’ve never bothered to read Magic Kaito. It’s a very funny thing for the “yearly event movie” to do, if I’m being honest, but this movie relies on the strengthening ties the two stories have made over the years. It sure did break box office records, though, so it seemingly worked out for them.

My only question at this point is whether further media, manga or movie, will pick up on the movie’s main revelation.

——

Since merch releases and promotion for M28 are ramping up, I wasn’t expecting much out of the Magic Kaito or Kaitou Kid mines for a while. Imagine my surprise, then, when FILE.0 was finally released as part of the special rerelease of Volume 1. At a mere four pages, one could barely call it an extra chapter; if it could be called anything at all, it’s more like an omake of sorts. Here we have Shinichi taking a trip to Tropical Land to plan out his date with Ran - and with Fate, of course.

It’s honestly pretty cute, the way he’s likely taking way too many notes on what he could do there. But what ends up happening is Shinichi stumbles upon a scene from Magic Kaito (Kaitou Kid’s Busy Day Off, to be exact), right as Kaito says his embarrassing line about ice cream being as sweet as it is cold. Shinichi is taken aback at how cringe this guy’s being, but he likes the idea of ending his date here by the fountain, so he takes notes regardless.

Did we really just put Shinichi in a scene from Magic Kaito for a rerelease of Detective Conan’s inaugural volume? With Kaito and Aoko, right there? It feels so small and so silly, but I still can’t get it out of my brain. The last time Kaito and Aoko showed up just as normal people in front of our main cast in any capacity was in Black Star, and I’ve already mentioned that this appearance makes the chapter feel even more like a crossover. But now, after everything that’s happened, they show up again. Maybe the line in the sand is still there, but I think it’s moved.

Final Thoughts & Hot Takes

The very nature of Kid originally being from another older series means I have no idea where we actually go from here with all of this. I have no major expectations at all for when or how or IF Shinichi and Kaito being related will be brought into the manga in any capacity, largely because there’s very little precedent for it. You have things like Ran already knowing Momiji in the manga even though they only ever had a “first meeting” in M21, or James Black knowing about Akai’s survival first being confirmed in M18, but stuff like that that’s a pretty rare occurrence. Even so, Takayama and Yamaguchi discuss the idea themselves in an Animage interview. She mentions that the movies seem more connected to the manga nowadays, while he muses at the idea of Fairy’s Lip leading into M27, which may very well then lead back into the manga.

Regardless, I don’t think anyone would argue if you said Magic Kaito felt more integrated into Detective Conan now than it did 20+ years ago, when Kid was first appearing in the manga and movies.

So to cap everything off, I think some Hot Takes are in order.

The cousin reveal isn’t actually all that bad. I’ve admittedly been on this particular train for a decade, so this was like every national holiday and then some rolled into one. I definitely have some questions about things like Shinichi’s Childhood Adventure or Yukiko’s relationship with Toichi, but for me personally none of them really snap this reveal in two. Nor do I think it dampens the way they were brought together as detective and thief, especially since I think you could reasonably argue that Toichi and Yusaku maintained their distance not only due to the divorce, but because of Toichi’s new profession. “Over 20 years ago” puts them at probably no more than a couple years before Toichi became Kid, when he was likely traveling for his magic show, as opposed to the young age they apparently were when their parents divorced. It’s also made fairly clear in DC that Yusaku knew who Kid’s civilian identity was… or at the very least, that’s how I read that interaction. If they intentionally kept their halves of the family from meeting, then it’s pretty incredible Shinichi and Kaito met at all. If the manga touches on them being related in any capacity - and again, I have no clue how likely that actually is - then it’s not going to suddenly supersede the relationship they have now. It’ll just add to it, assuming they chose to entertain it at all, and that complexity could be fun. This is all admittedly personal, of course; my shipping preference leans very heavily into “weird platonic relationships,” so that informs this particular take by quite a wide margin.

1412 is the ideal way to consume Magic Kaito. I don’t know how much I even like this hot take, but I can’t help thinking it’s true regardless. It more closely resembles Detective Conan in tone and vibes than it resembles its own source manga in a couple of key ways, so I do actually think this - over either the manga or the TMS adaptation - is the way they want people new to Magic Kaito to consume it, especially if they’re coming in from Detective Conan. That Gosho created a new finale for it, and did so by pulling out the “Toichi is actually alive” card, is also fairly telling. And if people like it enough and want more, the manga is still plenty available.

Magic Kaito has become a Detective Conan spin-off. I think I also hate this take, but I also believe it to be true in any way that functionally matters. We must respect that Magic Kaito came first - that Kaito and Aoko and Hakuba came first - but Kid’s modern popularity can be almost entirely attributed to Detective Conan. And honestly, I have to wonder if it’s still running, albeit irregularly, because of that. Phantom Lady jumps off of Ryoma’s Gunbelt, Green Dragon references Queen’s Bang and takes a quirk from the movie for both Aoko and Midoriko. The tone does a clear shift after DC begins serialization as well, and goes even further into mystery solving after Kid makes his first appearance in DC. If you didn’t know any better, you might think it was similar to something like Zero’s Tea Time: a spin-off for a crazy popular character. It’s not, and it never actually will be, because Magic Kaito came first. But I think it sort of has become one.

The line in the sand is not bad, until it is. I don’t actually mind the parallel worlds argument, largely because I can understand what kind of slippery slope Akako is for the logic-driven Detective Conan. There’s also a part of me that doesn’t really mind Kid plots being largely stand-alone, with little to no involvement with the main plot. I could even also buy the two shady organizations actually being different, if and when we ever get information about MK’s organization. But after coming this far, and developing Conan and Kid’s relationship to the level that you have, I think not delving into who Kid is when he takes off the costume becomes the more contrived option. Gosho’s said before that solving the DC plot will not simultaneously solve the MK plot due to those organizations being different; I don’t think that means Kid should be verboten from Black Organization plots entirely. I don’t think it means Kid shouldn’t maybe suffer a consequence or two for being so open and casual with Conan, or that we can’t have a running side plot involving him. But then you run into the problem of Magic Kaito being its own series, and if you erase the line in the sand - if you let Kaito Kuroba be in Detective Conan - what do you do with Magic Kaito? The two worlds have overlapped so heavily with M27 that I almost wonder if we’re at a breaking point. Maybe this is the real Pandora’s box.

Kaitou Kid is a Detective Conan character, but Kaito Kuroba might not be… yet. I think DC has claimed Kid for its own. Especially the performance of Kid as displayed by the man behind the mask. But that mask has been chipping away, and Kaito himself is usually the one speaking to Conan at this point in both the manga and the movies. Even so, to so many people, that’s still just Kaitou Kid. I’ve seen disappointment expressed at that suave gentleman thief from the Black Star and M3 era being nowhere in sight in modern times, and it’s because it was always an act. You can’t keep up that act when you choose to trust someone, and they trust you back. You just… start becoming yourself. But he’s not truly himself in DC yet, despite the few scant appearances of Kaito himself we’ve received. For some reason, Kaito Kuroba still feels like a crossover character, and his appearance some special event, compared to Kaitou Kid. FILE.0 was a surprise in this regard, but in relation to the above, I have to wonder: Should Kaito himself ever feel as entrenched in DC as Kid is?

Kaito Kuroba - who many and more know as Kaitou Kid - is such a funny character if you think about him for more than a few seconds. His popularity in the Detective Conan vacuum is more than warranted, given his back and forth with Conan, but I really do want to believe that it’s the duality of his appearances in Magic Kaito and Detective Conan that contributes to this popularity. If M27 and some of the recent trends in both DC and MK are anything to go by, maybe I’m not so far off the mark.

We’ll likely get more stuff to enjoy in the meantime, but I’m currently looking ahead to Magic Kaito’s 40th anniversary in 2027 and hoping we get another movie… Or maybe another major manga arc. If you’ve managed to read all of this, you have my deepest gratitude! I hope this adventure was as enlightening for you to read as it was for me to write.

#dcmk #detective conan #magic kaito #kaitou kid #kaito kuroba #m27 #the million-dollar pentagram #this was originally written in an online doc #please let me know if you think that would be easier to read!#this is functionally the script of one of those mega long retrospective videos on youtube #also i've definitely proofread this but god knows there are still mistakes somewhere lmao

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demonslayedher · 5 months ago

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KIMETSU RETAIL THERAPY AWWW YYYEAAAH

I stopped by the Shonen Jump store and they were selling a round of goods from the Gotouge gallery (since it's getting a Fukuoka revival)!

First up, here's a Yushiro memo pad and a keychain of Nezuko's box. If you look in the peephole, you see that image of Nezuko. : 3

Next up, notebooks! I had been wanting a new one one anyway (and I haven't gotten back to the Ufotable Cafe to get the ones I like there). I love this illustration of Tanjiro and Nezuko so much, and how can I pass up a Legend of Zenitsu one?

The Legend of Zenitsu one is lined pages with some illustrations by the author of the legend himself.

The other one has blank pages for doodles by they are so elegantly lined with Gotouge illustrations that I almost can't stand to tarnish the pages. T_T

My favorite piece of merch I got from this gallery during its 2022 run is still the Tamayo-brand medicine bottle. I carry my cocktail of OTC painkillers in it.

#kny merch

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arkus-rhapsode · 10 months ago

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Are We Returning To 2000s Era Shonen Anime/Manga (A Discussion)

So this is going to be way more of a thinkpiece than I usually do for this blog, but recent trends in the space and niche that I devote a lot of time to, Anime/Manga, have been showing themselves that got me thinking. This is not meant to be a serious sociology case study taken as fact, it's going to be more a theory based on observations of the community that I, like many others, devote a lot of time into than a full on claim, but I do want to ask, is the anime and manga community is experiencing a resurgence in 2000s era shonen manga?

Background

Now let me get this out of the way, there is bias in these observations as I am a western anime fan, but also a North American anime fan. Meaning my gateway and gauges of pop culture are mostly determined by the history of my area of the world’s relationship with anime. From the OVAs of 80s hyper violent and hyper sexual sci fi that you had to purchase from the backs of video rental stores, to the Toonami era of 90s and early 00s programming block the centred around action anime and cartoons, the 4kids era of mass market japanese animated kids shows that were really just giant commercials with some of the earliest memetics in western sphere, and the explosion of shonen battle series in the western sphere in the mid to late 2000s marked by the rise of the colloquially named “Big 3” of shonen jump. I understand that continents like South America or Europe may have undergone a different exposure to the Japanese medium, but as I am going in with some bias in this observation, I would like to make it clear on where the formula is coming from. I also would like to lay down a certain clarification before making this, when discussing the topic of nostalgia I think a lot of people have forgotten what it actually means. If we go by the Cambridge dictionary definition, Nostalgia is “a feeling of pleasure and also slight sadness when you think about things that happened in the past.” This is often invoked when talking about pop culture because people from say 20 years ago don’t seem to enjoy or relate to the interests of today. The belief is that nostalgia is generational ergo if you grew up in the 80s you’re likely wishing to recapture the feelings of childhood that you associate with those trends from 20 years ago. In fact, most revaluation in media has often been catalyzed by a difference of those who grew up in an era rebuffing the opinions of those who didn’t.

There is the well known “20 Year Rule” regarding pop culture nostalgia. That every decade it longs for what was popular 20 years ago. Probably no better example than “That 70s show” being popular in the late 90s, the return of many beloved 80s-90s franchises like “Ghostbusters” returning in the 2010s as well as series like “Stranger Things” that wrapped itself up in 80s aesthetics. DC's New 52 relaunch that seemed to bring back trends from 90s era comics.

Now it goes without saying that the 20 year rule isn’t a “real” rule, rather an observation that certain trends make a return to popularity because the ones who grew up with a certain media will be the ones who add to the discourse when they come of age and will be the ones having a chance to create consumable art for the masses and that may just be revivals of once popular IP. This isn’t necessarily wrong in regards to nostalgia, but I do believe that one doesn’t need to have been born in a certain era to be nostalgic for something when we discuss pop culture. Pop culture is really just trends and preferences that become en vogue and people can acquire a taste at any given time. Sometimes it can be due to those who grew up with something now having the chance to create and drawing upon their own childhoods, sometimes it's just due to not being exposed, other times it can be a certain feeling of disillusionment of the now, and seeking something that peaks your interest, and even sometimes it can be major corporations or networks looking for things with existing audiences to draw upon that actually expand the audience. In fact one of the most prominent Netflix adaptations of the 2020s has been live Action Avatar the Last Airbender and One Piece, both shows that got their start on American televisions in 2004 and 2005. One of the biggest animated shows right now is Invincible, based on a comic book from 2003

So I want to stress this is not necessarily about how if you grew up with the original Mobile Suit Gundam show you are being replaced by the kids who were watching GetBackers. And or if you are a fan of shows that came out in the 2000s you yourself were born in the 2000s.

But what was the landscape of the English speaking anime community like back in the 2000s? Well let me paint a portrait for you.

What was the 2000s like for anime fans?

The term I used, “shonen boom period”, is somewhat mythologized in the western anime sphere. There was a glut of high profile shonen anime running around the same time that most people identified with this time period and was arguably when we saw the most influx of people getting into the hobby. One Piece, Naruto, and Bleach served as big series known for their massively large casts, MCs with a level of attitude, some of the most hype centric power supernatural/extraordinary power systems, and certain brand of “Japanese-y” humor. We can’t deny that it wasn’t just these series however, as series like Fullmetal Alchemist became many people’s introduction to more narratively intricate series interspersed with a somewhat gothic action style. The gothic and somewhat edgy Death Note became many fans' first ever “battle series that’s not a battle series” that also incorporated many biblical and gothic horror elements into its presentation. And things like Code Geass also incorporated this combination of hyper stylized cat and mouse with ornate and gothic aesthetics and fighting robots.

Series like Ouran Highschool Host Club and and Haruhi Suzumiya were basically gateways to the more hyper extraordinary slice of life series that didn’t shy away from fanservice and loud comedy. With ecchi like Rosario + Vampire taking it to an even greater extreme. For people willing to go even deeper, series like Fairy Tail began to pop up and share a distinct similar flavor to series like One Piece and Naruto which arguably started the popular conception of it coming from the same magazine as the latter. That’s not also discounting the amount of holdovers from the 90s like Dragon Ball z, Trigun, and Yu Yu Hakusho, which also had an edge towards fantastical combat and comedic oriented series.

All of this is to generally illustrate the media diet of what an average anime fan was expected to have some level of access to. As this was far before the eras of Funimation or Hulu having online services. Not a homogenized spread by any means, and im certain plenty of readers could name more underground or smaller series like Mushishi or Elphen Lied, but generally the popular mainstream you could tell that there was a consistent theme of long form media with a very loud, very flashy, and very action oriented type of series. Which I think is fair to say had skewed some people’s perception. And while I cannot claim with utter certainty that Japan was the same in this regard, you can look at magazines like Shonen Jump and notice a somewhat synchronistic trend. With series like Hitman Reborn, Gintama, D. Gray Man, Eyeshield 21, Bobobobo, etc.making a clear marcation of what was commercially successful at the time. Even series not inside the magazine but had smaller nicher, Tokyo-pop-esque series like Rave Master, Flame of Recca, Air Gear, History’s Strongest Disciple Kenichi, Soul Eater, etc all had a similarity to the shonen jump magazine. To the point it was not uncommon to see so many jump characters in a collage and one from shonen sunday or shonen magazine in there as if this was all coming from the same place.

Changing Landscape

Now with the advantages of the modern internet, we have the ability to actually keep up with the jump magazine in real time as opposed to the common practice of relying on scanlation site and fansubs that were often devoted to the most popular works. But with simultaneous publication and services like Crunchyroll, being able to access a wider variety of shows and series that we may or may not have access to. I believe that the 2010s in the english speaking fanbase was the decade we saw a somewhat expansionism of what people perceived as anime. Anime could be One Piece and Naruto, but it could also be Erased, it could be the Promised Neverland, Attack on Titan, K-On, Haikuu, and Durarara. With the representatives of the 90s no longer being holdovers in syndication like dragon ball but rather full on revivals of the likes of Jojo’s Bizarre Adventure and Hunter x Hunter.

All of these could be "shonen" but also other genres like Seinin, Josei, and Shojo all had their own varying layers of what they could be in their demographic

The mood of what was popular was also changing, not just in the fact that more flavors of anime and manga were becoming mainstream, but new works from shonen jump showed a rise in almost subversive series like My Hero Academia and Demon Slayer that seemed to consciously deviate or place new spins from traditional tropes of the 2000s characters, and we saw works that were derivative of previous serious like Black Clover drawing upon Naruto the same way it was known that Naruto had drawn upon Dragon Ball before them. Series like The Promised Neverland and Doctor Stone offered up more dramatic series that still infused a certain energy of the shonen genre.

And of course the series like Attack Titan whose much more darker and gorey storytelling seemed to have become one of if not the biggest hit of the generation with a well regarded adaptation, but something that had felt so removed from what were once contemporaries like the then ending Bleach or Naruto. We can also note that the late 2010s saw the rise of series like Chainsaw Man and Jujutsu Kaisen that began a trend of popular urban fantasy stories. Where fantastical concepts were now in contemporary Japan and the stories that focused on concepts like self identity and the harshness of maturing were juxtaposed to the real world inhabited by monsters.

It seemed many tropes of the previous decade were still alive in the rise of Isekai anime. Which was particularly the only popular outlet for fantasy stories with an action orientation. But these almost felt disconnected from the wider world of manga as things like heavy harem action series had actually decreased in mags like shonen jump. There was also new tropes being established in this subgenre that became unique popularizations of tropes all on their own, such as the overpowered protagonist whose power everyone believes is weak. But many of these were based on light novels, a form of media that only in the last few years western readers are having official access to and not simply scans found on the internet.

We in North America truly have gone from anime being a niche that was primarily accessible through dedicated TV blocks like Toonami, to a full blown cultural relevance shift.

We also need to talk about this era in its perception of the past also shifted. The 90s and the early 00s often blend together as classics of the anime community. Somewhat encased in amber. However, there is no denying that “feels like a 2000s series” had become a bit of a shorthand for very goofy, Very horny, very action heavy series. Series like Fire Force and and Undead Unluck had their show what more problematic elements be equated to the problematic trends of the past that people just accepted as “a part of the medium.” But lets keep in mind, this is not really describing a time, more a trend. Superficial elements that invoke similar feelings of the past.

Speaking of anime fans…

Fan Culture

So while I wanted to paint a picture of creatively the landscape has changed, there’s no denying that in the age of internet accessibility, the anime fan community has also changed. It is much much easier now to get in contact with people who are anime fans now than it was to rely on word of mouth like it was back in the day. I can still distinctly remember my anime club which wasn’t even really a club devoted to anime but rather other geek stuff like D&D and TCGs. Our hobbies just happened to have similar overlap.

Now though, anime fan culture is much more relevant and thriving. Going from just posting weekly reviews, to long retrospectives, comedy videos, abridged series, clickbait articles, fan theories, and podcasts. However, I think a defining feature of fans of the 2000s era of anime that were at their most prominent was hype culture.

Due to many of the biggest anime series at the time being released weekly and focusing on action, many many many discussion boards and videos were often about staying in this cycle of wanting to see what happens next and the action made people very excited to see just how characters were going to win fights or even if they’d have fights at all.

I want to make it clear that this type of activity doesn’t belong to a certain era, but you can see it shaped by the 2000s era. Especially when discussing “what is the next big 3.” As if it were a true position and title, rather than a moment in time where there were just three very distinct shonen series in the fanbase.This doesn’t necessarily have a “negative” effect on the discussion of anime/manga but you can see that certain genres lend themselves to hyping fans up more and more.

Someone isn’t reading the most recent chapter of a romance like Blue Box with the same level of anticipation of who will face who like it was One Piece. But there have certainly been series that try.

The Present

Now we reach the 2020s and this decade is still young, so it is hard to say what the future will hold for certainty, but we can look at the last four years and notice some significant waves being made recently in Shonen Jump alone. I already spoke of Undead Unluck, a series that almost wears it would now be considered retro inspirations on its sleeve. With an opening chapter that establishes an MC that seems motivated by a sexual joke, A power system follows a verbal naming gimmick, and a loose enough world that allows for characters of varying aesthetics and to be incorporated into groups. With groups of these powerful characters splitting up to face each other and use their ridiculous power to the extreme. Even in the series' own meta arc about creating manga, the in-universe analogy for Undead Unluck’s manga is commented on as feeling retro. There is no doubt the biggest viral hit of the decade so far has gone to Kagurabachi, a manga about sword fighting and magical crime lords that seems almost indulgent in its stylistic slicing and or dicing of baddies. Its memetic success was primarily due to a somewhat sincere and somewhat ironic belief that it would be the “next big thing” as it promised to be a stylized action series. Another surprise viral success has been the manga Nue’s Exorcist which sees another supernatural swordfighter boy harness the powers of his sexy spirit lady while getting into harem shenanigans that echo a particular form of ecchi of anime’s past that had actually been somewhat absent in the past decade in jump. Both of these series have a somewhat noticeable similarities to Bleach, a long running shonen action series that has seen its own revival in the last few years of writing this with the long awaited adaptation of the final arc of the bleach anime.

While the other members of the “big 3” never truly went away and became almost inter-generational, Bleach truly did feel like a “come back” as it was absent for so long. And unlike Hunter x Hunter and Jojo which were never really popular in the west and even their older anime are more regarded as anime deep lore. Bleach was one of the most popular series in the west at the time to never receive a conclusion animated.

Speaking of anime of the 2000s Trigun Stampede was a reimagining of the original late 90s show. This errs a bit similar to Hunter x Hunter’s style of revival, but also seems uniquely its own in actually trying to find a balance between the original series but adding in things cut from its original late 90s early 2000s counterpart.

And now we must examine other shonen magazines. Series like Gachiakuta created by a former assistant of Okubo, the creator of Soul Eater, carries with it much of the similar energies of that series. Its also noticeable as being a truly dark fantasy series. Not an urban fantasy, but rather a completely new world that had a very grunge and dirty world building. And then there is Daemons of the Shadow Realm, a series by Fullmetal Alchemist creator Hiromu Arakawa. This series is also set in modern day japan with supernatural elements, however Arakawa’s style of writing is practically unchanged from her time on FMA. With an emphasis on action, intricate mysteries, and character building comedy with her trademark over exaggerated blocky style. There is of course Hiro Mashima who has started another new series, Dead Rock, and his style has also not changed that much. Then there is just flat out sequels to 2000s series like Gamaran Shura.

This to me shows that we are seeing a bit of a combination of people who are now entering the workforce inspired by creators of the past, but also that creators of the past still exist 20 years later and are still making content that hasn’t really undergone significant change.

Of course, we can’t also forget the implementation of the Manga Plus/J plus service which has opened up a very interesting ground for creators to have some of the most creatively out there series than what you may have expected from the shonen jump brand. I genuinely don’t think series like Make the Exorcist Fall in Love or Fire Punch would’ve ever been acceptable in the pages of a weekly shonen series. However one series in particular does feel like it could've and boy its been quite the success. Kaiju no 8.

Kaiju no 8 almost feels as though it is the AoT of a new generation with the amount of anticipation this one series has as well as the similarities between the series superficial elements. However, I'd say the key distinction between the two has been the tone. AoT took a dark and practically dour tone on its titan infested world. With an MC declaring war on all of his enemies. The pain was realistic, with human bodies being brittle and vulnerable. And the belief that just because you were a good person you weren't going to make it out alive. Kaiju no 8 instead opts for a more action oriented tone. Down playing the bleak realism for more "Hell yeah!" moments. With super science weapons that feel more akin to a tokusatsu show and fights and battles between humans an kanji the feel like the Dragon Ball style wrestling matches of old.

And of course, that’s not to say Jump hasn’t continued with series that feel more modern like the realistic and mellow romance of Blue Box or the dramatic coming of age story of Akane-Banashi.

But the presence of these series has caused somewhat of a friction with the popular conception of the magazine. Its safe to say that while “shonen” tends to think of action male oriented series, it can really just mean works aimed more at adolescents. But I think many tend to associate this familiar feeling of “what is shonen” with their popular introduction of the magazine. With a saturation of action and brash comedy series. This is further complicated by the fact many action series in jump are actually ending over the last decade. With new ones not popping up to replace them as frequently and series like One Piece and MHA and Black Clover basically stretching out across an entire decade or longer. In fact, I don’t think it's unreasonable to believe that the hype for something like Kagurabachi was in part a belief that it signaled a return of a type of familiar series and genre that had been missing. Or at the very least, looked to fill an inevitable gap the magazine was obviously going to be facing. Followed by the other commercial success of Nue’s Exorcist, we are likely to see these series last for a long time. At the time of this writing, Tokyo Revenger’s author Ken Wakui has released Astro Royale, a series that feels very similar to his previous work yet infused with this almost GetBackers flavor.

So that leaves us with the question at the start, are we seeing a rise in 2000s nostalgia in anime and manga?

Conclusion

So I'm sorry if I disappoint, but the best I can say is, I’m not certain. I do believe that from my observation I think it is reasonable to say that we are seeing a rise in creators in the shonen space being ones inspired by series from 20 years ago. However, I think we are also seeing creators who are from that time period also returning to write how they have always written.

On the consumer side, I think we can see that fans of anime and manga have changed in the sense their tastes can now be shaped by a much larger catalog of series at their disposal. But in the case of shonen, I think we are simply seeing those who likely got their start in anime at around the 2000s resonating with newer series drawing upon those series, but also with younger fans now likely to grow up with the tail end of what was popular in the 2010s now being influenced by the 2020s. I also believe that one of the defining features of the anime community in the last decade is hype culture. And currently we are seeing a rise in series that actually feel more catered to hype, be it a revival of a series they liked or predicting what will be the next success.

All and all, this piece was trying to tunnel on the shonen demographic in general, which is more likely than not going to have similar traits relative to itself. I do see us as a community endorsing trends of the past and there’s an excitement for these things to “come back” even if they may or may not have left. If you liked this please drop a like or reblog because I may do more of these think pieces in the future.

#anime #manga #think piece #discussion #shonen #shonen jump #kagurabachi #gachiakuta #nue's exorcist #undead unluck #kaiju no. 8 #bleach #one piece #naruto #yomi no tsugai #attack on titan

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tokiro07 · 12 days ago

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Toki Reads Shonen Jump 2025, Issue #11

One Piece: While searching for the key to Loki's chains, the crew is approached by Mr. Ya, Ripley's husband, who leads them to the hidden chamber where the key is stored; he is revealed to in fact be Scopper Gaban, Gold Roger's Left Hand, and challenges Luffy to take the key from him. Nice to finally know who that guy we saw hanging out with Crocus that one time was; I really dig Gaban's aged design, and I'm glad that his personality is so distinct from other members of Roger's generation

Roboco: Fujisawa encourages Roboco to start an art gallery, which becomes such an unprecedented success that Roboco tries to sell sculptures of her knees at a huge markup; predictably, this bankrupts her. The only thing I could think while reading this chapter - "Bullshit...bullshit!...derivative..."

Sakamoto: Shin confronts Ando and demands to know why he was abandoned; Ando reveals that he had actually helped Shin escape from the JAA orphanage that was raising him into an assassin, an action that would put a target on his back; while Ando may or may not have done this out of love for his son, the resulting turmoil in his life has caused him to resent Shin; Sakamoto defeats Ikari and arrives just in time to save Shin from Ando. Fans have long theorized that Shin was in Al-Kamar, and this practically confirms it; the nuance of Ando's relationship with Shin is utterly fascinating, and I hope to get more insight before Ando dies

EluSam: Tadayoshi and Moronao's conflict reaches a boiling point, and Takauji backs Tadayoshi into a corner that forces him to either concede to Moronao or commit suicide; the horny trio convince themselves that what they're planning to do to Tokiyuki is completely wholesome and totally not rape, only to find that Tokiyuki was actually waiting for them to arrive so he could discuss their future together. How the hell does Matsui expect me to get invested in this historical drama when all I care about is whether or not he's going to give me canon polyamory???

Witch Watch: Kukumi pens her first original work to submit to Shonen Jaguar with Yuri as her chaperone, but both Yuri and the editor are literally floored by how lewd Kukumi draws women; her one-shot is too lewd for Jaguar, so she literally takes a page out of To Love Ru and censors the bits with smoke. As funny as the idea that a fujoshi can only draw women if they're naked is, I can't help but feel like this is a dig at Yuuna and the Haunted Hot Spring moreso than To Love Ru

Blue Box: Chinatsu manages to finally beat Yumeka, securing her team's spot in the Winter Cup; Yumeka slinks off to cry on her own, blaming her hiatus for ruining her team's chances at Nationals and believing she doesn't have the right to cry in front of them, but Chinatsu comes to comfort her; Chinatsu's dad agrees to let her continue living with the Inomata family. Yumeka's character has been one of the biggest draws for me in this series lately, so I'm a little worried that now that it's over I won't be as invested, but we'll have to see; also, the speech bubbles weren't pointing to anyone a lot of the time, so I was VERY confused who was talking in this chapter

Akane: At the venue for an upcoming performance, Rien talks smack about Akane as petty revenge for when she humiliated him early in her career; a jet-lagged Akane is picked up by Taison, a Zenza under one of Akane's brothers (I think it's Kyoji?), who's the only one of the Zenza present to ignore Rien's tall tales. I completely forgot who Rien was, I hate this guy, can't wait for Akane to kill him

Kill Blue: Juzo's medicine wears off and he returns to his child body, though through sheer grit he's still able to overpower Oka; just as he prepares to shoot him, though, he has a vision of all of his school friends and realizes that by taking a life now, he would be officially going back to being a hitman and wouldn't be able to continue on as a normal middle schooler with everyone else; however, Noren appears in time to see him holding the gun, making the situation exponentially worse. As much as I love Juzo's dilemma, the fact that his determination to protect Noren is being directly compared to how he once saved his ex-wife from danger isn't helping him beat The Allegations

Nue: We learn that Yoshichi resents Gakuro so strongly because he was ostracized for being Impure and had to prove himself to rise through the ranks while Gakuro was simply appointed Captain out of nowhere; after passing out from his wounds, Gakuro wakes up receiving a lap pillow from a girl calling herself Kyokotsu, the name of Shiroha's contracted Spirit; Gashadokuro appears to raid the Fujino Family compound. Gakuro tricking Yoshichi into self-destructing by trying to drag a shadow clone down with him as he jumped off the bridge was honestly kinda sick, and leaves me with an overall good impression for an otherwise extremely messy fight; Girl!Kyokotsu is...interesting, but I have no idea what to make of her or the apparent cloning facility that she oversees, I wonder if actual fans were able to glean anything useful from this introduction

Kagurabachi: While debating whether or not she should retain her memories of her father or go back to her normal life, Iori witnesses Chihiro massacring a slew of assassins, finalizing her decision to forget Samura again; Hiruhiko manages to overcome the massive skill difference between him and all of the hotel staff as swordsmen and appears before Chihiro. As a reader, I naturally thought the peephole scene was sick as all hell, but unfortunately that meant it didn't immediately click for me that it was supposed to be horrifying and show the tragedy of Chihiro's life path

Chojo: Ten years after his original serialization, Samon the Summoner appears in Chinjuku to help bring people to ruin by indulging their sinful desires; after Samon refuses to grant the desire of a child who wants to stop people who are accosting animals in a local park, Chojo and Ippongi find him actually doing so in secret so as not to harm his bad reputation; Nebiros appears and destroys his business, leaving Samon as the one in ruin for Teshigawara to find and annoy with her kindness. I didn't realize how much I missed Samon and co. until this moment, that series was so good, and every cameo made me smile so much; I hope they get more crossovers, but it seems unlikely

Astro Royale: Two more of the Yotsurugi brothers, Taira and Satsuki, fight in the next round and nearly get some audience members killed, prompting Hibaru to intervene; in a flashback, Kongo suggests that Hibaru and Taira would be great friends, though now they are bitter enemies. Either Kongo's a terrible judge of character, or that's foreshadowing a Heel-Face Turn on Taira's part

Kiyoshi: After a brief rundown of the Thirteen Club's members, Tsurugi takes the initiative by attacking the whole group at once. We got a couple good gags from the Thirteen Club and a cool panel from Tsurugi, here's hoping we get to see more

Hima-Ten: It's parent-teacher conference day, and we're introduced to both Honoka and Himari's mothers; Himari's mother approves of Tenichi because he's been looking out for Himari's nutrition, and Honoka's mother offers Tenichi a cleaning gig since her wrist is sprained. Looks like we're about to get a Honoka mini-arc, hopefully Himari doesn't find some ludicrous way to steal attention from her again

Ichi: Concerned for Ichi's prophesized death, Desscaras takes a trip to the bar for a stiff drink, only to be consoled by Togeice, who in turn compares Ichi to Desscaras' deceased brother, Libro; later, Desscaras sits down for a chat with Ichi to ask how he really feels about the prophecy; when Ichi says he's the type to live in the present rather than worry about the future, Desscaras comes right out and says how she feels - she wants him to live as a member of her family. Between Desscaras' backstory, her and Togeice having gay little nicknames for each other, and Desscaras opening up so readily to Ichi about how his attitude hurts her, there is a LOT to unpack in my upcoming review!

Shinobi: Suzume tries to play wingman for Yodaka and Aoi both through a small prank and by encouraging him to get her a birthday gift; Hachikuma reveals where the Fugitive Ninja's base is, and the team goes to infiltrate, but Yodaka's mind is preoccupied with the gift. Glad to see Suzume back in pants, and her annoying attitude makes for some fun dynamics with the team; while the tension is supposed to come from Yodaka being distracted during the mission, I'm willing to bet that the real turn is going to be when he gives Aoi the present and learns that she didn't mention her birthday because it's a sore subject

Syd Craft: Syd visits his parents to learn more about Zero Craft, but finds that Lulu has somehow become a maid for the house; the two get trapped in a room and need to solve a Twister-based puzzle to both escape and unlock a treasure; Lulu discovers Syd's weakness to women and resolves to seduce him...if only she knew how. I'm glad Lulu's going to be proactive in flirting with Sid, that dynamic is sorely needed from this cast; though the Crafts don't recognize the name Zero, I'm so sure one of the childhood photos from the treasure chest has a hidden clue to their identity, like perhaps the one where Syd is seen crying with a baby

Embers: While trying to return a wallet, Haitani's intensity gets his intentions mistaken for harassment, and he ends up in a confrontation with Bugai, the soccer team's captain; despite Haitani's lack of experience, he manages to force a draw with his exceptional defense, earning Bugai's respect; Haitani bumps into Takami, learning that his rival is now his teammate. Just cus it's predictable don't make it bad - I'm really excited to see how Haitani and Takami's dynamic shapes up from here; I'm not terribly interested in Bugai yet since his interaction was pretty similar to Takami's, but we only just started and I'm sure he'll win me over eventually

Star of Beethoven: After suffering a traumatic loss in a competition, piano prodigy Ichiro Yaso gives up music and drifts through his youth for two years; one day, a resurrected Ludwig van Beethoven spontaneously appears before him; while showing Beethoven a modern piano, Yaso runs into Kahoin, an old acquaintance, who forces him to play again; when Yaso is reluctant, Beethoven accompanies him, and they perform a perfect rendition of Beethoven's Fifth; Beethoven concludes that cosmic forces have brought the two of them together to create a new masterwork, and Beethoven labels Yaso as his new disciple. Not quite what I expected from the author of Life Liar From Hell, but I definitely enjoyed it! Beethoven's design is ghastly and intense, and Yaso's struggle with his perceived lack of talent makes him an interesting enough protagonist for now; I'm not big on the pseudo-isekai premise, but it's an interesting spin on the Hikaru no Go formula to have the mentor be a physical entity rather than just a spirit; my favorite bit though was Beethoven's reaction to being in the future - the modern piano, his legacy, and the persistent power of music as an artform; really looking forward to how this one develops!

Damn, dude, I wasn't able to sum up anything quickly this week, huh? No wonder it took me longer than usual

I'm gonna call this the Week of Tough Conversations, as between Desscaras asking Ichi not to die, Chinatsu comforting Yumeka after defeating her, Tokiyuki giving polyamory serious consideration, Iori deciding to forget her father again so she won't have to live in a blood-soaked world of vengeance, and Juzo needing to explain to Noren why he's about to shoot the principal, there were certainly a lot to be had. That said, the Week of Ghosts from the Past would be pretty apt too between Gaban and Beethoven, wouldn't it?

This Week's Top 3:

Ichi the Witch for delving into Desscaras's vulnerabilities in contrast to a few weeks ago when we saw her strengths

Star of Beethoven for how shockingly endearing I found Beethoven as a character and how much I love his design

Super Psychic Policeman Chojo for pandering to me specifically with the Samon the Summoner cameos

Overall, this was a really good issue for me, as I enjoyed just about everything this week, even including Nue's Exorcist which I'm usually pretty lukewarm on. My top 3 was hard to pick, but I do really like the balance it ended up having - battle, artistic, and gag. I certainly wouldn't complain if my weekly favorites were similarly arranged spread going forward

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glassbead-xx · 28 days ago

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Undead Unluck ch 239 spoilers ‼️‼️

Obligatory post for the last chapter

I have many thoughts so the bullet points are back

I also find it hilarious that after I started collecting the physical volumes for the series I got most but vol 3, and I went for a drive yesterday because I was feeling bad all week and I go to the comic store and there was volume 3 (which I got obviously), the day before the series was over

Now for the feels

I randomly thought what if the series ends on August 1st 2020 and it did and it was Fuuko and Andy’s wedding

And they were late, because of course

I thought I would cry because of the feels but turns out I was laughing too much to properly cry (I cried later)

I wondered if Tozuka would do a wedding or a biopic ending (show us all the characters and tells us what happened to them) and we got both and I’m so happy

I was picturing different endings (as in last final panels) for some characters but I can draw them later, for now I get my wedding/biopic ending

Andy’s friends from his past in the book 🥺

Also Nico getting an idea while Ichico is giving birth why

And yes, Mico is finally here!!

And speaking of babies, I spent so much time clowning on Shen and Mui for not actually saying what their relationship was (as in if they were a formal couple or just a situationship) but now they have twins? They worked fast

And I love how most of them have their businesses and that for the most part they all stayed together (Victor with Void and Julia, Andy with Rip and Nico, Fuuko and Gina, Billy and Tella, Top and Haruka, Chikara and Tatiana, etc)

Also Ichico Vorgeil, Latla Tristan, Leila Tristan, my heart

I actually want to give a shout out to Rip, Latla and Leila. Polygamy in real life is a no for me, but in fiction I think I’m more open to them because of these three. Elusive Samurai (especially after this week’s chapter oddly enough) and Witch Watch will probably go that route, and I’m curious to see what happens next

Julia is looking more like Juiz now (also her throwing shade at Victor, they’re gonna be the next married couple I swear)

I’ll be the one wearing the pants in the relationship, my OTP ladies and gentlemen

Actually, I think Fuuko and Andy are the only main couple from any Jump series I’ve read that actually, unambiguously got together in the end, wedding and all

Because Senku and Kohaku had the tension but nothing happened, Izuku and Ochako we only got the start of their romantic relationship, Yuta and Maki was heavily implied but not outright confirmed and I don’t want to talk about Sket Dance 😒

Fuuko and Andy got their happy ending, I think they might be one of the best romances I’ve read in manga, which is impressive considering shonen (especially from Jump) have a reputation with their romantic subplots

I just love them so much, and I will miss Undead Unluck so much

And it will definitely join Attack on Titan and Dr Stone in the list of series that have left a void after they ended

At least we still have the anime (and I hope they adapt everything), and maybe some volume extras one can dream

Lastly obligatory fuck you Disney for taking the rights, don’t meddle in things you don’t know if you’re not gonna market them like they deserve, you should’ve let Crunchyroll take it

Overall, I adored it, it was wicked sick 💙🩷

#undead unluck #uu manga #uu spoilers #i love them so much #fuuko izumo #andy undead unluck #anfuu #i’m not tagging all of them #lol #i’m gonna miss it so much #uu 239

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nanaslutt · 10 months ago

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1. he is a pretty laid back dry goofy guy in cannon, i just cannot for the life of me see him as a full on dom but i don’t think he’s super subby either, he’s def in between imo

2. kisses fs!! im not a huge physical touch person but i like smoochin

3. he’s cool!! i wish we coulda seen his interactions more with panda yk? that scene of them bonding during the exchange even made my heart melt :( also really sad abt him bcs of miwa…. poor girl

4. probably!! i get fixated on doing certain things like that so ill try to do those again sometime :3

5. i like both but hair up gives early 2000’s and i live for it so i think i have a slight preference for that look

6. yes!! u can read the online copies weekly on shonen jump, and i buy the physical copies of any manga from anime stores :3

#.faq

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melonteee · 7 months ago

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I am going to Japan next year, and I remember you have been there recently. Do you have any recs of places I should visit? Did you go to any cool one piece/anime store?

When it comes to things like the Kirby and Pokemon cafes you have to book those a month or two in advance! So get on that if you want to see them! I think they're very cute and fun.

There are One Piece stores aaaall over Japan, in Tokyo alone there's a big one in Ikebukuro, a small one in Shibuya, and a medium sized one in Odaiba! They're all fun to go to for the statues alone! The biggest store is in Osaka to my knowledge, and Shonen Jump stores have a lot of One Piece too!

I loooove the Mocha cat cafe chains so much I would go to all of them in Tokyo and spend hours in them at a time lmao. My favourite one is the Ikebukuro East cafe!

Ikebukuro in general is a gorgeous area, it has Sunshine City and things like Animate. Also...if you want...heh....doujinshi....K-BOOKS Doujinkan is an awesome place. Mandarake also has doujinshis, both of these places are in Ikebukuro.

Tokyo Skytree Mall is a banger place, lots of funs little shops in there and a gorgeous outside area to walk around.

Overall I'm a big foodie and history buff, I love to travel for old architecture and food. I was eating parfaits every day in Japan because I can't get them anywhere else lol, and Kyoto is a lovely and amazing city for nature and temples. Overall my holidays in Japan are just spent walking around the cities to see what I can find! Sorry, I don't really have a master list.

Don't forget to be respectful upon travelling as well, ie don't talk on trains during rush hour and, if you go to Kyoto, don't take photos of or bother the Geishas! Those poor girls have had it rough lately with very rude tourists 😭

But have fun on your trip! I hope it goes well! I 100% suggest you get a suica card for travel from the airport when you land, they're super easy to obtain and the best thing to use for train travel!

#ask #melonask

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ciaossu-imagines · 22 days ago

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So glad to hear you’re feeling well! Can I request ▪️♦️☠️ from prompt 29 for some underrated knb boys, Izuki Imayoshi and Sakurai?

Thank you 😊 That’s really kind of you! Of course you can – I’m more than happy to do these up for you and I hope you’ll enjoy the headcanons!

Shun Izuki

■ - Bedroom/house/living quarters headcanon

I think Izuki is someone who is pretty naturally tidy. I’m not saying there’s nothing about his room that is cluttered, a little messy, or somewhat untidy, but it’s rare and only one little area or one thing. For the most part, it’s clutter or dust. He prefers it when things look clean and he finds it easier to operate in his day-to-day life if things are organized. If he gets something out, he puts it away when he’s done. It only takes a minute or two and it keeps his living spaces looking like he wants them to.

♦ - quirks/hobbies headcanon

Izuki likes magazines and while the ones he subscribes to are Shonen Jump, a couple sports magazines, and one that’s entirely dedicated to basketball, when he buys a magazine at random or sees one sitting out, he collects the sample items he sometimes finds in them. He also collects the little sample items that stores give out and he gifts a lot of them. His older sister loves whenever he finds perfume or skincare samples, his mother praises him when he brings home samples of things that will help around the house (like a mini sample box of a laundry detergent the convenience store was giving away), etc.

☠ - angry/violent headcanon

Izuki is very level-headed. He can remain calm in a lot of situations and he doesn’t let a lot get to him. It’s not very often that he’ll get seriously angry. It’s far more common for Izuki to get annoyed instead of truly angry. When he argues, he’s able to do so pretty calmly and politely. He can count, without even using all of his fingers on one hand, how many times in his life he’s found himself truly and honestly completely pissed off. When Izuki’s temper does get triggered to that degree, he needs space and alone time. Don’t pressure him to talk or to try to communicate about whatever issue pissed him off. Don’t cling to him while he’s pissed. It’s a surefire way to make things ten times worth.

Ryo Sakurai

■ - Bedroom/house/living quarters headcanon

It’s not entirely unexpected and it probably wouldn’t be completely shocking for those around him, but Sakurai still tries to hide something. It becomes very apparent though, within his bedroom or whatever living quarters he has, that Sakurai has a love for both cutesy things and for things that are a little geeky. He collects anime figurines for shows that he really loves, some major figurines for Slam Dunk, One Piece, and Jojo’s, and then some chibi figurines of other shows he’s really into. He actually really loves chibi figurines because it combines cutesy and anime. His blankets have cute prints on them and he’s painted his desk and some of his other furniture in very pastel colours and uses washi tape to decorate some areas. He collects some novelty items that he finds adorable, like a nightlight shaped like a cartoon smiling bear or a mug that holds his drawing pencils that is shaped like a strawberry.

♦ - quirks/hobbies headcanon

We know, from canon, that Sakurai’s main hobby is drawing manga. He has a love for a lot of different manga genres and styles. He’s got about four or five different stories in his head at any one time and he’s slowly working on all of the different manga’s for the stories he likes the best. He’s very self-conscious about his work, but those he gets really close to will be allowed to see at least some of his work. He normally only shows the manga he’s working on that are shonen themed or sports themed though. He keeps back the manga he feels a little more embarrassed about working on…that is, Sakurai is definitely currently working on a slice of life manga where a lot of the characters are based off the people he knows and those he meets, even if he would claim otherwise publicly. He is a little afraid that he’d be called out or would offend others if they saw those characters. The other one he hides? Straight up shoujo romance with some tragic elements in it.

☠ - angry/violent headcanon

There’s very little that Sakurai finds pride in. He doesn’t have a lot of self-confidence. Rather, it’s very much the opposite, where he doesn’t see a lot of good in himself. When Sakurai does find those areas where he can feel real pride in himself and his abilities, he holds tight to them. They become the building blocks of his entire self-image and the way he lives his life. When he feels like those things he takes pride in are either being called into question or threatened, it sparks his temper. He becomes easily annoyed, sometimes even pissed off. He finds a backbone real quick, which isn’t bad. However, what can be bad in that regard is that, in his anger, Sakurai loses control of his tongue pretty easily. It can lead him to say some exceptionally harsh things, sometimes things he doesn’t even mean, just to aggravate or hurt whoever has made him feel bad.

Shoichi Imayoshi

■ - Bedroom/house/living quarters headcanon

Imayoshi prefers more saturated colours in his living spaces. He tends to paint in darker colours, things like hunter green, navy blue, even black, but he balances them out with more neutral colours used in his décor or furniture. He tend to prefer lighter wood or mid-toned wood furniture and he prefers it to be pretty streamlined in the design. I could see him gravitating towards mid-century modern furniture just in the profile and lines of the furniture. He mixes a lot of traditional Japanese furnishings and décor with more western-styled stuff to create a more eclectic blend in his living spaces.

♦ - quirks/hobbies headcanon

For some reason, I just personally headcanon him as a gamer. I don’t know why, I can’t explain it, but I so see him as playing video games. He’s unnaturally talented at it and he plays a lot of cooperative games, like Overwatch and Fortnite. He’s a pretty hated player though, because he goes out of his way to troll the other players. He gets so much joy and amusement out of it. He would tank his own teammates if they were annoying him, were a lot weaker than him, or just to get reactions out of them.

☠ - angry/violent headcanon

Imayoshi is the quintessential picture of ‘I don’t get mad, I get even.’ He’s petty in his anger. It’s pretty hard for someone to tell they’ve really pissed him off, as he’s really good at hiding his temper from others. They’re quick to discover they’ve crossed him in some way though, because Imayoshi will start pulling petty tricks and pranks. He will be caustic as fuck towards them too and his words will hold a distinctly destructive force to them as he twists the person’s biggest insecurities against them. However, once he feels the person has been punished enough for his anger to be satisfied and satiated, he doesn’t hold any further grudges and goes back to how he normally treated them.

#replies #event asks #kuroko no basket #kuroko no basuke #kuroko's basketball #izuki shun #shun izuki #ryo sakurai #sakurai ryou #shoichi imayoshi #imayoshi shoichi #headcanons #character headcanons

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drpsychobabble · 2 months ago

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2024 Anime List - The Good

Let it be known that assembling this one, even when I'm saving up for a Special List, was quite difficult. So I had to repeatedly break my completely arbitrary rules to allow myself to talk about this year's many shows that gave me a significant amount of enjoyment.

11. The Fable / The Elusive Samurai

Since I'm already cheating right from the start, I'll be brief.

The Fable is a show I found fascinating because the first episode kept me guessing about what was the tone. Mostly because it was very dry in delivery, which could work for a serious drama. But the show makes it work wonders for comedy as well.

Finding out that Ryosuke Takahashi was directing quickly cemented my decision to keep up with the show, and I was not disappointed. Sure, the visuals are not the best. Sometimes things look off model, and the limited action isn't the flashiest or most fluid. But the show knows what it's doing and hits every seriously ridiculous situation right where it should be.

A story about a dedicated Hitman piecing together a humanity through his multiple encounters with a normal daily life (and sometimes not so normal).

And then there's The Elusive Samurai, which surprised me despite the identifying badge of being a Shonen Jump title.

The production manages to use various tools to create unique moments that stand out visually, producing that world that is on the borderline with pure fantasy while remaining historical fiction.

I always favor historical fiction so it did not take much for this show to attract my attention. Since the wait for more is going to take a while, it's likely that I'll switch to the manga. But at the very least I'm happy I gave the anime a shot.

10. Spice and Wolf: MERCHANT MEETS THE WISE WOLF / Kinnikuman Perfect Origin arc

A bizarre pairing but both of the shows are deserving of that position right on the edge, where I want to talk a little bit about them.

For most people who could care a Spice and Wolf show did not offer much at all, probably. They had already seen the original back in the 'aughts. However it happens that I had not. So not only I benefited from the new production, I also enjoyed a story that was new to me.

And so I did. It is a story that is nowadays very unusual among the many other seasonal shows. Episodic, low on action, quiet. The heart and soul of the show are scenes of conversation and that is fantastic.

The back and forth between the titular Spice and Wolf feels unusual for anime, a more mature interaction that isn't as charged with expected fan-service appeal. Through it the mystery of Holo unfolds little by little, as we take the perspective of the patient Lawrence who is ready to listen to her but won't push her to explain anything.

Studio Passione did a decent job with the show's appearance, perhaps containing their worst tendencies to over-exaggerate some things.

And then.

After hearing the news that a new Kinnikuman show was arriving, I realized that... Kinnikuman had continued. Due to the dub version of Nisei annoying me as it was the dub of the American adaptation, I always avoided that sequel. But I was glad to find out that the creative duo Yudetamago had also taken into consideration the Nisei dead-end and started an increasingly divergent path that continued the story from the end of the original Kinnikuman manga. So, of course, I re-read the whole thing.

Kinnikuman is a thing that is very much the true spirit of Shonen Jump. A shameless sequence of exciting nonsense full of dumb gags and constant retcons. At one point the villains steal the heroes' friendship, which was stored inside a box. It's brilliant.

However it's also very casually racist. Characters like Ramenman live between being admirable and a cartoonish parody of a Chinese person. Geronimo has an incredible story about aspiring to be a superhero while being a normal human, but also he's a cartoonish parody of an Apache (maybe, doubt the authors originally thought about which tribe is he actually from). Brocken Jr dresses up like his nazi father.

I would call it a very childish way to portray other people that could fly easily in the 70s and early 80s. It's there and it's part of the lifeblood of the series, so I have to do the due diligence and mention it.

Perfect Origin Arc started in the 2010s, so at the very least I expect more sensitivity out of it. The anime at the very least adjusted Brocken Jr's uniform so it looked less like... what it is.

I enjoyed the show quite a bit because it managed to provide me with more of the original manga's nonsense and fun surprises. Completely ridiculous characters figuring out how to fight other completely ridiculous characters is simply Just Fun. I'm not particularly into wrestling but this is when I can understand the fans of that the most.

The arc also brings back the Devil Chojin, something I could appreciate more because I had recently done the re-read. And it makes all of them shine.

Poor Buffaloman rejoins the Devil Chojin but has to pretend to be fully into their camp since he is still clearly a Justice Chojin to the core.

I await the next season so I can be surprised by even more unexpected reversals and crazy tricks and powers.

9. The dangers in my heart s2

I will keep repeating how I'm vulnerable to starting something with a negative impression and then the impression turning around. My appreciation always overcompensates. This series benefits greatly from it because not only it manages to grow past the initial awful premise, but also it makes "growing up" a core theme.

The way the series deals with the protagonist slowly maturing and realizing he is put me in mind of, specifically, a couple of novels I really liked in my youth. Vasconcelos' "My Sweet Orange Tree" and its direct sequel "Let's Warm Up The Sun" (my own attempt at awkward translation for that one). Both follow the lonely thoughts of a child growing up in modest poverty and later on adopted by a wealthier family but still in disconnect with his peers and himself as he goes through adolescence. The self-centered perspective and extreme drama it creates echoes in all works as we can easily place this in the "coming of age" category.

But the series offers me another favorite: a dual perspective in a romance. Not only we remain in Ichitaka Kyotaro's head, we can also spy from the very beginning that Yamada Anna's behavior accuses her own inner feelings about the world in general but also about this classmate of hers that she happens to find herself interested in. Even though she is the more demonstrative of the two regarding her feelings, she still keeps as much as Kyotaro bottled up. Her fears and anxieties are always at the bursting point. And that's where he can understand her and offer the reassurance that he himself has isolated from.

The anime improves on the manga with ease, rearranging each episode to keep a consistent theme and the satisfying beat of taking a step forward in the path to growing up.

It's also -really funny. so there's also that.

8. Astro Note

In this position I'm playing favorites to explain why I placed this show so high. For one it's an Original. But the other side of that coin is the obvious inspiration in Maison Ikkoku and generally the romcoms of the late 80s.

Astro Note is a show that probably flew under most radars since it's not exactly easy to grasp what it is doing. It's hard not to just compare it to "a Rumiko Takahashi remix" given the already mentioned main inspiration for the romantic comedy aspects, but also the sci-fi components bring forth an Urusei Yatsura quality.

The cast of tenants in the titular Astro Note lodging is quite colorful and entertaining, each of them providing their own brand of silliness to spice up the dynamics in the house.

The two-faced idol, who provides some musical bits and drunken slob comedy.

The jobless salaryman and his precocious child who not only open the path to a story about adoption and the love of a found family, but also explores the child's interest in reflecting about their gender identity. The fact that the overly concerned father agrees to let them experiment but only at home and that compromise is seen as not enough is an interesting and unexpected path to explore. It doesn't take up a lot of the show's run time but I liked seeing it.

Then there's the elderly resident who laments the passing former Manager and dear friend.

And the extremely shy girl who slowly left her room to find that the man she loved had moved in.

The main couple is formed between a chef seeking a place to belong and an alien princess who is only there to find a token from her galactic kingdom that would allow her to inherit according to the strict customs that keep her from exploring her newfound pleasure in experimenting things for herself. Namely: food.

It is simply a pleasant and fun romance with a solid and exciting conclusion.

7. Makeine: Too Many Losing Heroines!

With a name like that it was simply impossible for me not to watch this show.

As someone who has consumed many a romcom back in the day, I recognized a pattern in my behavior that kept making me root for the most obvious "losing heroines". Those characters that have an honest interest in the protagonist and try their best to break their shell and appeal. But ultimately fall to the fateful power of The Main Heroine

So, how about a show where -all the heroines are losing heroines-? A collection of notable weirdo losers that completely fail to grab the attention of the people they like. Not through a fault of their own but rather because they are too late to act, too slow to openly reveal their feelings.

To accompany them on this ride we have the Tepid Water of Protagonists, Nukumizu. We are obviously expecting him to pick up the pieces and end up with any one of these losers. But Nukumizu's role in the story is mainly to be a companion first to these girls who are Going Through It. From his own cowardice and slowness to act or reflect on his feelings Nukumizu prioritizes offering a shoulder for them to lean on as they are rejected.

Another very enjoyable aspect of the show is the Literature Club activities which allow us to peer into the world of those people who publish their stories to Absolutely Not Shosetsuka Ni Narou. A collection of web novel / light novel gags and parodies keep providing funny gags and mild critiques of the space this story itself shares.

Another strong point that should not go unmentioned is the show's visual style. The moody palette really makes the show stand out above the rest. Though it also puts their full effort into... honestly unnecessary fanservice scenes. This show feels better than *that*. But ah well, it's there.

I hope the show returns soon.

6. Mayonaka Punch

From the dead of night, good morning! Mayonaka PUNCH!

A completely unexpected original show with a very fun premise that deals with a glamorous but mundane thing while also incorporating fantasy concepts largely for comedy's sake.

Masaki is a youtuber, in trade and in essence. She's always thinking about new ideas for videos and doing her best to execute them at the best of her ability, editing and all. However this makes her a very tense person, as she's constantly faced with the unpredictable whims and cruelty of the internet. Which comes to a boil when her frustration turns a casual argument into a shouting match and, finally... She ends up punching her partners live on stream. The girls she had been friends with and working with for years turn their backs on her, dropping her as fast as they could to get rid of the weight of the public perception as a toxic person.

But when she's at her lowest point she runs into... a vampire! Called Live! And she REALLY wants to taste Masaki's blood. But she needs her consent. So Masaki has a condition. Live will help her launch a new youtube channel... and if they hit 1 million subscribers... She can be Live's meal.

This is the basic premise and it doesn't stray much further from this. The introduction of Live's mansion and the other vampires that live with her extend the cast and introduces more fun personalities to work stories with. Episodes slowly show the channel's development but also a couple focus on the other vampires and their very vampire-like way of suffering tragedy. A stand out episode devotes to Fu, the shy one in the group, who is invited to sing for the show but declines the chance. And this makes the others learn about a chance she missed to be able to do music with another woman, stopped by her concern about being found out as a vampire if she stepped on the limelight. But that very essence is what allows her to forever keep thinking about that partner she betrayed.

A very funny, very energetic show, that still manages to hit key emotional beats with ease.

5. Puniru is a Kawaii slime

Lately I end up gravitating towards shows that have some of the energy from 80s or 90s shows far more than more current ones.

Luckily for me those seem to be proliferating.

Puniru is a Corocoro show, which means it's aiming for a younger audience than the average Shonen Jump and etc series. As it's sometimes said, it's "peepee poopoo humor". And sometimes the simplest humor just hits best.

The show shines by having a cast of All Idiots who are constantly acting dumb in their own special ways.

Our Kawaii protagonist (not the slime) is suffering from growing pains and is overly concerned about revealing his personal preference for cutesy things, instead trying very hard to appear "cool" in front of his crush. This is however a partial lie because he actually doesn't try very hard at anything. We have a Nobita who thinks highly of himself in comparison to his companion but does absolutely nothing deserving of attention or recognition.

Meanwhile the titular Puniru is the archetype of the Nosy Annoying Character. Puniru proudly proclaims their cuteness at every possible opportunity. They simply cannot believe they could be considered to be not cute. And most of the world definitely agrees... but not Kotaro. Puniru wants him to admit it as he used to when he was younger. Puniru is, also and by the way, a slime. Mixing some borax and laundry starch we somehow ended up creating life. Their form is very flexible and quite sticky. This also allows Puniru to mix in additional ingredients to perform a transformation into various shapes and costumes... As long as they are Cute.

We round up the cast by having...

Mami, the love interest, who has a deep love for performing the role of a mother. She needs to be in jail.

Nanpa! Initially thought to be a sort of PUA type, Nanpa is not a playboy. He's a play boy (I completely stole this equivalent wordplay from someone else, but it's perfect). Nanpa is completely committed to enjoying youthful passions to the extreme. He doesn't think about how old he is, he just loves to have fun with his toys and children's card games.

Alice fulfills the spot of the haughty rich kid, but her loneliness comes forth clearly in all her actions. She is dedicated to making the friend she imagined in childhood into a worldwide appreciated mascot just like her dad's company's Kyuthi-chan (essentially Hello Kitty). Seeing Puniru she also wishes her Runrune was alive, which ends up in her personal maid creating a simple toy robot Runrune who disappoints her by proving to be Just A Toy.

That robot who later gets a separate name, Runru, seems to have a plot cooking up...

In short, it's a very silly show with very fun visual gags that are only mildly gross in their sliminess.

4. Ranma 1/2 (2024) / Urusei Yatsura season 2 (2024)

How am I writing about two mega classics of manga and anime showing up in 2024? How is it possible that my first favorite series is back and once again shining as bright as it could?

It's not like this list isn't just my personal bias from start to finish, but this entry is definitely the most biased of all. Rumiko Takahashi's works have been with me for almost 30 years.

The year started with the last of the new Urusei Yatsura. Colorful and energetic, it properly represented the dynamism in Takahashi's pages. Some people were at odds regarding the stories chosen, but I had a blast with all the hijinks regardless. It seemed to give Ryunosuke as much time as possible which felt like a hint that Ranma might happen later... And, SURPRISE!

I can't say much else about UY that isn't just describing. Explosive comedy of horrible people being horrible with occasional moments of emotional sincerity.

I expected the show to end in the Fate Doors arc as it is a proper capstone for the spirit of the series: "Ataru does love Lum but he just wants to play around". But they did end in the very final arc which had the grandiose feel of a movie.

Ranma, it's just Ranma. Eye opening at the time in many ways, it's still at its core a very funny series about a bunch of horrible people being amusingly horrible. The Takahashi formula of comedy never fails!

Childish Ranma butts heads with the equally stubborn Akane while the swirling spirit of martial arts chaos envelops them. The ever expanding cast only adds more and more characters to yell more and louder.

The new show brought back the original anime's cast back and the growth in their voices is palpable. With hindsight they are able to enhance the things that matter most, so we're getting a Ranma that plays the emotional beats with a much richer depth than the first time around.

I hope the show fuels a new generation's fantasies and once again illuminates how much of gender is purely performative.

3. Oshi no Ko season 2

The show's first season was my number one for 2023.

By the time I'm writing the list the manga has been over for some months. And it was an ending I found quite unsatisfying.

But I don't believe the diminished position is connected to that and it's simply that my preferences found other things to focus on.

Because this second season was absolutely fantastic. The theater play arc is likely my favorite one in all of the manga, and the anime made it shine while taking into account the irony of an adaptation playing the story of an adaptation.

The cast of actors get to show off their different acting philosophies while the production meets trouble after trouble because of adaptation woes and later on from the author of the original work directly.

That this all connects to the first season's brief Drama arc only makes things better. The bonds between Akane and Kana shine through as they shift from rivals to admirer and idol and back to rivals, professionally and romantically.

The plot at large also continues as the arc wraps up but foreknowledge prevents me from enjoying those parts as much as I could if I counted on ignorance.

Despite the disappointment I do want to keep watching how the show handles the rest of the story.

2. Dungeon Meshi

And talking about adaptations... here's another one that knocks it out of the park. Studio Trigger keeps doing their best work when they have help from outside writers. And Ryoko Kui served them a magnificent story to work with.

In years where dozens of series about fantasy worlds with game mechanics flood the pages and screens, Dungeon Meshi does the same thing but in a different universe of quality entirely. The gaming inspirations for the setting and mechanics are clear, but the author makes everything their own by being completely earnest.

The theme of "meals" is woven incredibly well through the entire story, connecting all the characters little by little as they can all join the same "table" and share the same food.

An excellent cast of characters with plenty of depth and full backstories help the show keep its feet on the ground at all times.

And, of course, the comedy glues everything together and keeps it as Fun as it could be.

Hopefully next year I'll be able to write more about why I love this story so much, when a second season ends the show.

1. Brave Bang Bravern

There was no way for this show not to be my number one.

Bravern is a show that was custom made for me.

It plays both ends of the mecha spectrum, with the military tragedy on one side and the BRAVE heroism on the other.

It's a comedy. It's a romance.

It's simply beautiful.

Masami Obari worked on this project and tried to play a prank on the audience by making it seem that the show was going to be -just- the military side. And nearing the end of the episode I was quite pleased with how things were going! But as the end was approaching BRAVERN! arrived and completely changed everything. In a few seconds the discombobulated Isami was riding inside the colorful talking hero robot, teaming up to save the world against an alien threat.

The name quite clearly shows that Bravern is inspired by the many shows in the Brave series that Obari worked on through the years.

And to add to that the companionship between the human and robot turns to straight up romance, as Bravern is openly fixated on Isami. This creates a tiny romantic triangle as fellow pilot Smith was also smitten with Isami's bravery in the military exercise they shared before the invading alien forces hit the planet.

The family circle expands when Smith finds a strange young girl who only talks in "beeps" (GAGA PIII!) and was being used by the invading robots as a disposable battery for enhanced power. Smith ends up taking care of her and she gets to quickly grow up and becomes part of the team of two dads, an additional robot dad and one robot uncle.

Blow by blow Isami and Smith find an understanding and Isami also manages to do the same for Bravern, all of their bonds growing ever closer.

A subtle but very ingenious component is naming the invaders "Death Drives", which helps create a very psychoanalytic tale (even more material to appeal to my very specific tastes).

The show simply has it all and it remains the most fun I've ever had with a weekly series in the entire year.

Well, that's it. Go home!

A "special" list is forthcoming Soon (tm).

#anime #anime list #anime 2024 #bang brave bang bravern #ranma 1/2

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