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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 · 3 months ago

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Toki Reads Shonen Jump 2024, Issue #52

HxH: Morena's card game begins, and she exposits that she was conceived in a state-sanctioned non-consensual orgy; Borksen learns that thanks to Nen restrictions, she actually does have actually does have an escape route. The implications of Morena's backstory are certainly staggering, but also lost on me

Yozakura: Taiyo has an "I know you're in there" fight with himself, ending with him expelling Asa by shooting himself in the heart. Taiyo's willingness to damage his own body to make it uninhabitable to Asa doesn't seem ideal, but definitely preferable to being possessed

Undead Unluck: Soul tries to force Andy and Victor's souls back together, but Rip cuts them apart permanently with Unrepair. This is Rip's capstone, where he finally uses Unrepair for someone else's happiness instead of ruining his own with it

Roboco: Roboco writes more shameless ripoff manga, but finally learns that her own original material is a lot better. I have no faith that this lesson will stick

Sakamoto: Atari's luck has literally run out; she reveals to Tenkyu that his friendship w/ Uzuki is irreparable; Shin resolves to kill Tenkyu, even if it means severing ties with Sakamoto. Both Tenkyu and Shin are losing their friends because they're killing in their name against their wishes; Atari's an idiot for using such an obscene amount of luck last chapter just to fire ONE bullet

EluSam: Tokiyuki and realKojiro gush over Kojiro as he fights Nagao; the scene cuts away to Mima getting into architecture and interior design. This seems to have an affect on enemy morale, but I feel like it's not worth ignoring what seems to be Kojiro's most important fight

Witch Watch: The flashback gang discusses the legacy of Familiars and their prejudice towards humanity; Kuon warms up to the team, and Taiga raises more death flags. The idea of magic fading away as a sign of peaceful times is a topic I've been thinking about a lot lately because I've been revisiting Medaka Box; this may inform a future essay

Blue Box: Taiki endears himself to Chinatsu's dad with his earnest, if a bit overbearing, nature. I'm glad we're not drawing out the tension too much, it makes the dad more relatable

Akane: Despite Miroku's refusal to let them perform, Shiguma and Issho learn enough rakugo for Kiroku to give them a slot; Miroku offers to grant Kiroku his name and rank if he will use it to expel the pair. This is clearly the event that led to the founding of the Arakawa School, but even with a foregone conclusion, it's a nailbiter

Kill Blue: Juzo and Shin use assassin techniques to advertise the bakery; Yoichiro wagers his staff's bonuses to whichever club can beat their challenges. Clearly he's plotting something, but I can't quite see yet how this furthers his plans

Nue: Rido spontaneously achieves his Bankai Spirit Armor and promptly passes out. It looks cool, but I'm already so unclear on this power system's rules that such an upgrade only serves to confuse me further

Kagurabachi: In a side story, we revisit everyone's favorite guy, Sojo, trying desperately to enjoy a bath despite his routine being ruined at every turn. Looking back, I'm sad that Sojo died; I hope he continues to haunt the narrative

Chojo: Keinain's new assistant, Makami, finds everything about the Chinjuku station to be lewd; this is not because she's a prude, but an extremely repressed pervert. Would

Astro Royale: Himuro reveals he became a cop to stop the Yotsurugi family from interfering with his dad's business, but only found out later that they were supporting him through hard times; the damage he caused this business relationship resulted in his father's suicide; he eats the Daybreak Ore and becomes a mutated mass. Himuro's motivations now reflect Kinpa's, but just like he hurt his dad by targeting the Yotsurugi's, his rage is misdirected and self-destructive

Kiyoshi: Asuta's time runs out and he gets away, cementing the sacrifices made to summon him; as he leaves, he calls Kiyoshi his soulmate in a perverse twist on Kiyoshi's own desire for friendship. Axe-deniers when the lead fails and lets 100 innocent people die - 🎉🍾🥳🎊🥂; throw the yaoi girlies in there too since there's about to be a huge boost in sales

Hima-Ten: Tenichi takes up the rear on the class hike; Himari fakes an injury to keep him company. Very cute, but how the hell does this moron not realize she's in love???

Ichi: Just before the contest begins, Ichi sees a mysterious figure; the Kindake Magik vows to kill everyone who doesn't worship his mushrooms, then escapes into his mushroom forest. So much for not being a human-hater; Togeice's poor sense of direction will certainly make this challenge much harder on her

Shinobi: Yodaka sabotages Hachikuma's strings and turns them against him. Though heavy-handed, Yodaka straightening and braiding Hachikuma's discarded, tangled strings as a symbol of the value of putting effort into maintaining relationships is sweet

Hakutaku: The mechanics of the AR game are explained, but Hikuma sleeps through people actually enjoying it. Maybe it's cus I don't like mobile games, but I do not see the appeal of this game, which is probably the most damning indictment of a game design manga

Syd Craft: Elio is revealed to be Levie Olyn, Syd's favorite romance author, who became his assistant after he cleared her name in a case; she writes her books to vent her DEFINITELY NOT ROMANTIC feelings for Syd. That's a great dynamic, I love girls who pine, I'm super endeared to this idiot

My top 3 manga for the week are:

Undead Unluck, unsurprisingly, for its fantastic color page, multiple great spreads, and at least two of what will undoubtedly become the most iconic moments in the entire series; congrats on netting the final cover of the year!

Syd Craft for continuing to expand upon its concept in a way that really appeals to me; let it be known I never said Tsutsui was a bad author, I just said he was a coward

Kiyoshi for dodging the axe, establishing an interesting dynamic between Kiyoshi and Asuta, and the bravery to leave it on such a bleak cliffhanger

Runners up include Astro Royale and Shinobi Undercover, both for giving me some interesting symbolism to chew on, as well as Hima-Ten and Chojo for women in denial that fall short of Elio

Edit: I want to correct something I said last week - it does not seem like Bug Ego is joining Weekly Jump after all, I think someone I follow on twitter either got a bad tip or I misunderstood what they said. Bug Ego was added to the Shonen Jump app, not Shonen Jump itself. Apologies for any confusion!

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wickedsick · 3 months ago

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Sakamoto Days wins "most insane bullshit"

Kagurabachi wins "best tragic moment"

Ichi The Witch wins "best chibi"

Mf looks like Cousin Itt

Hunter X Hunter wins the "brain blast" award

I'm already forgetting the rules of this card game and I think that's intentional

Blue Box wins "zaniest scheme"

Akane-Banashi wins "best montage"

This definitely feels like an axe, unfortunately

Nue's Exorcist wins "obligatory horny award"

Elusive Samurai wins "most normalized absurdity"

And Yozakura Family wins "best creep spread"

Continued in reblog

#sakamoto days #Kagurabachi #ichi the witch #hunter x hunter #blue box #akane banashi #ultimate exorcist kiyoshi #nue's exorcist #yozakura family

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aawmanga0009 · 10 months ago

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#anime and manga #manga #manga panel #manga girl #manga edit #Nue's Exorcist #Gakurou Yajima #Yajima

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sakamoto-days · 1 year ago

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Weekly Shonen Jump Issue #42 Cover and Color Pages!

#manga #anime #anime and manga #shonen jump #weekly shonen jump #kagurabachi #mamayuyu #nue's exorcist #undead unluck

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saiyef · 11 months ago

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#nue's exorcist #nue no onmyouji #mangacap #mangacaps #manga

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iamzeon · 9 months ago

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Nue no Onmyouji

#nue no onmyouji #Nue's Exorcist

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tina-chou-17 · 1 year ago

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Blue Exorcist saison 3

Bonjour et bonsoir à tous, je viens pour vous annoncer que des images officielles du très attendu retour de Blue Exorcist sont sorties: Suivez le lien 【图片】「青之驱魔师」动画第3季PV 24年1月放送【蓝色的除魔师吧】_百度贴吧 (baidu.com)

Sa sortie est prévu pour le 24 janvier prochain, alors soyons tous au rendez-vous et espérons que Kaze ou Crunchyroll soit également au rendez-vous pour une vf^^

#blue #exorcist #ao no exorcist #nue's exorcist #blue exorcist #rin #yukio #rin okumura #yukio okumura #anime and manga #anime #manga #saison 3 #season 3

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demifiendrsa · 2 months ago

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Weekly Shonen Jump 2025 issue #4/5 stickers

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raamitsu · 11 months ago

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HERE ARE THE REST OF THE MANGAKA COMMENTS IN WEEKLY SHONEN JUMP #17.

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studentofetherium · 10 months ago

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at this point, i'm cheering for Nue's Exorcist to keep going, not because i think it's a good series, but instead because i want it to get an anime so more people will draw fanart of the girls

#nue's exorcist

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mangaiswild · 2 years ago

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#nue's exorcist #chapter 7 #kota kawae

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tokiro07 · 10 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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