Archive
Shonen Shikku Canceled; Enigma to Debut
Issue #40 of Weekly Shonen Jump marks the 15th and final chapter of Shonen Shikku, the first major work by newcomer Tsukuda Yuuto. Since becoming eligible for fan ranking, Shonen Shikku has never managed to escape the bottom 5 of the table of contents, even placing dead last five times. Its early cancellation is yet another in a string of poor performances from new Shonen Jump series, as has been evidenced by the similarly early ends to Lock On! and Kiben Gakuha, Yotsuya-senpai no Kaidan, and as it seems will further be proven with another cancellation expected next week.
The space left by Shonen Shikku will be filled starting next week by Enigma, a new series by Sakaki Kenji, a former assistant to Amano Akira (Katekyo Hitman Reborn!). An early preview picture is available:
(Click for full size)
Source: News-Paradise
Beelzebub Anime in January 2011
Beelzebub is set to receive an anime adaptation this coming January. The first major work by Tamura Ryuuhei, it has been running in Weekly Shonen Jump since February 2009. Beelzebub is a fusion between fierce action and excellent comedy, along with notable supernatural elements, as the story follows Oga Tatsumi, a renowned delinquent who is saddled with the task of looking after Baby Beel, the son of the demon king. The series features a diverse cast of characters, including the loyal servants of Baby Beel, Oga’s rival delinquents, and one of the absolute best comedic straight men in all of manga.
The announcement of an upcoming anime for Beelzebub is both exciting and surprising. While the most recent manga arc has been a minor disappointment, the rest of the series has been a fantastic weekly read, and welcome diversity in the pages of Shonen Jump. However, as of this writing, the series only has 74 chapters, meaning this seems to be rather soon for an adaptation. Four months give more than enough time for the current manga arc to finish, but even with those extra chapters, the worry is that the anime studio would not have enough source material, leading either to questionable pacing or filler episodes. Another Shonen Jump series, Nurarihyon no Mago, had a similar number of chapters when its anime adaptation was announced, and that anime (which is currently airing) has yet to show signs of having insufficient source material; on the other hand, the Nurarihyon no Mago universe has more intricate detail that can be explored by its anime studio, meaning that the current quality of that adaptation may not equate to similar success for Beelzebub.
Regardless of speculation, news of a good manga series receiving an anime is always positive, and a Beelzebub anime should be well worth watching.
Source: News-Paradise
Lock On! Canceled; SWOT, Oumagadoki Doubutsuen to Debut
Early internet reports indicate that the final chapter of Lock On! will run in Issue 30 of Weekly Shonen Jump, which hits store shelves in Japan on June 28.
Lock On!, the first major series by newcomer mangaka Tsuchida Kenta, never strongly established itself within Jump, but fans of the series could be justified in crying foul over its cancellation prior to Kiben Gakuha, Yotsuya-senpai no Kaidan, another Jump series which debuted a week after Lock On!. Since both series became eligible for fan-voted rankings, Yotsuya has ranked below Lock On! in every week except for two, one of those being the upcoming issue in which Lock On! publishes its last chapter. Yotsuya itself is still far from safe, and could very well be canceled the week after Lock On! ends publication; this depends on whether the Jump editors will treat Hunter x Hunter (again on hiatus) as the other title to move aside in favor of new series. If the editors don’t regard HxH as such, another series would need to be cut to make room for the two debutants, and that series would likely be Yotsuya.
The two new series that will grace Jump are SWOT and Oumagadoki Doubutsuen, both of which received one-shots in Jump in 2009. SWOT, by Sugita Naoya, is a hybrid delinquent / romantic comedy series about a “swot” (defined as a person who spends too much time studying) with lofty ambitions who transfers into a once-prestigious school that has been overrun with delinquents. Soon, he meets a weak boy and a legendary delinquent girl, the latter of which causes him to experience unfamiliar feelings. The other series, Oumagadoki Doubutsuen (“Oumagadoki Zoo”) by Horikoshi Kouhei, is about a clumsy, animal-loving high school girl who applies to work at a nearby zoo which turns out to have a decidedly bizarre secret.
Read the one-shots that preceded each new series: SWOT, Oumagadoki Doubutsuen. (Remember that characters, events, and other plot elements in one-shots may be changed for their series publication.)
Hunter x Hiatus (Again)
News in Issue #26 of Weekly Shonen Jump indicates that Togashi Yoshihiro’s Hunter x Hunter will once again be going on indefinite hiatus beginning in the following issue. This news is not surprising to any longtime fans of the series, as Togashi has frequently taken breaks for unconfirmed reasons. Rumors abound as to the reasons for so much time off, ranging from a serious medical condition to personal issues regarding the merchandising of his works to an overwhelming, life-ruling love for the Dragon Quest series of video games. These rumors are all speculation (well, except for his love of DQ), so it’s difficult to formulate an opinion of Togashi as a mangaka. Is he lazy for taking so much time off? Is he brave for drawing as much as he can while his health allows him? Is he foolish for not expecting Shueisha to capitalize on the popularity of his series, given that he previously wrote the successful YuYu Hakusho?
Regardless of the reasons for his absences, Hunter x Hunter and its fans have suffered. This most recent run of HxH began this year, in Issue 5-6 (double issue), 2010, with chapter 291. Issue 26 contains chapter 310, the last chapter before the new hiatus. In that span of 20 chapters, we’ve seen two major, conclusive fights (Netero vs. the King, Gon vs. Pitou), two minor fights (Killua vs. Palm, Ikarugo vs. Werefin), one huge plot point (Kaito), some other minor / inconclusive action (various people vs. Pouf, King vs. Melereon & Knuckle, the “game”), and whatever the hell chapter 299 was.
This run for HxH has actually been one of the better ones. 20 chapters is enough for two volumes, an improvement from Togashi’s recent tendency to release one volume’s worth at a time. Also, the amount of action and plot advancement in those 20 chapters would be considered good for most shonen series, and is laudable when compared to other HxH runs, but this Chimera Ant arc began way back at the end of chapter 185. 125 chapters in WSJ without breaks would span over two and a half years, and would clearly be considered a long arc for any series. In terms of publishing schedule, though, Hunter x Hunter isn’t just any series; chapter 185 ran in Issue 28, 2003. Seven years ago. This arc has continued for seven years, but without the satisfaction of actually progressing through plot along the way. That, combined with the fact that some of the characters who helped the series reach its peak in popularity (Kurapica, Hisoka) aren’t even in this arc, makes for a frustrated audience.
Even when the series is running, it may not provide a fully enjoyable manga-reading experience. Since he began his frequent hiatuses, Togashi’s returns have sometimes been marred by poor artwork. Here is a comparison of an earlier chapter, when he was releasing at a reasonable rate, with a chapter in the hiatus-intense years. (Click images for full size.)
 Chapter 127, Page 2 |
 Chapter 252, Page 12 |
Clearly, at his best, Togashi is a talented artist, and to his credit, he cleans up his work and creates proper art for volume releases. That said, sketches like this, for which he has become infamous, are unacceptable for a series in a major shonen magazine, let alone one by an established mangaka.
Most glaring, though, are the hiatuses themselves. Here are the shocking statistics:
- From its debut (Issue 14, 1998) to present day (Issue 26, 2010), Hunter x Hunter has been absent from Weekly Shonen Jump 276 times.
- The longest hiatus was 79 straight missed issues (2006-2007).
- The series was absent the most in 2009, missing 46 of 48 issues that year.
- There have been 585 issues of Weekly Shonen Jump since HxH began; Togashi has missed over 47% of them.
- Given 48 issues of Jump in one calendar year, that’s 5.75 publishing years missed.
- By comparison, One Piece (debut: Issue 34, 1997) has missed 33 issues to date. Naruto (debut: Issue 43, 1999) has missed 19 issues to date. Amazingly, KochiKame, which began in Issue 42, 1976, has never missed a single week!
Of course, most of these figures will be obsolete beginning in a couple weeks, as yet another hiatus begins. The future of the series remains worrisome, not in terms of publication (Shueisha is unlikely to choose now to cancel the series, over any other opportunities it has had to do so) but in terms of the story. For all these shortcomings and legitimate issues, Togashi remains a creative and engaging author who devises fascinating stories, clever powers and fighting styles, and interesting characters. His biggest failing is an inability to see his ideas through to an acceptable conclusion, as was evidenced by the end of YuYu Hakusho, and as has been unfolding before us for years now with Hunter x Hunter. Feeling appropriately frustrated, some fans have called for the series to end with the climax of this arc, but that would be a disservice both to those who have stuck with the series through all the delays and scribble-art, and to Togashi’s own unresolved plot. Other fans clamor for Togashi to hand artistic duties over to another mangaka and concentrate on the writing, which Togashi surely is unwilling to do, or it would have happened years ago.
In any case, Hunter x Hunter deserves a proper finale beyond this arc. Will Gon ever find his dad? Will Kurapica ever achieve the full extent of his revenge? Will Leorio ever… matter? This series is too good to die without suitable resolution for its most important storylines, but whether said resolution is acceptable or otherwise, it seems we’ll be waiting quite some time before we get there.
Source: Jump Intelligence Agency
Another New Shueisha Magazine – Shonen Jump Next
Hot on the heels of news regarding Jump SQ.19 comes word that Shueisha is launching yet another magazine. Entitled Shonen Jump Next, this even-newer magazine will be a quarterly release in the style of another of their existing magazines, Akamaru Jump. Like Akamaru, Shonen Jump Next will primarily serve as a launching pad for young artists hoping to establish themselves before being serialized in Weekly Shonen Jump or another Shueisha property.
Shonen Jump Next launches April 30 with several oneshots, some from notable mangaka:
Matsui Yuusei (Majin Tantei Nougami Neuro)
Kawashita Mizuki (Ichigo 100%, Hatsukoi Limited, Ane Doki)
Amano Youichi (Akaboshi – Ibun Suikoden)
Wajima Satoshi (Wasshoi! Waji Mania)
The debut issue will also feature a poster of the Bakuman anime, a special Nurarihyon no Mago chapter (featuring color page), eight short histories about current Weekly Shonen Jump series, and nine oneshots from young authors.
Credit: News-Paradise
Jump SQ.19 – New Shueisha Magazine
Shueisha, publisher of Weekly Shonen Jump, is set to launch a new magazine entitled Jump SQ. 19. Presumably targeting a similar demographic as another of Shueisha magazine, Jump SQ, JS19 features a fairly impressive lineup of mangaka for its debut. The more notable series and respective authors include:
Kekkai Sensou, Yasuhiro Nightow (Trigun, Gungrave)
Teichi no Kuni, Usamaru Furuya (Genkaku Picasso)
Agrippa, Uchimizu Tohru (Kain, Asklepios)
Wakaki Utsumaru no Nayami, Honemaru Mikami (Tsumikabatsu)
Himasupe Usagi, Yuuki Nakashima (Kirihoushi, Element Hunters)
Issue 1 will also feature an as yet untitled series by Miki Miyashita (Yoku Wakaru Gendai Mahou), a spin-off of Mayoi Neko Overrun! by Kentaro Yabuki (Black Cat, To LOVE-Ru), one-shots by Kawashita Mizuki (Ichigo 100%, Hatsukoi Limited, Ane Doki) and Yamato Yamamoto (artist of Kure-nai), and assorted other works by lesser known authors.
The first issue will hit Japanese newsstands May 19. Its subsequent release schedule is thus far undetermined.
Credit: News-Paradise (plus followup article)
Live Action Yankee-kun to Megane-chan Confirmed
Yankee-kun to Megane-chan, a fantastic comedy series currently running in Weekly Shonen Magazine, will be adapted into a live-action drama, to air on the Japanese network TBS. The news was confirmed in Issue #13 of WSM. The drama will air every Friday at 10pm beginning April 23.
Narimiya Hiroki (Gokusen, Nana, Bloody Monday) has been cast as protagonist Shinagawa Daichi, while female lead Adachi Hana will be played by Naka Riisa (The Girl Who Leapt Through Time, Kami no Shizuku).
The two lead actors have impressive credentials, particularly Narimiya, but are they appropriate visual matches? Decide for yourself:
Source: News-Paradise
Cross Game Retrospective
Cross Game, the most recent series by renowned mangaka Mitsuru Adachi (Touch, Rough, H2) has finally come to a close. Beginning in Shonen Sunday in September 2005, it has entertained readers for nearly five years, and with a breathtaking climax that does justice to the quality of the entirety of the work, it belongs in any recommended reading list.
Cross Game follows Kitamura Kou, the son of a sports equipment store owner, a pleasant, somewhat sarcastic boy with only enough of an interest in sports to push sales for his family’s shop. Most of the story and character development is driven by the relationship between Kou and the sisters of the Tsukishima family, primarily the middle two sisters, Wakaba and Aoba. Kou and Wakaba were born the same day in the same hospital, and have shared a close relationship since birth, while Aoba is jealous of the attention her older sister gives to Kou. Aoba is a naturally talented pitcher, and Kou, with an increasing interest in baseball, uses her as the inspiration after which he models his pitching form. These scenarios, coupled with a momentous event early in the series, form the foundation of the fascinating relationship between Kou and Aoba, which itself is the focal point of Cross Game.
That focus on character relationships is complemented by Adachi’s ability to give his characters a familiar humanity. The current shonen landscape is overwhelmed by unrealistic characters defined almost entirely by one trait each. Natsu (Fairy Tail) is indomitable. Sasuke (Naruto) seeks revenge. Some series even feature an entire cast of one-note characters; Mahou Sensei Negima! is an enjoyable series, but the members of Class 3-A are hardly shining examples of character depth or development. By contrast, the cast of Cross Game features realistic complexity, with entirely ordinary traits used tastefully. Senda is showy, awkward, insecure, yet positive. Azuma is independent, determined, and driven (but not ruled) by his past. All are human traits, and all are displayed in balance with each other to further reinforce the series’ realism.
Similarly, the writing is true to life. On the diamond, Cross Game accurately portrays the duality of Japanese youth baseball, combining the professionalism of self-imposed pressure to strive for Koshien with enough mistakes and immaturity to remind the reader that despite any measure of success, the protagonists are still a group of kids. Unlike other sports series such as Prince of Tennis, which announced the dominance of its stars too early and robbed the series of any building anticipation, Cross Game uncovers talent slowly and subtly. Kou’s pitching ability grows throughout the course of the series, and that growth is largely dependent upon those around him, particularly Aoba. Meanwhile, the romantic comedy elements of the series are intentionally faint. Even quality shonen romantic comedies like Suzuka put the characters’ feelings on full display, leaving nothing to the imagination, and depend heavily upon fan-service. By contrast, Cross Game credits the intelligence of its audience with characters authentically secretive about their romantic interests, characters with which the reader can relate.
As a visual piece, the art style is appropriate for the tone of the story. Each character design is clean and suitable to each personality, if perhaps somewhat familiar. After all, when presented with a picture from one of his many series, even an avid Adachi fan would be forgiven for confusing one character with another:
 Touch |
 H2 |
 Cross Game |
That said, Adachi deserves as much credit for his art as for his writing. The foreground action is supported by detailed backgrounds evoking a calm suburban Japan. Scenes are also carefully interspersed with views of the landscape or wordless crowd reaction, speaking volumes through art alone. In fact, Cross Game was used in a 2007 academic presentation to the International Research Society for Children’s Literature as an example of silent narrative. Many series have both excellent art and writing, but few series feature art and writing that complement each other so perfectly.
Like respected predecessors Slam Dunk or Hikaru no Go, Cross Game transcends its genre. It is not just an excellent baseball series, but an excellent series, requiring no particular love for or interest in the sport. The characters are diverse, the story is compelling, the art is enriching, but above all, the cohesive work is brilliant. Cross Game has long been well-received, even winning the 54th Shogakukan Manga Award for shonen, and it will continue to receive far more lofty praise than a review on a blog, but nonetheless, I offer my personal recommendation:
I read a huge amount of manga, some out of self-appointed obligation but most out of enjoyment. That enjoyment varies, but even the most amazing chapters of my favorite series rarely elicit more than a smile and a good mood from me.
Chapter 168 of Cross Game froze me in my seat, sent chills down my spine, and left me with an impression I still feel three weeks after reading.
I hope you read it, and I hope you feel the same.
Medaka Box Steadily Improving
After uninspiring beginnings which have placed it in danger of cancellation for months, Medaka Box is finally starting to find some direction in its plot and character development.
The series follows first-year student Medaka Kurokami (pictured, right), the newly-elected student council president, who is impossibly near-perfect in every area, including academics, athletics, and looks. She sets up a suggestion box in hopes of helping students in need and improving the school. She is joined by her childhood friend, the comparatively normal Zenkichi Hitoyoshi (pictured, left), who does not wish to join the student council, but does want to stay close to Medaka.
The problem with Medaka Box has never been the characters. Medaka complements her excellent mental and physical traits with a strong personality, which generally presents itself in humorous ways. One recurring scenario is for her to stand immediately behind someone and exactly mimic their pose (example). Zenkichi is the closest the series has to a comedic straight man, and is the only character with which the audience has a chance to relate. The secondary characters are all diverse and interesting, though some of their traits feel forced, as though the author is trying to make each new introduction live up to the absurdity of Medaka.
Instead, the problem Medaka Box faced upon its debut was the similarity of its plot template to existing series. The core concept of Medaka, that a small group undertakes tasks to assist whoever asks, was already shared by two currently-running series in the same magazine: Gintama and Sket Dance. Granted, there are some notable differences; Gintama mostly uses this format as a device to launch other, more involved plots (whether gag or serious), and Sket Dance splits the focus of its absurd humor between the three main characters, unlike Medaka Box, in which most of the focus is on Medaka herself. Still, the comparisons (especially between Medaka and Sket Dance) are apt, and they gave Medaka a rehashed feel in its early chapters.
Recently, though, Medaka Box has moved away from its original short-form gag stories and has introduced an overarching plot. The story currently borrows less from the specific Gintama– or Sket Dance-like formula, and has broadened its style to more typical shonen action. Most importantly, the spotlight once monopolized by Medaka is now being shared by Zenkichi and the rest of the student council, and by no coincidence, fan interest in Medaka Box is growing. In particular, Zenkichi is proving to be essential to the quality of the series. In this setting of absurd people with ridiculous abilities, the most interesting character is undoubtedly Zenkichi, who struggles to overcome his normalcy and remain by Medaka’s side. His recent battle, which began in chapter 33, has been the best instance of character development the series has offered to date. It will be difficult but critical for the author to continue to expand upon someone designed as an antithesis to the main character.
Furthermore, the author will be operating under pressure to improve. Medaka Box entered the bottom 5 for the first time in WSJ Issue 35, 2009 (July 27), and has since never been out of the bottom 5 for two consecutive weeks. (Explanation of the “bottom 5” now in the Terminology section of the About page.) It’s receiving some support from volume sales (Volume 2 sold over 82,000 volumes in its first two weeks), and it is receiving a drama CD adaptation, but, behind Neko Wappa!, is one of the series most eligible for cancellation. Given the eight-week delay between chapters and their placement in the table of contents, it’s possible that Medaka could soon escape the bottom 5, but it will need to finish this arc strongly to have any chance of long-term survival.
Medaka debuted in Weekly Shonen Jump Issue 24, 2009 (May 18). The series is written by Nisio Isin, author of the Monogatari light novel series, of which Bakemonogatari has already received an anime adaptation, and the Katanagatari samurai epic, whose anime adaptation is currently airing. Isin is not new to manga, having previously worked with renowned manga artist Takeshi Obata (Hikaru no Go, Death Note) on Uro-oboe Uroboros, a 2008 one-shot in Weekly Shonen Jump. Medaka is drawn by artist Akira Akatsuki, previously known for the brief 2007 WSJ series Contractor M&Y.
Sket Dance Wins Shogakukan Award
Sket Dance, a Weekly Shonen Jump comedy series by Shinohara Kenta, has won the 55th Shogakukan Manga Award in the Shonen category for the year 2009. Sket Dance follows the adventures of the “Sket-Dan,” a small group dedicated to helping students and staff of their school. The character traits and interplay between the group members meshes well with strong comedy writing, which is sometimes appropriately counterbalanced with heartfelt story arcs. Sket Dance has been running in Jump since 2007 but has yet to receive similar recognition from Western audiences as other Jump series, or indeed series in rival magazines. Fan scanlations for the series have fallen behind, and at the time of writing, Sket Dance doesn’t even have a page on Wikipedia.
That said, receiving such a prestigious award is a fantastic honor for the series and could be the sign of a surge in relevance in the next couple years. Volume 11 of Sket Dance debuted at #11 on the Weekly Oricon charts with over 100,000 units sold. Sket Dance also recently received a drama CD, which is typically intended as a precursor to an anime adaptation. Two other Jump series, Bakuman and Nurarihyon no Mago, already have anime adaptations in development, while Toriko received a short OVA for Jump Festa; it would not be surprising if more anime announcements were forthcoming, and Sket Dance would certainly be deserving of consideration. Furthermore, recently-formed scanlation group Iconoclast has announced Sket Dance as its first project.
Sket Dance is now in elite company as only the eighth Jump series to receive this particular award from Shogakukan, the publisher of major magazine rival Weekly Shonen Sunday. The other seven series (and the year they won the award): Play Ball (1976, tie), Dr. Slump (1981), Ginga: Nagareboshi Gin (1986), YuYu Hakusho (1993), Slam Dunk (1994), Hikaru no Go (1999, tie), and Bleach (2004).
Source: Shogakukan, Oricon
Jumbor Resuming Sets Interesting Precedent
Juuki Ningen Jumbor, a short-lived Weekly Shonen Jump series from 2007, is set to resume in Issue #03 (2/19) of Ultra Jump. The series title will be shortened to Jumbor for its upcoming run. Much in the same way that Basquash! bizarrely appropriates basketball, Jumbor is a shonen/mecha hybrid heavily influenced by concepts and designs from construction machinery. The series is the creation of mangaka Hiroyuki Takei, best known for Shaman King (1998-2004); in stark contrast, Juuki Ningen Jumbor only lasted ten chapters before its cancellation.
While the news is good for Takei and his fans, it’s most relevant because of the precedent it sets for Shueisha properties. If Shueisha is willing to breathe new life into such a brief series, it’s entirely possible that other series with a more proven record could face an eventual second chance. Granted, Jumbor is somewhat of a special case, given Takei’s status as an established success, but even a far more popular mangaka would have to present a strong case to the publisher in hopes of having a previously unsuccessful series revived. Hopefully, this move will be the gateway for deserving series to be given another print run. From the same era as Jumbor, Double Arts stands out as the series most worthy of another chance. Double Arts had a surprisingly interesting concept accompanied by a pleasant art style, but was only allowed 23 chapters to develop a plot that felt like it should have been far more grand in scale. Another standout series from the same time period is Mx0, a well-executed example of some classic themes in shonen (schoolkids, romance, magic). While it was given substantially more time to establish itself (99 chapters), it was cut short at an awful point in its plot development. Perhaps Mx0 could benefit from another Takei venture: Shaman King Kang Zeng Bang, a reprint of the original series with new chapters added to properly finish the story.
Hiroyuki Takei is also the co-creator of Karakuridoji Ultimo, a collaboration with American comic book legend Stan Lee.
Credit: News-Paradise
Ane Doki to End
Early reports indicate that Kawashita Mizuki’s Ane Doki, which began running in July 2009, is set to end in Shonen Jump Issue #07 (1/18). Kawashita is best known for her previous work, Ichigo 100%, which ran from 2002 to 2005 and received several anime adaptations, and Hatsukoi Limited (2007-2008), which received an anime adaptation last year.
Ane Doki has struggled in Shonen Jump’s table of contents, which ranks most series according to reader feedback. However, the first volume release has fared well, selling nearly 100,000 copies and placing in the top 20 of the Weekly Oricon Comic Rankings in its first two weeks.
The news is disappointing, primarily because Shonen Jump is now left without a romance series. Also, while the cancellation of Ane Doki is not a surprise, it is frustrating because of the magazine’s stance on Kuroko no Basket. The latter’s unremarkable sales and table of contents placement have cemented its below-average reputation among fans, but it has received continued support as it is the only sports series in the magazine. That Ane Doki wasn’t given similar treatment, or at least some more time to further establish its story and volume sales, is unfortunate.
Credit: Raw Paradise, Oricon
Shonen Beam Social Network
Shonen Beam 