#eyeshield 21 edit

[coloredpanels]

A best friend can help you do anything :)

Eyeshield 21 chapter 67

[mwps24]

agon's and kid's healing session with 1 special background edition.

and that is how youichi changes 2 ppls lives.

[eyeshields]

Transparent versions of the cafe illustrations pt. 2 | pt. 1

[zombiewilder]

taking a break from dc stuff to post another yukimitsu (with the proper signature!)

[yanderefoeyay]

Inspired by Agon petting Unsuis baldy head every chance he gets

Finally figured out how to do the petting gif thing lol, if anyone else wants an ES21 character doing just let me know!

[ladyshadow7777]

Ingles-English

Edit about Sena (eyeshield21) I already wanted to do an edit about Sena :D

Spanish-Español

Un vídeo o edit sobre Sena(eyeshield21) en verdad tenía ganas de hacer un edit sobre Sena :D

Edit/video👇

Música/music:GMFU odetari

[demifiendrsa]

Weekly Shonen Jump 55th anniversary appendix in Weekly Shonen Jump 2023 issue #33

1968 Weekly Shonen Jump Issue #1 Otoko Ippiki Gaki-Daisho by Hiroshi Motomiya 1969 Dr. Toilet by Kazuyoshi Torii 1970 The Gutsy Frog by Yasumi Yoshizawa 1971 Tezuka Manga Award 1st Edition Samurai Giants by Ikki Kajiwara & Ko Inoue Boy of the Wilderness Isamu by Soji Yamakawa & Noboru Kawasaki 1972 Astro Kyudan by Shiro Tōzaki & Norihiro Nakajima 1973 Play Ball by Akio Chiba Hochonin Ajihei by Jiro Gyu & Jo Big 1974 Akatsuka Manga Award 1st Edition 1975 The Circuit Wolf by Satoshi Ikezawa Doberman Deka by Buronson & Shinji Hiramatsu 1976 Toudai Icchokusen by Yoshinori Kobayashi Kochikame by Osamu Akimoto 1977 Ring ni Kakero by Masami Kurumada Susume!! Pirates by Hisashi Eguchi 1978 Cobra by Buichi Terasawa 1979 Kinnikuman by Yudetamago 1980 Dr. Slump by Akira Toriyama 1981 Captain Tsubasa by Yoichi Takahashi Cat's Eye by Tsukasa Hojo Stop!! Hibari-kun! by Hisashi Eguchi 1982 High School! Kimengumi by Motoei Shinzawa 1983 Fist of the North Star by Buronson & Tetsuo Hara Ginga -Nagareboshi Gin- by Yoshihiro Takahashi 1984 DRAGON BALL by Akira Toriyama 1985 City Hunter by Tsukasa Hojo Miraculous Tonchinkan by Koichi Endo Sakigake!! Otokojuku by Akira Miyashita 1986 Saint Seiya by Masami Kurumada 1987 JoJo's Bizarre Adventure by Hirohiko Araki The Burning Wild Man by Tadashi Sato 1988 Bastard!! by Kazushi Hagiwara Jungle King Tar-chan by Masaya Tokuhiro Rokudenashi BLUES by Masanori Morita Magical Taluluto by Tatsuya Egawa 1989 Weekly Shonen Jump reaches 5.000.000 copies in circulation Dragon Quest: The Great Adventure of Dai by Riku Sanjo & Koji Inada Video Girl Ai by Masakazu Katsura 1990 SLAM DUNK by Takehiko Inoue Chinyuki by Man Gataro Yu Yu Hakusho by Yoshihiro Togashi 1992 Hareluya II Boy by Haruto Umezawa 1993 Tottemo! Luckyman by Hiroshi Gamo Hell Teacher Nube by Makura Sho & Takeshi Okano 1994 Midori no Makibao by Tsunomaru Rurouni Kenshin by Nobuhiro Watsuki 1995 Weekly Shonen Jump reaches 6.530.000 copies in circulation Sexy Commando Gaiden: Sugoi yo!! Masaru-san by Kyosuke Usuta 1996 Hoshin Engi by Ryu Fujisaki Yu-Gi-Oh! by Kazuki Takahashi Kochikame 20th Anniversary & Chapter 1000 1997 I's by Masakazu Katsura Seikimatsu Leader den Takeshi! by Mitsutoshi Shimabukuro ONE PIECE by Eiichiro Oda 1998 Rookies by Masanori Morita Whistle! by Daisuke Higuchi HUNTERXHUNTER by Yoshihiro Togashi 1999 Hikaru no Go by Yumi Hotta & Takeshi Obata The Prince of Tennis by Takeshi Konomi NARUTO by Masashi Kishimoto 2000 JoJo's Bizarre Adventure: Stone Ocean by Hirohiko Araki BLACK CAT by Kentaro Yabuki 2001 Bobobobo Bobobo by Yoshio Sawai BLEACH by Tite Kubo 2002 Strawberry 100% by Mizuki Kawashita Eyeshield 21 by Riichiro Inagaki & Yusuke Murata 2004 Death Note by Tsugumi Ohba & Takeshi Obata Gintama by Hideaki Sorachi Katekyo Hitman Reborn! by Akira Amano D.Gray-man by Katsura Hoshino Muhyo & Roji's Bureau of Supernatural Investigation by Yoshiyuki Nishi 2005 Neuro: Supernatural Detective by Yusei Matsui 2006 To Love Ru by Saki Hasemi & Kentaro Yabuki 2007 Sket Dance by Kenta Shinohara 2008 Nura: Rise of the Yokai Clan by Hiroshi Shiibashi Toriko by Mitsutoshi Shimabukuro Bakuman. by Tsugumi Ohba & Takeshi Obata 2009 Kuroko's Basketball by Tadatoshi Fujimaki Beelzebub by Ryuhei Tamura Medaka Box by Nisio Isin & Akira Akatsuki 2010 ONE PIECE New World Begins 2011 Nisekoi by Naoshi Komi 2012 Haikyu!! by Haruichi Furudate The Disastrous Life of Saiki K. by Shuichi Aso Assassination Classroom by Yusei Matsui Food Wars: Shokugeki no Soma by Yuto Tsukuda & Shun Saeki 2013 World Trigger by Daisuke Ashihara Isobe Isobee Monogatari by Ryo Nakama 2014 Hinomaru Zumo by Kawada My Hero Academia by Kohei Horikoshi 2015 Black Clover by Yuki Tabata 2016 Yuuna and the Haunted Hot Springs by Tadahiro Miura Kimetsu no Yaiba by Koyoharu Gotouge BORUTO by Mikio Ikemoto & Ukyo Kodachi The Promised Neverland by Kaiu Shirai & Posuka Demizu Kochikame 40th Anniversary and Serialization End 2017 We Never Learn by Taishi Tsutsui Dr. STONE by Riichiro Inagaki & Boichi 2018 Jujutsu Kaisen by Akutami Gege

2019 Chainsaw Man by Tatsuki Fujimoto Mission: Yozakura Family by Hitsuji Gondaira 2020 Undead Unluck by Yoshifumi Tozuka MASHLE by Hajime Komoto Ayakashi Triangle by Kentaro Yabuki Me & Roboco by Shuhei Miyazaki BURN THE WITCH by Tite Kubo SAKAMOTO DAYS by Yuto Suzuki 2021 The Elusive Samurai by Yusei Matsui WITCH WATCH by Kenta Shinohara Blue Box by Kouji Miura 2022 Akane Banashi by Yuki Suenaga & Takamasa Moue

[splickedylit]

If the creators of Eyeshield 21 didn't want me to imprint on Kongo Unsui like a baby chick why was he 1. a tragic repressed monk man 2. really buff+sad eyes+big arched nose+killer jawline 3. just a little bit scary and evil sometimes 4. dragon-themed.

Anyway having reread now as a fully pupated Grownup Queer and talked it over with @toastyglow; college Hiruma/Unsui supremacy. I think they should explore each other's bodies and also put each other through increasingly convoluted romantic mindgames between pitched life or death football games. If only because it would make Agon SO angry. (edit: more of this lol)

[khazemya]

There is a sketch I made for the 2022 edition, with my Eyeshield 21 OC, Aurore, and Kid (aka Shien Mushanokoji). It's after manga timeline, when Aurore learns Japanese at Saikyoudai university (and playing in Hiruma's team occasionally as runningback). Aurore and Kid both meet during a match and step by step... here are the results! XD

Kid likes to kiss Aurore when they're alone... but she always reacts like this ! XD

For information, Aurore's MBTI is ISTP, as Kid ;)

[coloredpanels]

When you're so good at football you transcend this dimension Eyeshield 21 chapter 296

[the-nysh]

So this morning I dusted off my old Trigun volumes -- literally, I haven't touched that shelf in years, it's very dusty -- and nyoomed through reading them. I had FORGOTTEN so much of it, and also forgotten how GOOD it is. I mean, I kind of hate the art style -- no shade to the mangaka, everyone has preferences, I also dislike the Gravity Falls art style and I love that show -- but the story is just, call it a black hole because it sucked me in. (And I stopped there for now because there's stuff I have to do actually-today other than "reread a decades-old manga".) I've the first five volumes of Maximum, then a gap in my collection, then thirteen and fourteen.

*gasp* YOU have some old volumes and you never told me!?! aaa I'm so jealous x'D cause they're legally out of print! well, until Dark Horse reprints the upcoming hardcover editions, but anyway~ But oi-oiii have you SEEN Murata's early art (almost 90s style too) in Eyeshield 21 before he settled on his distinct artstyle? ;D The same deal here - the early Trigun volumes may be a little wonky and dated but later on in Maximum Nightow's style evolves to fuck pretty hard and looks quite strikingly timeless - the bold b&w contrast, the impact ~VIBES~ for the mood it makes you FEEL, and compositional balance + sharp angles and use of ~shapes~ get really fucking impressive. :O But most importantly yeah, the story is quite the gripping black hole that makes you feel insane and distraught, devastated, reinvigorated and reborn to question existence itself. What. But yeah it's a whole ~experience~ worth the read and I'm jazzed you got inspired to pick it up again!

[eyeshields]

Transparent versions of the cafe illustrations pt. 1 | pt. 2

[lesmechasccool]

(11/11) today it’s the Birthday of my last Eyeshield 21 Husbando (snif 😢) :

🔫✨Shien Mushanokoji aka the Kid✨🏈🤠

Shien is atypic character, he tries to be the most discreet person possible while wearing a cowboy outfit (in Japan). He doesn’t accept his reputation as the best quarterback of the Kanto out of modesty (I guess). What makes him interesting, it is his modesty, his defeatist personality, his lack of ambition (yeah he is really a character from sport shonen) and the fact that, despite all of that, he is still doing what he has to do perfectly and cleverly, making him the one of the Seibu Wild Gunmen’s pillars (if not to say THE pillar, without him the team is completely doomed, if you know what I mean).

He is my good old-looking man, so for him, I did his portrait! Yeah it takes me a lot to time for drawing something satisfying…And you know when I last edited these drawings? Today!! I wanted him to look the best as my last Eyeshield 21 I drew and he belons to the 4H.

[mokarosenoire]

À partir du 6 juillet 2018, la diffusion d'émissions télévisées commencera sur AT-X, TOKYO MX, KBS Kyoto, TV Aichi, Sun TV, TVQ Kyushu Broadcasting, BS 11

【Diffusion de l'information】 AT-X: tous les vendredis de 20h30 à 21h00 à partir du 6 juillet Broadcasting Diffusion répétée disponible TOKYO MX: tous les vendredis du 6 juillet 22h30-23h00 KBS Kyoto: tous les vendredis de 24h30 à 25h00 à partir du 6 juillet TV Aichi: Tous les vendredis du 6 juillet 27: 05 - 27: 35 Sun TV: tous les vendredis de 23h30 à minuit tous les vendredis du 6 juillet TVQ Kyushu Broadcasting: Du 7 juillet tous les samedis 26: 25 ~ 26: 55 BS 11: Tous les vendredis du 6 juillet de 27h00 à 27h30 ※ Il est possible que la date et l'heure de la diffusion soient modifiées sans préavis.

【Introduction】 Une jeune fille, Rachel, qui s'est réveillée au plus bas niveau dans le sous-sol du bâtiment. Elle a perdu la mémoire et ne pouvait pas comprendre pourquoi elle était là. En montant les étage, apparaîtra devant elle dans le bâtiment du meurtrier connu sous le nom de Zack muni d'une Faux comme un shinigami, son visage couver avec des bandage. "S'il vous plaît exaucez mon souhait ... s'il vous plaît, s'il vous plaît, tuez-moi" "Si nous sortons d'ici ensemble, je te tuerais." Leurs liens étranges approfondissent leurs "serments". Où suis-je censé être? Dans quel but? Quel destin les attendent? Deux couloirs de la mort pour échapper à un bâtiment scellé a commencé ... ...! 【Le personnel】 Original: Makoto Sanada (Magazine du jeu) Directeur: Kentaro Suzuki Composition de la série: Fujioka Bikkyo Design de personnage · directeur de dessin total: Matsumoto Miki Directeur artistique: Wei 斯 曼 (Studio Chulip) Couleur: Kana Tanabe Directeur de la photographie: Akihiro Takahashi Edit: Yuji Kondo (REAL-T) Directeur Acoustique: Miwa Iwami Effet acoustique: Kayama Oyama Musique: Eiki Sakamoto (Cape bruyante) Production musicale: Lantis Production d'animation: J.C.STAFF Production: Comité de production "Angel of Slay"

OP Thème Song: "Vital" Masaaki Endo Chanson thème ED: "Pray" Rachel (CV Chikasa Haruka) 【Cast】 Rachel CV: Haruka Chisuga Zack CV: Nobuhiko Okamoto Danny CV: Takahiro Sakurai Eddie CV: Natsumi Fujiwara Cathy CV: Mariya Ise CV Gray: Yoshitada Otsuka 【アニメ公式サイト】satsuriku.com 【公式Twitter】@strk_tenshi ゲームマガジン　好評配信中 対応機種：Windows　ジャンル：サイコホラーADV https://gamemaga.denfaminicogamer.jp/satsuriku/ Application pour smartphone uniquement diffusée Système d'exploitation pris en charge: iOS 10.1 ou version ultérieure, Android 6.0.1 ou version ultérieure terminal compatible: iPhone 5s ou version ultérieure https://gamemaga.denfaminicogamer.jp/satsuriku/lp.html © 2018 Makoto Sanada / Vaka · DWANGO · KADOKAWA / Comité de production «Ange du Slay»

-Haruka Chisuga : n'a fait aucun perso que je connais, mais vous en connaîtrais surement vous!

-Nobuhiko Okamoto : a fais, musashi de shugo chara - Narunosuke de Bleach - Ryo Takiguchi de Durarara!! - Takumi Usui de Maid Sama! - Dagger de Black Butler: Book of Circus - Yuu Nishinoya de Haikyū!! - Karma Akabane de Assassination Classroom - Katsuki Bakugo de Boku no hero académie - Gladion de Pokemon lune et soleil et  Rei Ogami de Code:Breaker

-Takahiro Sakurai : a fais, Claude Faustus de Black butler - Izuru Kira de Bleach - Kururugi Suzaku de Code Geass - Sting Eucliffe de Fairy tail - Izumo Kusanagi de K project et Sasori de Naruto Shippuden

-Natsumi Fujiwara : a fais Emiru Niikura, Ariel, Kōki Hatori, l'un des enfant dragon de Mahou tsukai no yome - Tooru Mutsuki de Tokyo Ghoul:re

-Mariya Ise : a fais, Riku de eyeshield 21 - Sora Egami de La Fille des enfers - Levy Macgarden, Roméo Combolto de Fairy Tail - Mika Harima de Durarara!! - Kirua de Hunter × Hunter - Legu de Made in Abyss et Antarcticite de L'Ère des Cristaux

-Yoshitada Otsuka : a fais, Kikuji Banchō, Shōichirō Hitomi, Takehiko Hitomi, Katsuo Nabeshima de Détective Conan - Narrateur de Durarara!! - Abuto de Gintama - Jiraya de Naruto - Little Ogre de Soul Eater - montblanc norland de one piece - Tenkei Iwafune de K project

[kitsunefyuu]

I’m also starting to realize the most hysteric people are likely children. Or people who were in highschool when started reading My hero Academy so likely aren’t used to shonen tropes or anything like that.

In these trying times I suggest some other shonen that you all might like, Katekiyo Hitman Reborn(haha fun time suddenly mafia and high stakes), Eyeshield 21(FOOT BALL BUT ACTUALLY VERY SHONEN), Dragon Ball (Super Classic Staple) and Full Metal Alchemist(A classic Shonen of two brothers trying to fix themselves after a terrible mistake more unique in the shonen genre but in a good way).

Especially the last one. Enjoy I promise you a good time and no tears.

Edit: Adding Death Note if you want some detective mystery and serial murders in your life. It is a shonen funny enough. No action.

[acidproofnotebook]

I posted 44 times in 2022

19 posts created (43%)

25 posts reblogged (57%)

Blogs I reblogged the most:

@gofancyninjaworld

@katyatalks

@koumbaya

@opmanime

I tagged 41 of my posts in 2022

Only 7% of my posts had no tags

#opm - 31 posts

#translation - 19 posts

#manga - 14 posts

#mob psycho 100 - 9 posts

#revisions - 9 posts

#omake - 7 posts

#genos - 6 posts

#drive knight - 3 posts

#update 160 - 3 posts

#update 163 - 3 posts

Longest Tag: 114 characters

#and it's good to see sekingar carefully weigh up his options before deciding to trust the hero with the dodgy past

My Top Posts in 2022:

#5

Volume 26 Bonus chapter “The Great Selection” -- partial and rough translation

The first four pages (of eight).  It’s not joking about being rough and there may be some passages that will be understood differently once a fuller translation is done.  But it’s still interesting!

Translator/ Typesetter: u\Bald_Caped

Date: 3 June 2022

https://drive.google.com/file/d/1n-UghKI90sQY1vT6WNBgk_vjiCyzfTaL/view

14 notes - Posted June 4, 2022

#4

Update 160 (previously 159). Changes between online and print versions, part 2

Yup, this goes on!

Unlike the previous version, this time Nyan ignores Food Battler and was dragging just Waganma off to his most painful doom when lo, an intervention!

Fear not! Drive Knight is here!

See the full post

18 notes - Posted February 26, 2022

#3

Update 163 (previously 162). Changes between online and print versions. Part 2

So, where we left off, it looked like a tense standoff between Genos, who wants to go back to the battle, and Sekingar and Waganma, who most desperately don't want to be ditched by an S-Class hero. Food Battler Futoshi steps up to offer a solution (revised version on top, old at the bottom).

Sekingar does some thinking before deciding to trust Genos (no equivalent in older version)

See the full post

25 notes - Posted February 26, 2022

#2

ONE/Murata 2015 Joint Interview

Because I'm always concerned about old blogs going down and taking material with them, please find below a transcript of one of their first interviews on the subject of One-Punch Man.

Link: http://opmcityz.blogspot.com/2016/04/onemurata-2015-joint-interview.html

Translator: Herms

Translation Date: 2 April 2016

For no Earthly reason, it’s taken me this blasted long to finally translate the ONE/Murata joint interview from the 2015 guidebook OPM: Hero Encyclopedia. The notes throughout are the same ones as in the actual book, although towards the end I got lazy and didn’t write out the full details on such topics as the plot of Eyeshield 21 or the explanation for what fencing is. The curious may look that stuff up on Wikipedia. --Today I’d like to ask you two to provide the “definitive edition” of the story of One-Punch Man’s birth ONE: I’m much obliged. Yusuke Murata: Yes, thank you very much. --ONE-sensei, tell us how you began drawing One-Punch Man. ONE: Well, I wanted to try drawing manga digitally; that’s how it all started. There was this place (*1) online for posting up manga, and lots of people submitted their stuff there, so I wanted to submit something too. I bought a PC and some tools for drawing pictures digitally (*2). I tried out drawing 15 pages, and uploaded it with my PC for the first time…that was One-Punch Man Chapter 1. I didn’t have any real plans for continuing the story, and just posted it up without thinking of what to do next. But perhaps because I submitted it as “Chapter 1” it got a great response…OK, maybe not “great”, but a decent response. So I figured I might as well try drawing a continuation of the story. That’s when I really sat down and worked out how the story would continue, which made me realize this could turn into quite an interesting manga. And that pretty much brings us from Chapter 2 right up to the present. --Where did you get your ideas? ONE: To start with I simply tried to draw the sort of manga I’d want to read myself. I’ve read loads of Shonen manga throughout my life, and am particularly fond of battle manga. Generally speaking those types of stories are all about growth, meaning that by the last chapter the main character has grown stronger than anyone else and lives happily ever after. So I wondered what would happen if I started the story off with the main character already in peak condition. That became my jumping-off point. --So it’s a complete 180 from existing Shonen action manga? ONE: Which makes it fun for people who have already read lots of those typical Shonen manga. It’s like they’ve run the first lap, and this is their second time around. Murata: Yeah, it’s really exciting for Shonen manga aficionados. ONE: I also love it when a series creates friction between drama and humor. With One-Punch Man I wanted to try doing that through the worldview itself, rather than through specific plot points. The series is set in a dangerous, monster-infested world, but since Saitama’s there you don’t really notice just how bleak the world is. I think it’s that friction between Saitama and the rest of the world that makes things interesting. --Murata-sensei, what do you think makes One-Punch Man so appealing? Murata: It all boils down to Saitama’s appeal. In some ways, Saitama is incredibly similar to Son Goku from Dragon Ball (*3). It was Dragon Ball that first got me started reading Weekly Shonen Jump, so I find those similarities particularly appealing. Dragon Ball’s Goku (*4) is a very memorable protagonist: he does whatever he wants, fights strong guys…he’s only after excitement! He goes through life full of spirit. Even when the world’s in peril and he’s surrounded by chaos, it doesn’t bother him one bit. Like when Piccolo’s reincarnation entered the Tenkaichi Budokai (*5) and if Goku lost the world was doomed, even then Goku himself simply fought to win the tournament. After he beat Piccolo, he didn’t care that he had just saved the world, he was just happy to finally be crowned tournament champion. It’s that sort of detached easy-goingness, the sense of operating under a completely different logic than those around him. This type of aloofness, of doing things at one’s own pace, really screams “hero” to me. That’s what Goku and Saitama have in common. Another similarity is that they’re simply the strongest guys around. When things are looking hopeless, the moment

they show up you know things are going to be OK (laughs). --How did you find out about One-Punch Man, Murata-sensei? Murata: I follow this illustrator called “Akiman” (*6) on Twitter, and when I heard about One-Punch Man on his blog, I read the entire series overnight. I got a bit frustrated, because I realized I had become a manga artist precisely to draw something like this (laughs). At the time I was in sort of a dead-end career-wise, and (my apologies to Ootagaki-sensei[*7]) thanks to my incompetence things weren’t going very well with Donten Prism Solar Car (*8)…It’s safe to say I ended up causing Ootagaki-senseiand the readers a lot of trouble. Back then, I viewed my job simply as illustrating the stories given to me. But really, isn’t an illustrator’s job to visually convey the charm of the characters? You’ve got to understand what makes the characters appealing, or otherwise you’ll have nothing to show the readers. Once I read One-Punch Man, I knew it was exactly what I was looking for. I sent ONE-sensei a message right away, asking if we could meet. I told him point-blank I wanted to work with him… ONE: I was surprised to get a message from Murata-sensei. Frankly, at first I thought it might be a prank… Murata: Sorry… ONE: It was a real shock! (laughs) --Did you two hit it off? Murata: Yeah. I was so nervous about meeting him that I ended up being 30 minutes late (laughs). By that time I was already starving, so first I suggested we go get some yakiniku. (laughs) --What did you talk about at the yakiniku restaurant? Murata: I asked “hey, why don’t we do a one-shot together first?” --Your first collaboration was Earth Monster. ONE: With Earth Monster, I made storyboards so that Murata-sensei would have something to work off of, and to give us something to show the editorial office. I took it as an opportunity to make something really flashy, the sort of thing I could never draw on my own. I stayed within manga contest regulations (*9), so it was probably around 31 to 45 pages. Murata: But I wanted to use bigger panels, and expanded it to roughly 60 pages. --So you submitted Earth Monster (*10) to the editorial office as a one-shot? Murata: Actually, wasn’t Cockroach Busters (*11) the one we ended up showing to Young Jump first? ONE: That’s right. Before that we showed it to your then-current editor at Weekly Shonen Jump; I think we made about four copies. Murata: At the time I had an exclusive contract, so I felt obligated to draw it for Jump, but it wasn’t really panning out…And while I was wrapped up with that, I came down with gastroenteritis. ONE: Your wife found you and called an ambulance. Murata: I couldn’t move at all…That’s when I started thinking that if this exclusive contract was going to keep me from doing the work I wanted, then I had better do something about it. I called ONE-sensei from the hospital and told him “I’m terminating my contract, so how about we get a bunch of different one-shot manuscripts together and shop them around at different companies?” And that’s how things went. --How did you end up at Neighborhood Young Jump? ONE: Several different people had approached me with proposals for commercializing One-Punch Man. The question was, would I handle the illustrations myself, or get someone else to do them? Although personally I thought Murata-sensei was the best man for the job…Later there was discussion about me trying to draw a revised version, but after drawing about two chapters worth it became painfully obvious it would never sell. At that point Murata-sensei asked if he could take a stab at it. He redrew the first chapter with a felt-tip pen, and it blew me away. From there we started thinking about the best place to distribute this out to the world. With Murata-sensei’s connections we hooked up with an editor at Young Jump, and this led to the plan to run it in Neighborhood Young Jump, on condition that it be drawn by Murata-sensei. I thought it was incredible of Murata-sensei to publish this manga on the web rather than in print form, and I was sure

everyone else would be impressed with it too. So with that, we made our proposal to Young Jump, and it began. --Murata-sensei, were you in any way reluctant to publish the series online? Murata: Back when I was doing Eyeshield 21 (*12), I had never read any webcomics, and my thoughts towards them didn’t extend much beyond “eh, doing one might be interesting”. But when this proposal came up, I had by then read ONE-sensei's One-Punch Man, so I felt like publishing on the web had real merit. For instance, with a weekly magazine each issue disappears from stores when the next one comes out a week later, but on the web people can read the previous chapters too. And since it’s available to the entire world, it seemed like a good way to gain a larger audience. Viewing something published online on my monitor, I was amazed at how pretty the lines were (laughs) (*13). But since up until that point I had only ever worked with lines on paper, I had absolutely no skills at making them look pretty on monitors...So me and my staff went through a lot of trial and error. That's what made it so interesting! Mastering a new field was a lot of fun. Another advantage of drawing on the web is that you can make corrections. With Eyeshield 21, I was always pressed for time, which didn’t leave room for much trial and error…I’d question if what I was drawing was really up to snuff…then realize it wasn’t. But even after a chapter ran in Jump, there still wouldn’t be any time to fix it, so it would just remain as-is forever. This happened all the time, and really stressed me out. Online though, I can fine-tune things until I’m satisfied. Particularly the characters’ faces. I mean, when anyone other than ONE-sensei draws Saitama, he ends up a different character. Though at first I was real keen on putting a Shonen manga spin on him. --I hear there were a lot of rejected Saitama faces. Murata: That’s right. It wasn’t until I had drawn a good number of pages that I finally got the hang of his expressions. It was when he and Genos are listening to Sneck’s lecture at the Hero Association, and he’s noisily chewing gum. The moment I saw this bored-looking Saitama, a lightbulb went off in my head (laughs). I realized that because Saitama is so strong, for him everything is always boring. This made me want to redraw the whole thing from square one. Me and the staff had by then learned the ropes of drawing online and were really into it. I told them that this was the first step in what would be a historic manga; I was drawing in a daze of ecstasy. --How do you two work together during the writing process? Does ONE-sensei create new storyboards? Murata: With the main storyline or anything else where I’m going off of ONE-sensei’s original, I’m generally given free reign with page distribution and whatnot. But I’ll ask ONE-sensei if I have any questions. ONE: That’s right. Murata: For the main storyline, the dialogue stays pretty much the same. But with side-stories, sometimes I’ll try adding in scenes to ONE-sensei’s storyboards, or change the dialogue up a bit. In such cases, I’ll always ask ONE-sensei’s opinion. We’ll go back and forth fine-tuning it…and sometimes it’ll just end up reverting back to how it was in the beginning (laughs). ONE: Murata-senseialways shows me whenever he thinks up new scenes or dialogue to add. For instance, with the A-Class hero Spring Mustachio, my storyboards just had his name and general appearance. He talked a bit and got beat up by the monster, nothing more. I didn’t plan to highlight what weapons he used or anything like that; that part was really cut short. But the storyboards Murata-sensei came up with featured him using his weapon against the monster, showing off his fighting chops so that the monster looked even more impressive by comparison. It was fantastic! Murata: When I heard his weapon was a fencing (*14) rapier (*15), it reminded me of that cool swordsman from Wheels on Meals (*16). Sometimes it’s fun to add in more action like that. --On the flipside, has ONE-sensei ever given you pointers on how

to draw something? Murata: On occasion. For instance, during the big showdown with Boros. Since I felt this was the heavyweight championship of the universe, I tried to make it as flashy as possible. However, midway through when Boros starts losing ground to Saitama, there were places where he appeared clownish…ONE-sensei pointed out to me that the reason Boros is popular is because he always retains his dignity, even against Saitama. That made it all click for me, and I redrew things from square one. When it comes to the storyline, characters, and dialogue, all of that flows from ONE-sensei’s head, so I constantly check in with him. --Thank you very much. Finally, what do each of you consider a “true hero”? Murata: "Even if you’re the strongest around, not letting it go to your head”, I guess. Abiding by your own rules. A true hero never waivers. ONE: I agree; someone who never waivers. A true hero is someone who follows their dreams to the very end. ==[Notes]== *1: ONE-senseibegan serializing One-Punch Man in Weekly Shonen VIP on the community site Toshanai in 2009. *2: A graphics tablet and related software. *3: One of Weekly Shonen Jump’s most well-known series, a battle/adventure series by Akira Toriyama that ran in Jump from 1984 to 1995. *4: The protagonist of Dragon Ball. A member of the Saiyans (a warrior race) who grew up on Earth. Though pure-hearted, he is also a super-warrior who loves fighting against strong opponents. *5: The 23rd Tenkaichi Budokai (“Strongest Under the Heavens” Tournament). The reincarnation of the supposedly defeated Demon King Piccolo entered the tournament and battled Goku. *6: A Japanese illustrator who has worked on numerous games and anime, including Street Fighter II. *7: Yasuo Ootagaki-sensei. Wrote the story for the series Donten Prism Solar Car, which ran in Jump Square from 2010 to 2011. *8: The aforementioned series which ran in Jump Square from 2010 to 2011, depicting the struggles and friendships of young people involved in the development of solar cars. *9: There is a set number of pages for Rookie of the Year awards. For instance, the Tezuka Prize requires 31 pages. *10: Original story by ONE-sensei. A doujinshi by ONE-sensei, Yusuke Murata-sensei, and Kinu Nishimura-sensei. An action story depicting the struggles of a father who becomes a giant to fight monsters, and his frustrated son. *11: Comedy depicting the adventures of soldiers who undergo special training to exterminate cockroaches. Ran as a guest one-shot in the July 2015 issue of Young Gan-Gan. *12: American Football manga series which ran in Weekly Shonen Jump from 2002 to 2009. *13: The current Neighborhood Young Jump browser is improved constantly to allow everyone to read the latest One-Punch Man as soon as possible. *14: A European style of swordplay, and now an Olympic sport. *15: One-handed sword with a sharp point. *16: 1984 Jackie Chan movie.

27 notes - Posted January 22, 2022

My #1 post of 2022

Update 171 (previously 170). Changes between online and print versions

Murata has taken advantage of the revisions he's doing for volume 25 to make a few small but important changes to update 171.

Amai Mask calling for help

No excuses, just a straight out plea for help. Which isn't forthcoming

See the full post

28 notes - Posted February 26, 2022

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