#one punch man manga 168

[opmedits]

"Genos! You scared the crap outta me! You’re actually alive!”

One Punch Man 168

[cathianemelian]

PLEASE MURATA-SENSEI GIVE IT TO US

[taki79]

OPM SPOLIERS!!

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It went from this:

To this:

SMY PRECIOUS BABY BOI IS ALIVE!!!

And! Hits…Saitamas dingle wingle…

Aww 🥺🥺🥺

Although the time travel stuff is kinda confusing, at least Genos is alive and that’s all that matters 😫😩😍

[theinternetisaweboflies]

Chicken Nugget Genos by girlinstory

Chapter 168 tag with associated manga spoilers. 

"You're actually alive!"

Genos frowned. "Sensei has seen me without extremities on many occasions, most notably-"

Saitama waved his right hand- his left hand full of the thing that he was trying not to think about. He was holding it in his non-dominant hand. He couldn't help thinking about that, sparing a second's glance at Garou before his eyes were drawn like magnets back to Genos. "Yeah, yeah, not because of Chicken Nugget Genos. Because of this."

He held up his left hand.

Genos frowned some more. It was obvious he didn't have to worry about getting wrinkles. "That appears to be my core."

"Yeah. I've seen it on a few occasions too. That's why I thought, for just a second, that you-"

"Sensei!"

It took him another second to realize Genos was shouting, not because the world was ending again, but because Saitama had started to cry.

"What the hell?" He swiped at his eyes with the sleeve of his suit, which seemed more or less intact, with one notable exception.

"Sensei?" Genos looked worried, which was a little ridiculous considering he was missing about forty-percent of his body. "Are you alright?"

Saitama made the "I dunno'" noise. "I'm not usually a gut-feeling kinda' guy, Genos, but I get the feeling that we just avoided the really bad timeline."

Genos wiggled closer, and Saitama suppressed the urge to laugh if only because he knew it would come out a little hysterical.

"I cannot hug you right now, but you are welcome to hug me if you wish."

"I don't know," said Saitama. "It seems a little one-sided."

Genos looked so mournful that he gave in and laughed anyway.

"I am sorry, Sensei," Genos said woefully. "The best I can do is a headbutt."

He laughed again. "I noticed. You're getting pretty strong, Genos. But I have a better idea." All of these emotions, as if out of nowhere, and Saitama had always been the kind of guy to go with the flow.

He wrapped one hand around what was left of his disciple's waist, the other still clutching that core like his own life depended on it, and pulled Genos for a kiss.

It was not one-sided.

[btnclmrttn]

I'm loving the reunion fan art with Saitama and Genos with all the embracing and whatnot but I keep thinking about Saitama's dick is just out

[fuckmesaitama]

You have NO IDEA how happy it makes me to see Saitama and Garou working together as a team and properly acknowledging (while smiling at the another!) each other’s capability and strength/skills to contribute to rewinding this big mess, and also understanding both of their vulnerabilities despite that strength, they understood each other!!

Especially because until this point, it felt like most of the time they’re mostly and constantly being accidentally disrespectful everytime they were together onscreen, (trying to fight/beat up the other, and then don’t even remember the other, regularly taunting each other during their fight) like two north pole side of magnets that are the same but still only repel each other.

I’m so happy I could cry… 😭😭😭😭

I’m not shipping them but I’m so SO happy to see this happen. 😭😭😭❤️✨✨

[rants-about-opm]

Something Ventured, Nothing Gained

I’m not the biggest fan of the latest chapter. It feels like we’re skipping too much, like Murata and ONE got bored and said “We’ll just skip ahead a couple chapters and come back when we feel like writing it”, but then they never bothered to add the missing bits. 

I dunno, it feels like just last week I was defending the redraw as a chance for the characters feelings and emotions to play out in a more natural way as opposed to them jumping right into being good, and yet here we are now and Garou is just roaming the streets with Bang acting like almost nothing happened.

Not to mention, the whole bit about forgetting his technique is just silly to me.

Getting over the whole time travel schtick was hard enough, and now we just have to accept that these two highly improbable things happened all at once to give us this exact, minute result. I know a lot of people prefer this route as we see more of Garou, but I can’t help but feel that “getting back my fist” is a rather shallow stand in for a goal, especially when it comes to someone so goal oriented and hyper focused as Garou. Without something meaningful that he feels is worth working towards, his character feels reduced to only his senseless petulance. The webcomic path may not have seemed quite as outright hopeful, but to me it felt like Garou had more potential to change. Manga Garou gives off an air of disinterest, he’s only here to relearn what he’s forgotten, and any apologies he’s given out are a result of being forced to do so. This redemption feels more like Bang’s task than something he’s undertaken all his own.

I want to know what Bang said to convince Garou to return and be “rehabilitated”. The fact that he wanted to be found doesn’t say much, for all we know he was waiting for Bang to come and kill him. I don’t see how Garou’s headspace following his defeat could have lead him to return. He’s clearly still very passionate about the beliefs he had while monsterized.

Maybe it’s just me, but I feel like this new path isn’t viable for Garou achieving any real growth, at least not on his own terms at his own time.

[snownyann]

Saitama travels back in time. Coloring by me (requested by a long time supporter of mine)

I do not usually color panels with many coloring but I honor her request as she supported me when I barely had any followers at first.

[ryujin-zanba]

not garou’s ‘type’ resembling a version of his mother that would be kind to him 😭💔

[opmedits]

"This is insane! What the hell is this monster!?”

One Punch Man 168

[ladysunamireads]

Chicken Nugget Genos

Chicken Nugget Genos by girlinstory

Chapter 168 tag with associated manga spoilers.

Words: 365, Chapters: 1/1, Language: English

Fandoms: ワンパンマン | One-Punch Man

Rating: Teen And Up Audiences

Warnings: No Archive Warnings Apply

Categories: M/M

Characters: Saitama, Genos

Relationships: Genos/Saitama

Additional Tags: Manga Spoilers, Hurt/Comfort, Fluff

Read Here: https://archiveofourown.org/works/40474086

[taki79]

OPM SPOLIERS !!!

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So something just popped up in my mind, a bit of my theorizing brain dump.

About Genoses Core that’s still in Saitamas hand.

So since [past or aka now the new present] Saitama has future Genoses core, I have a few theories on what might happen to the core:

-Saitama destroys it. (Destroys the only living evidence that Garou Vs Saitama, Genos and everyone else’s death that happened.)

-Gives it to Genos and/or Kuseno so they can deal with it. And/or it can be used for a suit upgrade later on OR it could save Genoses Life (again).

-Leave it be as a reminder someway or somehow

-***The [future] core fuses with this Genoses core (somehow or some way) |-| Which could possibly give [past] Genos memories of his Future self.

-***OR have it plugged in into Genos and then maybe *that* future Genos can somehow appear within the present past Genoses body. I DONT KNOW HOW TO EXPLAIN IT!! And then both Genoses could become one, like what murata did with Saitama both furture and past. And then remember what happened with him before his core was pulled out by Garou.*** DOWN BELOW vvv

So Basically what I thought of:

***What if the core still held the memories of what happened before Genos was killed? ***

Because we know that’s the thing thats keeping Genos alive. And maybe or maybe not it still holds information. Because It wasn’t shown that both cores were fused together like the 2 Saitamas did (unless murata just changes it to be so…)

Like imagine Kuseno seeing this and being like:

And imagine them plugging in that core somewhere to see what information it holds:

[the black text is talking or *sound effects*]

[the white text is in their head]

I got lazy and didn’t feel like writing it but drawing it lazy lolololol

Yup it can be one of 2 ways..! … or non of this happens whatsoever 💀

This is probably a crappy way of saying a theory but it’s a theory nonetheless. Or a prediction per say. 😩😩😩

I hope I somewhat made sense of my little brain dump theory/prediction. 💀😭

And I hope you, the following reader can see what I mean. 😭😭😭

[tomatostyle]

365 day drawing challenge day 168 One punch man Saitama

[kiragoblin]

Bang from One Punch Man 365 days challenge day 168

[jeanklemwriter]

Marvel recently made yours truly (and a good number of other people) pretty cross with their recent statements that their attempts at diversity aren’t working and that “people don’t want diversity”.

Let’s ignore how Marvel charts sales only via floppies, and not trade paperbacks and/or digital copies. Let’s ignore how Marvel fails to hire new writers to reflect their diverse characters or audiences. Let’s instead focus on a graphic novel industry that’s currently eating Marvel’s pie while it complains about SJWs and makes old characters Nazis (because women inheriting Thor’s title is cardinal sin, but making them Nazis is A-OK).

Let’s talk about manga.

The Big Two, these being DC and Marvel, have a lot they should be learning from manga. It’s a growing industry! It survived a cataclysmic bubble-burst in 2008, but currently is still in a growth period. Shonen Jump has survived its print parallell being shuttered, as a digital-only publication. What are the likes of One-Punch Man, Please Tell Me! Galko-Chan!, and Attack on Titan doing that DC and Marvel aren’t? Well, for starters (more after the break)...

Manga is cheaper. Used to be, people on Gaia Online would joke that manga was a drug because it was more expensive than crack, but that’s not quite true. When it started, a Shonen Jump trade paperback (commonly called a “tankoubon”, because that’s what they’re called in Japan) would retail at $7.95. Eventually, Viz bumped up the price--to $9.95 a pop. Today, you can expect to spend as much as $12.99 a pop per tankoubon, although Shonen Jump stuff still retails at just under $10, for something between 190 - 256 pages in length. Meanwhile, the MSRP for a 168-page-long Spider-Man trade paperback is $24.99. A lot of arguments can be made here: anime is only in black-and-white, the paper stock is different. But why is an imported comic that needs to be licensed, translated, edited, published, then distributed a cheaper alternative than a comic made in the US? Monthly issues (”floppies”)  are a terrible investment, clocking in at $3 - $7 a pop, only 16 pages, and flimsy/fragile as all heck! Worse yet, in Marvel’s case, digital copies of the same issue cost the same as the print copy. (With Shonen Jump? They’re three bucks cheaper.) People only have so much cash, and they want their money to last: a story that’ll last you ten minutes isn’t going to be considered if that same money can go to a game that’s on sale on Steam. Considering how much work goes into a comic, I’d never even dream to consider that comics should be cheaper, but at least give people more bang for their buck.

Manga stories aren’t a messy web. When I started reading Dan Slott’s Amazing Spider-Man run in 2014, there was a whole extra series being sold alongside it that I also found myself needing to read: Learning to Crawl, which was sold as--get this--decimal-issues of Amazing Spider-Man. LtC counted as issues 1.1 to 1.6 of ASM. What. It can be argued that Learning to Crawl wasn’t necessary to understand Amazing Spider-Man, but then an important character introduced in LtC became an important recurring character in ASM. Now, let’s get even messier: ASM continued with the Spider-Verse event, with no less than four comics tying into the darn thing: Edge of Spider-Verse, Spider-Man 2099, Spider-Woman, and Amazing Spider-Man. All of those characters and comics were involved, and had a hand in that event. I didn’t read all of those comics, only EoSV and ASM--so I can’t begin to explain why Spider-Woman was hiding in the Inheritor World when she was, or how Kaine appeared. Compare this to 20th Century Boys, Naoki Urusawa’s tale of childhood, post-war Japan, friendship, and political intrigue. If you want to understand that story, pick up volume one (I insist, it’s so good) and start reading. Wanna catch up on Berserk while its on hiatus? Just buy a volume and start reading! Anyone jumping into a comic book has to be ready to read three different books just to get the low-down on one story, which doesn’t combine well with the aforementioned pricing problems. Floppies are already a tough investment, and they feel even cheaper when you’re supposed to supplement them with even more purchases. It gets worse when you remember...

Manga stories don’t come with baggage. Amazing Spider-Man wasn’t as great an introduction to the character as it could have been. If Peter Parker wasn’t such a cultural marker, that story would have left me confused. Who is this guy in the red-and-blue? Why does he have spider-powers? On a deeper level, what happened with him and Doctor Octopus?! Yeah, see, ASM takes place after a period of time where Doctor Octopus switched minds with Peter Parker and took over his body, becoming the “Superior Spider-Man”, and ASM starts with Peter having regained his body and finding the messes that Doc Oc left for Peter--and trust me, not having read the SSM books, I was surprised to see stuff like Electro and Black Cat having a vendetta against Spidey, or Mary Jane having married someone else. In other words, to understand a current comic book character, you’ve had to have been reading about them for over two years--or dived into a wiki. Now, few manga in the US have lasted the forty-plus years that the likes of Captain America, Batman, or Animal Man have, but even after 84 volumes One Piece is somehow still easier to jump into than an alleged reboot (they’re pirates looking for treasure, also yo-ho-ho Luffy took a bite of gum-gum). If your point is to create an entry point for new readers, you’ve failed when people need to read at least one other book to understand the current one.

Manga covers a lot of ground. Used to be, comics in the US had all kinds of genres: besides superheroes, we had romance, horror, suspense, crime thrillers, and comedies. The rise of the Comic Book Code changed all of that; now all DC and Marvel publish are superheroes. Shonen Jump may be the house that’s ruled by Dragon Ball and One Piece, but Shonen Jump still has piles of variety. Besides action stories, they also cover comedy (Cowa!, Gintama), romance (I’’s, Strawberry 100%), horror (Muyo and Rohji’s Supernaural Detective Agency), sports (Prince of Tennis, Eyeshield 21) and thrillers (Death Note). I’m only covering series that are licensed in the US, mind--Japan has weirder stuff from Shonen Jump, like the positively-ancient KochiKame. Too much emphasis is put on capes in the Big Two. Even their attempts at moving away from that are overshadowed by capes: Grayson may have been a spy thriller, but it still starred Dick Grayson, alias Nightwing (and onetime Batman). Gotham Academy was a fun adventure series set in a large prep school--in the middle of Gotham City. The closest we could hope for Marvel to do as a romance would be Spider-Man Loves Mary-Jane. It seems Marvel and DC aren’t capable--or willing--to release anything that isn’t attached to their superheroes. (There’s a lot to unpack with that last statement, and there’s no space and time to cover that--let’s just say you can’t have an audience you don’t cultivate, and you can’t complain about people ignoring you if you ignore them.) Finally...

Manga actually hires women. Two of the most beloved manga of all time, each responsible for an entire generation of manga fans, are Ranma 1/2 and Inuyasha. They’re both romantic comedies with lots of action; the former is more comedy than action, the latter is more action and fantasy than romance. Both of these came to be genre-defining works. Their creator? Rumiko Takahashi--a woman. She’s not alone, either: Naoko Takeuchi’s Sailor Moon, Yana Toboso’s Black Butler, CLAMP’s Chobits, xxxHolic, and Tsubasa Resorvoir Chronicles, Hiromu Arakawa’s Full-Metal Alchemist... there is a not-insignificant list of very, very prolific manga that are written and drawn by women. Meanwhile, DCs policies during the New 52 meant that only two women worked with them: writer Gail Simone and artist Amy Reeder. A lot of people on the internet argue for a total meritocracy: that creators should be hired for their talent or skill, and not because they’re women/people of color. But you can’t have a healthy industry without a wide variety of creators. A wide, diverse team of writers means you have a wide, diverse set of viewpoints and experiences that translate to different stories. Ranma 1/2 isn’t a great story because Rumiko Takahashi is a woman, it’s a great story because Rumiko Takahashi is a great writer and artist. But she actually had to get hired in order to make Ranma 1/2. The only reason for Marvel and DC to not have more women in their teams is if they don’t give a crap... and, really, that’s quite telling: you can’t complain attempts at diversity aren’t working if you’re not willing to commit to it. Manga isn’t great at diversity either, owing to Japan’s far-more-ethnocentric population, but there’s still startlingly-more variety with manga than there’s ever been with comics in years. If publishers in the US want to make better business, start looking at how their international fellows handle business. Millions of One Piece fans worldwide exist for a reason.

[opmedits]

"You said you were gonna copy me when I’m serious and surpass me, didn’t you? Go ahead and try”

One Punch Man 168