Mag Talk Weekly Shonen Jump [2020] - Discussion and ToC Talk

[Shinuki no Reborn]

MANGAHELPERS "TOC" POLL ISSUE #51 - VOTING!​

The poll for issue #51 is now open, vote for your favorite chapters of the week clicking HERE!

Alongside the release of Sakamoto Days, the extra series this week are:

-Dragon Ball Super 66
-Boruto: Naruto Next Generations 52
-Ghost Reaper Girl 10

Good Votes!

 

[Halloween]

Moderator Notice:
Henceforth, I will be deleting posts that complain about Weekly Shonen Jump having too many/not enough gag/battle/exorcism/sports/etc series.

These posts are not insightful, and do not meaningfully contribute to this thread. Also, this decision is not up for discussion, so posts discussing this decision will also be deleted.~ Halloween

 

[Ryuusei]

Spoiler: 52 TOC & 01 Preview

呪 僕 O マ ブ S C D 破 C B 夜 C 僕 あ 灼 ぼ チ 高 ア 森 A 仄 ぼ 次号カラー ヒロアカ アンデラ 夜桜 約ネバ 道産子 GIGA 岸本先生が描くコラボポスター 爆豪クリアファイル

Spoiler: Issue #52 ToC & Preview

Jujutsu Kaisen (Cover & LCP)
My Hero Academia
One Piece
Mashle
Black Clover
Sakamoto Days (CP)
Dr. Stone
Magu-chan: God of Destruction (CP)
Build King
Mission: Yozakura Family
Me & Roboco
Ayakashi Triangle (CP)
Shakunetsu no Niraikanai
We Never Learn
Chainsaw Man
Koukousei Kazoku
Undead Unluck
Moriking
Agravity Boys
Honomieru Shounen
Bokura no Ketsumei

Issue #1
Cover & LCP: My Hero Academia
CP: Undead Unluck, Mission: Yozakura Family, The Promised Neverland, Dosanko Gyaru wa Namaramenkoi

GIGA Preview
Collab poster by Kishimoto
Bakugou clear file

 

[TyVip]

Well I just checked

2010: 32.3 million
2011: 37.9 million

Too add to that, each individual volume backlog one piece probably sold between 400,000 to 500,000 in 2010

One Piece #55: 536,154
One Piece Green Secret Pieces: 574,888
One Piece #1: 545,045

400000 * 55 volumes = ~22000000

add 5 volumes sold that year 2593580+2578730+2557356+2492183+2480124= 12,701,973

Total to about ~34 million (account for errors, my math is close)

and next year it did even better. So I would say the Strong World movie adds about upward of 1 million to 1.5 million new fans to the series (the new volume in 2010 did 2.5, and it jumped to 3.3 in 2011)

So if the Demon Slayer movie manages to get half a million new fans to buy all the volume, that is easily 10 million in the bag. But to be honest it would be kinda weird to go see the "continuation of the anime" without already seeing the anime and buying all the merch.

 

[MangAniMY]

One Piece #1: 545,045

this is 2011, just pointing that out

One Piece Green Secret Pieces: 574,888

Oricon doesn't count this towards series

 

[Rain Spectre]

Just to make something clear, people are seriously underestimating how big a deal Strong World was.

Remember, this was 2009. The idea of an anime film based on a manga was very, very different. They were mostly just one-note filler movies meant for general merchandising, and were hardly meant to be anything really "special". The influence of the mangaka was basically limited to character designs and generally approving of story ideas, and they were basically footnotes for the manga themselves, they were entirely based on the anime.

Strong World completely and utterly bucked that trend by being a major film release based on a Jump manga that was promoted on the fact that Oda himself wrote it. It was fully featured in Jump itself (with the issues close to the films release having the film on its cover). And, perhaps most importantly, the first 1.5 Million attendees all got a special Volume 0 done by Oda that included a special prologue chapter, a plot summary, and design details.

Strong World was basically Jump doing the biggest job trying to push a production in a way that'd more or less never been attempted in the past, and the stunt succeeding beyond their expectations. That it coincided with Marineford helped as well, as is the case with Kimetsu as Tamil has pointed out, it coming around perhaps the most climactic part of the entire story was just the final decoration to the perfect storm of attributes that helped OP explode.

 

[animeexpert]

The literal plot of the story is that Taiyo is supposed to protect Mutsumi. That was quite literally explained in the first couple of chapters, and that is why all the villains are coming after her. That's the point. It's the same as people complaining about the "villains of the week" in Zipman. Like, yes? It is based in a genre where that is the expected norm. Why are you so upset by this?

I can't particularly argue with your point of integrating the other siblings into the school, but again, it's explained that they're busy doing all their jobs, and I imagine they don't have time, or the need, for something as ultimately pointless as high school. You might not like it, but at least it makes sense in the context of the story.

My issue personally is that the designs feel too simplified. The series is a transparent attempt to emulate Kamen Rider, but the robots shown thus far are rounded simplified shapes with few additional details, when Rider uses much more elaborate designs for both monsters and the Riders themselves. They end up looking like bad Super Sentai villains more than anything else.

It's in black & white, the big parts always may feel "lacking on detail" btw it's an weekly manga so it will be a burden to put all these details on. It's not bad dude, it gives an simplistic iconic impression and the more detailed robots will be introduced when it goes to an more bigger plot

 

[MangAniMY]

｜1121685 (3)｜1487845｜1597912｜1662688｜1696393┃2,345,564 (444)┃2009/09/04｜One Piece 55
｜1363868 (3)｜1762418｜1865059｜1924398｜*******┃2,480,124 (353)┃2009/12/04｜One Piece 56
｜1690932 (4)｜2004793｜2093907｜2143174｜2173621┃2,630,296 (298)┃2010/03/04｜One Piece 57
｜1580757 (3)｜1960633｜2074787｜2136440｜2184422┃2,750,017 (262)┃2010/06/04｜One Piece 58
｜1852541 (5)｜2170485｜2274196｜2331875｜2374775┃2,846,570 (201)┃2010/08/04｜One Piece 59
｜2094123 (4)｜2399673｜2492183｜2550690｜2593174┃3,096,668 (200)┃2010/11/04｜One Piece 60
｜2086080 (3)｜2571703｜2724241｜2819362｜2873187┃3,382,588 (290)┃2011/02/04｜One Piece 61
｜*579127 (0)｜2367582｜2595303｜2698663｜2767056┃3,207,568 (203)┃2011/05/02｜One Piece 62
｜2119401 (4)｜2586044｜2737718｜2810023｜2849620┃3,073,175 (109)┃2011/08/04｜One Piece 63
｜2018366 (3)｜2507357｜2652700｜2733331｜2783631┃3,069,252 (108)┃2011/11/04｜One Piece 64
｜1934961 (3)｜2552721｜2729671｜2833993｜2894663┃3,336,992 (290)┃2012/02/03｜One Piece 65

I have a point, but I'm not gonna say it, just putting this here to let people ponder....

 

[OniluapL]

That week in which OP sold 579k copies before the release date always impresses me.

 

[Rain Spectre]

Changing the subject, I think it's really startling how, if Mitama does indeed join the roster (which is looking more and more likely), then no less than three of the four Jump+ authors who were imported to WSJ were able to create successful series.

With that, I have two questions:

1. Do you guys think there's a reason for this impressive track record?
2. What Jump+ author would you like to see in WSJ? To make it more fun, let's discount LINK, Kaku and Endo by virtue of their series having much grater success than the others.

 

[lgrmjauffre]

Changing the subject, I think it's really startling how, if Mitama does indeed join the roster (which is looking more and more likely), then no less than three of the four Jump+ authors who were imported to WSJ were able to create successful series.

With that, I have two questions:

1. Do you guys think there's a reason for this impressive track record?
2. What Jump+ author would you like to see in WSJ? To make it more fun, let's discount LINK, Kaku and Endo by virtue of their series having much grater success than the others.

1. The only one I can think of is their WSJ series are more than likely receiving more exposure overall.
2. They're busy at the moment with their current serial, but I think the duo behind Tis Time for "Torture Princess" could do like a really cute romcom series in WSJ.

 

[fuzzb]

Changing the subject, I think it's really startling how, if Mitama does indeed join the roster (which is looking more and more likely), then no less than three of the four Jump+ authors who were imported to WSJ were able to create successful series.

With that, I have two questions:

1. Do you guys think there's a reason for this impressive track record?
2. What Jump+ author would you like to see in WSJ? To make it more fun, let's discount LINK, Kaku and Endo by virtue of their series having much grater success than the others.

1. They are Jump SQ authors (Kaku and Endo), who gained valuable experience with their previous series. Jump+ platform gave them more freedom on the type of series they could do, no guarantee they would have been serialized with those series in Jump. And Jump can choose which to move to Jump from Jump+, so its not like they randomly chose those to serialize in Jump.
2. None, they are doing perfectly fine there with smaller chance of being cancelled at ch19.

 

[lgrmjauffre]

1. They are Jump SQ authors (Kaku and Endo), who gained valuable experience with their previous series. Jump+ platform gave them more freedom on the type of series they could do, no guarantee they would have been serialized with those series in Jump. And Jump can choose which to move to Jump from Jump+, so its not like they randomly chose those to serialize in Jump.
2. None, they are doing perfectly fine there with smaller chance of being cancelled at ch19.

To be fair, no one has been cancelled under 19 chapters in WSJ in a good while, though. But I definitely agree. It seems like you can perform kind of bad, even in axe range, in WSJ and still somewhat get a pass for a decent run on Jump+ with the same numbers.

 

[tirakai]

I think part of the Jump+ is probably confidence. If a writer already had a relatively successful series (or even just a non-immediate flop) they'd already know people like their stories and roughly what readers like seeing from them, so they're more sure about what kind of series they'd like to write.

Total newbies and authors that flopped quick in 4 months however I imagine are more desperate to prove themselves, and seem to try to either shove in anything possible in an attempt to gather some fans, including whatever seems like it'd be popular rather than what makes a fun story, or alternatively don't think about readers enough and just lump in whatever they personally want to do.

--- Double Post Merged, Dec 17, 2019, Original Post Date: Dec 17, 2019 ---

Also personally I kind of suspect Jump+ first authors don't start with the thing they want to do most, I suspect some probably do a secondary idea and perhaps leave the #1 thing they want for later if they get into WSJ.

This is all pure speculation though. It's also possible we just got really lucky with the choices or something.

--- Double Post Merged, Dec 17, 2019 ---

So we can't really discuss it much here due to the 3 volume rule but I recommend everyone check out Dricam ch 100 (a series on manga+).

It's always cool to see an artist go all out for a big number celebration. We really need more of that in the magazine, we get occasional huge moments on the 50s and 100s but I imagine it's very hard to plan things out well enough to have a huge thing coincide with such a nice number, and wsj stuff can't be experimental in the way Jump+ manga can.

 

[Thundercat27]

Dricam doesn't have volume release.
So how does this fall on 3 volumes rule?

 

[tirakai]

I figure it's the equivalent of 3 volume's worth of chapters. 100 chapters is well past whatever the 3 volume mark would be.

 

[Thehoennhippo]

Changing the subject, I think it's really startling how, if Mitama does indeed join the roster (which is looking more and more likely), then no less than three of the four Jump+ authors who were imported to WSJ were able to create successful series.

With that, I have two questions:

1. Do you guys think there's a reason for this impressive track record?
2. What Jump+ author would you like to see in WSJ? To make it more fun, let's discount LINK, Kaku and Endo by virtue of their series having much grater success than the others.

I would think that the biggest factor that gives the Jump+ authors a possible head up is simply experience. Thence all had series before that they’ve learned from which would but them above some random newbie.

As for Jump+ authors I’d like to see in the main mag? I’d like to see Kaito return I guess. I’d also like to see “curtains up, I’m off”’s author come back, as I enjoyed it even if it flopped.

 

[Nemesis]

Jump+ is honestly the best thing that was created this decade by Shueisha as a publication. Apps/websites for publication in general like magazine pocket, ura sunday and all. Which reminds me that Gangan Online from Square Enix began that trend in 2008, 4-5 years before all of the others which began in the 2010s.

You can't do what you want on WSJ? Go to Jump+ and you'll likely have your manga there at least published since it's an online publication with not much regulations as a physical one, and without the 50 years of WSJ and its pressure. If we look at the titles there, a ton of them wouldn't be on wsj at all, not only because they don't have the style (which in the majority I can sense, as there's a "style" there, with few exceptions like Chainsaw Man or Death Note) but because many genres and type of stories wouldn't be there. Either way, as a reader it's nice to have such publication and that it continues to be it's own thing, which is why I never wanted any of its titles like Spy x Family to be transferred to WSJ.

--- Double Post Merged, Dec 17, 2019, Original Post Date: Dec 17, 2019 ---

Btw, to give an example, I have 13 manga that are currently serialized on Jump+, while on WSJ I have 14. lol

--- Double Post Merged, Dec 17, 2019 ---

Oh and of course, another thing that only a digital platform can offer is manga in webtoon format, like Dricam, the vertical world (which is b&w but is longstrip) and other manga that couldn't be in a physical magazine, as it's more for a mobile or tablet platform.

 

[Blink22]

Wonder if we will also start seeing more foreign authors like Boichi be more welcomed to join WSJ in the near future. Imagine Lim Dall Young starting a series in WSJ.

 

[DreamcastDazia]

Wonder if we will also start seeing more foreign authors like Boichi be more welcomed to join WSJ in the near future. Imagine Lim Dall Young starting a series in WSJ.

Do you think they would ever let someone from the west make a manga in the magazine as long as they have perfect japanese or something?

If I was to pick a foreigner to make a manga in WSJ it would be SIU though.

 

[Tamil]

Do you think they would ever let someone from the west make a manga in the magazine as long as they have perfect japanese or something?

I hope not

 

[DreamcastDazia]

I hope not

Wait why?

 

[OtterBrigade]

Do you think they would ever let someone from the west make a manga in the magazine as long as they have perfect japanese or something?

If I was to pick a foreigner to make a manga in WSJ it would be SIU though.

while it was just a contest they did allow anyone from around the world to submit a one-shot as long as it was in Japanese, English, Korean or Chinese back in 2015/2016 https://sojapan.jp/2015/12/manga-shonen-jump-is-now-accepting-international-manga-submissions/

I guess this was technically Jump+ rather than WSJ though.